The day has come… our first horse show! The show was at my barn, so there was no shipping. The show was the most casual I’ve ever done- it was a fun, relaxed schooling show. In my youth, my trainers always made me wear the show coat even at the most informal shows (and on the hottest days!) but now that I’m doing my own thing, I dressed casually with breeches and a vest :^)
Warmup was great- I knew our classes would take a lot of mental and physical effort for Wizard so we kept it short and sweet. I did a lot of walking, getting him used to the weaving and circling of all the horses. We then trotted, working on stretching and making contact with the bit. I only did one spin at the canter in each direction and he (gasp!) picked up the correct lead each time.
I had a very nice support group at the show, including my mom (also photographer and groom), my friend Christie, and my dad later in the day.
So here’s a rundown of our classes and how we did…
Adult Rider- 18yrs or older. English or Western. W/T Eq Placed 6th. Wizard bounced around quite a bit during his walk-to-trot transitions, but was great with the horse traffic. W/T/C Eq Placed 6th. They asked for a canter from a walk (oh, hm, we’ve never done that before!). No time like the present, and Wizard bounced into a canter from the walk. Not the prettiest transition, but he had a fair amount of impulsion from the show energy and it was pretty decent. W/T/C Pleasure Our best class (according to the judge). Placed 4th.
Beginner Horse – Open to horses and ponies in their first or second year of showing. W/T Placed 5th. I was much more relaxed and Wizard mirrored me. W/T/C (canter individually) Did not place. Wizard picked up the wrong lead and leapt around a little in the first few strides of the canter. But once he settled, his canter was nice. Problem was, the judge was only watching horses in one spot on the rail and we tended to be pretty awkward in that spot. Wizard was getting a little grouchy around the other horses. I think he was hitting his threshold for attention span. If the last class was not over fences, I would have called it a day. I was proud of his performance in the class but the class was large and in the grand scheme of things, it was probably not that pretty. W/T Hack with two cross rails Placed 5th. Our best performance (according to me). The judge made a comment about a rider who cantered the cross rails so I made sure to really bring Wizard down to a serious trot between the fences. Wizard was thrilled to jump and I was thrilled with his performance.
In all, it was a wonderful first show. I did not fall off or get otherwise disqualified, and Wizard performed admirably. I’m quite proud of him- it was fun to show off the results of all our hard work.
After such a long time with any riding lessons and just a camera to tell me how Wizard and I look, it was such a positive experience to have an experienced horsewoman evaluate and work with us. Suzie Hehn is a local judge, as well as a wonderful rider.
The focus of the clinic was on working toward a successful experience in the hunter ring, but dressage and other disciplines were discussed as well. There was a very nice balance of evaluation of the ability of horse and rider, exercises for improving horse and rider, and the overall impression that the horse and rider would give in the show ring.
My clinic session was a flat class, working at the walk, trot, and canter. She was pleased with our walk, especially since Wizard’s walk is purposeful and balanced. At the trot, she first evaluated my position, and then worked on how to get a more balanced ride out of Wizard. One of the most important pieces of information I gleaned from the clinic was that my hands are a little shaky. She saw some movement in them at the trot at times and thought it might be contributing to Wizard’s busy mouth- he tends to over-work the bit sometimes. I could never really see it in photos, but it made a lot of sense. Once I really concentrated on “posting into my hands” and keeping them truly still and soft, Wizard responded. Sometimes little details like that are impossible to feel from the saddle without a pair of eyes on the ground.
Bitting was also discussed, and I’m planning to keep trying bits to see what Wizard likes best. Suzie also agreed that trying different adjustments on the cheekpieces of the bridle was a good idea- some horses like the bit to float lightly in the mouth and some prefer more stability.
Our session consisted of four horse/rider pairs, including us. It was a hugely helpful training experience to ride in a group and it made me much more confident for future show experiences. Wizard was absolutely perfect at the walk and trot, and got a little keyed up at the canter but settled really nicely in the group. For most of the clinic, canter work was done in pairs or individually, but all four of us did canter at one point and Wizard exceeded my expectations.
At the trot, it was suggested to take a little more contact of the bit. It seemed counterintuitive to the work I’ve been doing with “floating” the reins and trying to get Wizard moving forwardly, but the contact seemed to relax him into a nice rhythm and it balanced him nicely. It’s the same advice I received from a friend out west who rides dressage- now that two respected and experienced horsewomen have suggested it, I need to really take the advice seriously :^) Our speed was also appraised- Suzie felt that I might be able to get a little more impulsion going and a more blanced trot by slowing our speed down just a tic. My work on forward and soft is creating great results, but it’s time to take more contact and expect a little more from the horse.
At the trot, Suzie introduced lateral work, first as a leg yield, then as a shoulder-in. To the right, Wizard’s work was quite nice. I grinned from ear to ear when Suzie remarked that it was obvious that we do a lot of work on these movements. We did a leg yield off the wall to the quarter line, and then back to the wall in each direction. We worked on shoulder-in down the long side of the arena. I was reminded that it’s okay to exaggerate my inside and outside legs during this work, and it was quite effective when I slid my leg back a little more than usual in each direction- I could feel Wizard really bending around me.
Circling was discussed, and Suzie encouraