Stretchin’ out Uptown Friday night

One of my best [and favorite clients] is Harlem Stage, a non-profit on the City College campus located at 135th Street & Convent Avenue. Harlem Stage “celebrates and perpetuates the unique and diverse artistic legacy of Harlem and the indelible impression it has made on American culture” according to their Mission Statement.

The program tends to mix music (mainly Jazz, Funk, R&B and World) with modern dance and spoken word. And there are certain artists that have established working relationships with Harlem Stage. Christian Scott, also known as Christian Scott aTunde Adjuah is one of those artists. The New Orleans native is a very talented & Grammy-nominated trumpeter, composer and producer. A week ago he hosted the two night Stretch Music Festival. Each night he presented several other artists for short sets before finishing the night with his own band. I was only there for opening night on Friday.

To start it all off with Mardi Gras season upon us, Christian came out as Chief Adjudah & The Brave and presented a Black Indian ceremony in which he wore a traditional Mardi Gras Indian chief costume. This was followed by the saxophonist, Braxton Cook and then the brother/sister duo Samora Pinderhughes & Elena Pinderhughes

Here is a gallery of images from a very fun, well-curated evening in Harlem.

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Funk at 90mm

I’ve been very busy and very much behind on blogging. And with a list of year-end “wrap-up” pieces of “Best Of 2016” lists still to come, I thought this was worth a quick blog post.

I have always been a Nikon professional photographer. I love my D4, as well as, my trusty old D300s. I have taken them anywhere and everywhere without failure. And with this year being the 100th anniversary of the company, I only want to praise the company. However…

The one area where both Nikon and Canon, in my opinion, have fallen behind is in the area of mirrorless cameras. Although they haven’t produced a full-frame version, I think what Fujifilm has done, particularly with their XPro-2  and their Fujinon  X-series lenses is quite remarkable. Lightweight and rugged with sharp and clean images up to ISO 6400 .

After years of just taking one camera to shoot concerts, I started carrying the XPro-2 in addition to my D4 to most shows starting with last years Jazz Fest in New Orleans. Usually I will have the 16-55mm f/.28 (24-70mm equivalent) in addition to a prime lens for the Fuji. Then for my D4, I will have three zoom lenses covering the standard range of professional f/2.8 glass. But sometimes I like to go out and change things up. Last night was one of those instances.

I am the house photographer for Brooklyn Bowl. Saturday night, the venus hosted Jans Ingber’s Funk Fellowship. This was one of those “super groups” made up of players from around the country familiar to anyone following the Funk and jam band scenes. Two of the players are friends of mine. And with several incredibly talented vocalists fronting the evening, including Rachael Price of Lake Street Dive and Jennifer Hartswick, I was looking forward to a fun night of getting “lost in the groove.”

I decided to try and shoot the night with no more than three lenses on two bodies. So I brought a 17-35mm f/2.8 and my “go-to” 24-70mm f/2.8 for the D4. And on the xPro-2 I attached the 90mm f/2.0. Due to the crop factor involved, the lens is a 135mm equivalent if you were shooting with a 35mm camera. This meant a decent medium length when shooting from a distance and very “up close and personal” when shooting from directly in front or on the stage as I tend to do many nights at The Bowl. The 90mm is super sharp and very fast to auto-focus. And I love the skin tones of the Fujinon lenses even in low-light situations.

So without further ado, here’s a handful of images made with my favorite new toy and a few videos shot with my trusty D4.jans-ingbers-funk-fellowship-brooklyn-bowl-sat-1-21-17_january-21-20170106-edit

Bee Gees- Love You Inside Out


Beatles- We Can Work It Out


Bill Withers- Who Is He And What Is He To You


Jill Scott- You Don’t Know


George Michael- Freedom 90


A strange day in America. But a great night of music in New York City


Wednesday was not a day that many people will remember fondly in years to come. Even if you were on the winning side of the ugly fight for the White House, it seems that we all lost a little something as a nation. Raising a four year old daughter in New York City has many challenges to begin with, so my hopes are that everything generally follows a fairly Centrist path and life goes on mainly the way we’ve known it. But in the meantime, we all need to find things other than our Social Media feeds like Twitter and Facebook or 24 hour cable news from MSNBC or Fox News.

But believe me, this blog post, like this blog is not about politics. This is about my images and the way I hope they make people feel like Rockstars onstage no matter who they are or what they do. With a good photograph, you can be transported to another time and place in much the same way that listening to an old Soul music record like Donny Hathaway Live can take you back to being a kid in your living room, listening to Dad’s albums. It’s that power of music to inspire, heal and always allow you to escape to someplace far away or long ago, which sends me off with my cameras at night in search of the next great shot.


I shoot for The Bowery Presents who promote many of the most interesting shows in and around New York City. When I saw last month that Steve Vai was bringing his Passion And Warfare 25th Anniversary tour the the very intimate Town Hall, I knew this show was for me. As a small theater near Times Square, that is famous for its great acoustics, but also its very well-mannered performances, I expected to capture the show from the back of the room. I was very pleasantly surprised when Steve’s Tour Manager told me I could shoot from anywhere in the room. As Vai took the stage, I was on my knees in the center aisle directly in front to capture the guitar pyrotechnics up close. And between his fingers on his fretboard and the screen behind him, it was pure eye candy.

For most major performances, a concert photographer is only allowed to shoot the first three songs of the show. For bigger shows this means being ushered directly out of the building. On other nights, you have a ticket and are allowed to stay. With Sting not hitting the stage until 11pm for his late second show at Irving Plaza, I was able to stay and watch Vai’s show up until the encores. The man is truly a master of the six strings.

At 11pm sharp, Sting hit the stage at Irving Plaza for the album release party for 57th And 9th. It was his second performance of the evening. The show was sponsored by iHeart Media. He played a sixty minute set that mixed songs from the Rock & Roll Hall of Fame inducted The Police as well as his classic solo albums and his new release.

Popular music and politics have certainly mixed in the United States since the 1960s. But on this night, I was able to go out and just hear two men still performing at the top of their game, play some of their best songs. And in both cases, the audiences were lucky enough to catch them in intimate settings. For me, it was simply another night out loving what I do. And no matter what you think of the election, it still felt great to live in new York City and have the opportunity to shoot live music. That is one thing that I will always love about our country.

Burn Baby, Burn [or Nas & Jared get married]

I’ve reached a point in my life where if I’m not making images at a wedding as the photographer, then I’m most likely not involved in Wedding Photography at all. The reason is simple: most of my friends are married…with kids! In fact I’m more likely to be shooting a Bar or Bat Mitzvah of a close friend’s child. But when I do get to attend nuptials, I find it impossible to walk out the door with only my iPhone in hand. Much like the curse of being a concert photographer, I just can’t enjoy myself without a camera.

One of the most important things a photographer like any other artist needs to do is look to challenge oneself every day. So when I left for what promised to be the most unique wedding I would probably ever attend, I decided to travel small and light. But I did not leave myself without an arsenal of weapons. This made my choices for the night rather easy. I decided to take my favorite new toy: the Fujifilm XPro-2 with a 18mm f/2 prime lens. And to make sure I would have enough light, I grabbed my iBlazr. Although not a full frame camera, the XPro-2 renders wonderful skin tones and more than acceptable images up to ISO 6400. The 18mm f/2 lens allows me a wide image from essentially a pancake lens while also being relatively fast (ideal for low-light captures). And the iBlzr is one of the neatest gadgets I’ve picked up in the past few years. It would allow me a continuous source of light if needed (and it most certainly was at this affair!)

Dressed for a “Rocktail” party, my wife and I headed out the door for our 6:15 arrival time in Freeman Alley having only been given the time and location less than 48 hours before the event. Most people would find this a bit strange for a wedding. But then most people don’t know my close friend Jared. He is a world traveler and an ardent member of the Burning Man world. It was on his travels to the Far East two years ago that he met a wonderful young lady from Russia. And after a whirlwind romance around the globe, the man that many of us thought might never settle down, asked the love of his life to marry him. And none of our close friends who grew up together on Fire Island ever thought that this night could be anything less than monumental.

The alley dead-ends at Freemans Restaurant…that was not where we were going. But adjacent to the restaurant was the back entrance to The Box. And if you know anything about the venue, the Burning Man culture and my friend Jared…

My philosophy for photography is stated in the name of this blog. On any given day, anyone can be a Rockstar. Sometimes the person literally is one. Other times it is just a girl becoming a woman at her Bat Mitzvah or a little boy playing in the waves on the beach. And other times it is a couple like Anastasia and Jared who are made for this moment every single day.

I’m always hoping when I go to work to walk away with a few more than memorable images to make my clients happy. And when traveling “light” and going as a “spectator,” it feels really good to be able to give your friends and “extra” wedding present.


Mazel tov to Nas & Jared. The effort put into the details of your big day showed. May your love continue to burn brightly. And may you keep on rockin’ for many years to come.

You never know where you’ll end up [Or how one very cold day in Brooklyn turned into working for Jane’s Addiction and The Smashing Pumpkins]

By Marc Millman

The one thing that I always tell people when they ask me about becoming a photographer is that you have to follow your dreams. There is no question that you need to put in the long hours learning your craft. And, of course, these days everyone (myself included) wants to make it all about the equipment. But for all the hours you spend behind the lens and sitting at your computer culling and then editing images (the modern equivalent of the darkroom and light table), it is best to have some sort of endgame in mind. For me, that has been relatively easy to envision. I love music and people and I need to be able to convey the excitement of life through my imagery.

I shoot events such as weddings and Bar/Bat Mitzvahs along with family photo shoots when I’m not out at night shooting concerts. My belief is that “anyone can be a Rockstar” at the right time in life. My goal is to convey that feeling in the work I present to the public. Musicians along with their managers and publicists seem to find my unbridled enthusiasm, yet laid back demeanor as the perfect combination with which to work. Ultimately though, I like to think that it’s just the way I see things which is influenced by all the time spent at the MoMAWhitney & Guggenheim museums as a kid and looking at my father’s Kodak 35mm slides.

In January 2014, I was hired to do a photo shoot with Karl Denson’s Tiny Universe while they were in town for a weekend-long stand at the original Brooklyn Bowl in Williamsburg. It turned out to be one of the coldest days of the year and just after one of the many snowfalls we had that winter. I prefer to shoot outside since my portraiture is generally done with natural or available light. But this was a day that I knew we needed to be inside. Luckily my friend and possibly greatest ally, Rock impresario Peter Shapiro had a space nearby that was being used as satellite office space for both his newly expanding Brooklyn Bowls venues and Relix Magazine

I got to the location early to scout the space. The only person there was the booking agent for the Bowls. I asked him if he was excited about the new venue preparing to open in Las Vegas. He was very enthusiastic about how things were shaping up for the first run of shows. When I asked him whom he had so far, one name popped out at me: Jane’s Addiction. The band was set for a three night stand as a the first big name to play the venue. And even better, they would perform their classic album, “Nothing’s Shocking” in its entirety each night! My mind was abuzz with thoughts of what this would be like. I knew I had to be there. But first I had to shoot the Tiny Universe.

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We had a good time that afternoon. The band came decked out in black suits with white shirts. I captured some fun images including one I though of on the fly where I had them mimic the classic Madness album cover from “One Step Beyond…” They were even willing to go outside for a few clicks of the Nikon D4. I think being a Southern California band made the idea of snow exciting to them.

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When I got into the cab to head back to the City after the shoot, I sent a text to Pete thanking him for use of the space…and telling him that I heard about the Vegas shows and had to be there. He told me he would make it happen. The next few months passed quickly. And before I knew it, I was landing in New York from a week covering the New Orleans Jazz & Heritage Festival. I  then headed home to swap clothes out of my bag and spend a few hours with my wife and daughter before flying out to Sin City for three days with the man who created Lollapalooza and his band. I had no idea what was in front of me, but i was ready, willing and able.

After landing and checking into the hotel, I received a text telling me that I might not have access to the pit. This made my stomach drop out. How could I have been flown across the country to cover the first big shows at this incredible new venue and not be able to shoot the band from up close?! A few minutes later, I received another text from the production manager telling me to come over to the venue. When I arrived, I was told that the band’s manager wanted to meet me. My introduction to Peter Katsis took place backstage while Dave Navarro sound checked his guitar rig. Peter had asked the venue if they had a photographer in town they trusted. They informed him that I had just flown in for the shows. He explained to me that he had a few VIP guests attending opening night. He hoped to get some photos of them. There was a chance that they would even join the band backstage at some point for a picture. He also told me to have fun and gave me “All Access” to shoot from anywhere I wanted in the venue for the whole show each night.

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The VIP guests turned out to be Tommy Lee from Mötley Crüe and Billy Corgan from Smashing Pumpkins.

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 And needless to say there were plenty of outrageous images from the three nights

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I returned from my Vegas trip and tried to settle back into my regular routine after almost two weeks spent in the Big Easy & Sin City shooting bands. Summertime for me generally means long stretches away from the craziness of New York City and concert stages. I choose to spend most of it with my family, on the beach out on Fire Island. But the experience of working the three nights in Las Vegas stayed with me. And towards the end of the summer, there was an announcement that Jane’s Addiction would be headlining the second CBGB‘s Festival in Times Square in October. I didn’t hesitate to reach out to Peter Katsis.

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That call landed me my first images run in Rolling Stone magazine and Billboard. And it happened simultaneously when the publications ran the above photo of Perry Farrell crowd surfing in the center of Times Square.

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It was another awesome set from an incredible live band. I could not have been more thankful to the band and the management for allowing me yet another great opportunity.

In late March of this year, I received an email from Peter Katsis asking how large I could print the image of Perry crowd surfing. After a little back and forth, I ordered a 30″x 45″ metal print and shipped it to him. When I checked back a few days after I received notification that it was delivered, his response was “can I get two more at the same size?” A moment later I received a separate email in which Peter asked if I was free to shoot The Smashing Pumpkins the following week at the Beacon Theatre. I checked the dates and confirmed the middle of the three nights, but only after requesting that I be given “All Access” to shoot the band from wherever I wanted and for the whole show. Besides the standard first three song rule which limits a photographer to no more than 15 minutes on average to capture the performance, The Beacon is notorious for pinning the photographers to the extreme left or right orchestra aisles since there is not pit to shoot from. It is nearly impossible to make a memorable image from those vantage points Knowing the type of imagery Peter wanted, I had to gain these concessions.

On the night of the show, I arrived at the stage door to meet Peter. I was greeted with a big smile and hearty handshake, handed an All Access laminate for the tour and told to have fun. That’s exactly what I had. The show was great. Billy had found these four incredible old theater backdrops. Each one was used for a section of the night to help set the mood. And unlike the early loud Alternative Rock they became famous for in the 90s, this show was acoustic-based. Billy and original drummer Jimmy Chamberlin were joined by current touring guitarist Jeff Schroeder and two female multi-instrumentalists. The audience was treated to a career retrospective including the second segment of the evening known as “The Siamese Suite,” which was made up of seven songs from Siamese Dream, the album that launched them to super-stardom.

I went home electrified by the performance and got right to work editing the images. I sent Peter a handful that night and more the next afternoon. He had requested I not post anything before he had a chance to review them with Billy. I waited several days and heard nothing. The radio silence had me crazed. Were the images bad?! I finally reached out and the response was that they loved them and would be back in touch shortly.

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The following Monday my phone rang. It was Peter with an idea. Could I fly to Chicago that Thursday? The band was playing a homecoming show at the Civic Opera House. My schedule was free that day. The arrangements were made and my flight information and hotel reservation arrived the following afternoon. The one thing that I wondered about thought was the reason for the trip. Sure it was the band’s hometown show, but the set was the same each night. And only extremely wide images of the almost 90-year-old theater would look any different form those shot in New York City. I had my sneaking suspicions, but nothing concrete to back them up. The week before playing the Beacon, the band played The Theatre at Ace Hotel in Los Angeles only four nights after kicking off the current tour. And during the Siamese Suite, original guitarists and co-founder James Iha joined the band onstage. I couldn’t imagine any other reason to fly me to the Windy City.

On Thursday I arrived at O’Hare midday and settled into my hotel. After a little excursion wandering the city, I made my way to Gene & Georgetti Restaurant for a steak dinner. On my way to the venue my phone rang. Peter called to tell me that James would play and nobody knew. The crowd went wild when he walked onto the stage. There was incredible energy in the room and I felt honored to be asked to capture it. When the show was over I got to meet Billy and the band. He told me really loved the images from the beacon. He felt I captured what he was trying to convey to the audience. It was an incredible feeling to receive praise like that from an artist of his stature.

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A week later I was on my way to New Orleans for Jazz Fest. As it turned out, the Pumpkins were playing the beautiful restored Sanger Theatre my first night in town. And although shooting the local Funk legends, The Meters that night, the timing and location allowed for me to get a third round in with Billy and company.

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I’m currently working on an interesting long-term project involving both bands. In the next few months there are shows with Jane’s that I look forward to, as this time they will be playing 1990s’ Ritual de lo habitual in its entirety.

And after that, perhaps a return to Chicago… But in the meantime as I sit here editing another Bat Mitzvah for young woman whom shown like a Rockstar herself last month, I think back over the last 18 months and find this ride to be truly incredible.

It takes a lot of hard work, a completely unstructured schedule, very little sleep…and the love and support of my wife and the smile of my daughter to keep pushing forward. Combine that with a few allies like the two Peters and perhaps you can actually catch a bit of a break in this business known as Concert Photography. And as for those two other metal prints of Perry? One ended up being a birthday present for the man himself and the other is in the lobby of the William Morris Agency. You really never know…

If you are looking for a great photographer for your next event or concert click HERE


Killin’ It with Kate

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By Marc Millman

The last weekend of January and the first weekend of February found me in Westchester and Connecticut to capture Kate Leffler’s Bat Mitzvah. Kate’s mom has become a good friend of mine over the past year. We share both a feverish obsession with live music, and a general tendency toward insomnia; which means that while I spend late nights editing most of my shots, she is the ideal person with whom to converse via text! It was through one of these conversations that Andrea decided that I should be the one to capture their special day.

It is my belief that when you choose an event-photographer for any important occasion; be it a wedding, a Bar or Bat Mitzvah, a milestone birthday, or an anniversary celebration, you need to make sure that you and your photographer share certain aesthetic values. Every professional photographer has a particular style, so when choosing someone to shoot your special event, you should ask yourself whether that photographer’s style matches up with what you are looking for. As an example, I like to shoot in a “modified” photojournalistic style. I aim for a balance between capturing the essence of the moment as it unfolds, and creating photographable moments that capture the feeling of the celebration. In this way, I’m able to present clients with the wide variety of photos they expect from an important event.

I believe very strongly in “the moment”; something I learned from my father’s Kodak slides shot on his Nikon and Honeywell Pentax 35mm cameras during my childhood. That said, understandably, people want to see themselves in the best possible “light”. Although I am not a Photoshop specialist, and my images are not heavily retouched or altered, I will work to “fix” a handful of images if a client requests that. Again, it comes down to a shared aesthetic—the more “in the moment” a client wishes their photos to be, the more I’m able to shoot in my particular style.

My connection to Andrea and her husband, Michael, is easy. They are laid back and fun. They love live music. They love their children. And they love my work (in addition to the photos I shot at Kate’s Bat Mitzvah, they also own some of my music prints on canvas that hang in their home). Connecting on a personal level with my clients, and sharing a sense of how an event should be captured is, to me, a match made in heaven! And, when you add in a beautiful place to shoot at (Westchester Reform Temple in Scarsdale, NY), and a great party at The Loading Dock in Stamford, CT, put together by Eric Schiff at ESP (including a surprise appearance by the Berean Community Drumline, lead by the Director of the Brooklyn Steppers) it really made for several great days of “Killin’ It with Kate!”


Four and so much more

By Marc Millman
Last week I shot six shows in four nights. I started on Wednesday up at The Capitol Theatre with the incredible Joe Satriani and finished back there last night for the amazing Ben Harper. In between I shot my friends in Early Elton , The Infamous Stringdusters: The Ladies & Gentlemen Tour special guest Nicki Bluhm of Nicki Bluhm & The Gramblers the sensational Jon Batiste and Weezer.

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Tonight I start a run of five nights straight with All The WOO In The World: An All-Star Celebration Of Bernie Worrell”. The it’s The Smashing Pumpkins with Liz Phair. From The Beacon Theatre to Brooklyn Bowl for Dr. Lonnie Smith‘s “Evolution” at Brooklyn Bowl. Then it’s E-Moves up at Harlem Stage and then finally back to my passion project on Friday night with Slick Rick, Big Daddy Kane & Rakim.
But on my day of rest, I shot my biggest Rockstar and her entourage.
My Daughter Julia Summer turned four a week ago. And to mark the milestone in her very young life, we threw a bowling party at one of Daddy’s “offices.” My good friend, the rock impresario Peter Shapiro was kids of enough to help me arrange an afternoon with Live music of The Beatles for the kids to dance to followed by bowling, Oyster shooters, ribs, fried chicken, hummus, friends, pizzas and burgers. The girls mainly lived out their inner fantasies with the outfits. The adults ate and drank really well. And we even bowled (Some of us much, much better than others).

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There was basically no crying other than Julia smooshing a finger between two bowling balls. There was a lot of laughing and a lot of love. We brought together friends from growing up whether that meant junior high school or camp and fused them to friends from Fire Island while throwing in the grandparents, an aunt, and a cousin. And on top we sprinkled Robyn’s school connections and Julia’s classmates. We were more than 30 strong. And we rocked it Hard.

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But now reality sets in. From raising money for an extremely ill groundbreaking Funk player to William Patrick Corgan and the Pumpkins. From Dr. Lonnie Smith’s spacey Jazz Funk grooves to Modern Dance moves in Harlem. And from a few of the biggest names in the history of Hip Hop Music with Rakim. Slick Rick & Big Daddy Kane through the Bat Mitzvah I shoot on Saturday, I expect that there will be no star bigger than my beautiful daughter. But that’s the way I look at every job that I am hired for.
So whether it’s a family photo shoot this spring in Central Park or during the summer on Fire Island, I want you to feel the excitement that exists when the lights go down in the arena and the band takes the stage. If you’re getting married, I want you to think that this is the biggest day of your life. But you know that you are ready to own the moment. And you can be confident that I am there to capture it with a little more flare than the average photographer.
Let’s be honest. We all can take a decent picture on a phone or our small DLSR camera kit we bought. But it doesn’t mean you really know how to use it. And for sure it doesn’t mean that you understand the rules of making images, the basic principals for shooting and editing and cropping to make a compelling image. But I do. In fact, it is really all I think about day and night.
So if you are looking to be blown away with your imagery in a less traditional way, then let’s have a conversation. I’m shooting almost non-stop until I leave for New Orleans for two weeks to cover the Jazz Festival. In fact, I’m even shooting a wedding down there. But I have plenty of time in May if not before to set something up. So whether it’s new head shots, Images for a new website, blow-ups for a Bat Mitzvah, wedding promotion images, an album cover, 50th birthday party, another 4th birthday or a wedding or Bar Mitzvah, I am here to help make it happen.
I am far from the cheapest guy out there. But I am a long way from the most expensive. And I think my work and my demeanor speak to what you can expect to get back if you follow me on social media. We will have fun. We will act a little looser. And we will work hard to get you images you will feel good about.
I can’t wait to get to next Sunday for my day of rest. I’ll be going to see Pink Floyd’s David Gilmour at Radio City Music Hall…to unwind my mind…and get inspired for whatever else comes my way this spring, summer and even fall.
This weeks’ images? You can either see them on this blog, Instagram or Facebook on an almost daily basis. Because after all, this is just a tuneup for the New Orleans Jazz & Heritage Festival that starts in 19 days!
Operators are standing by…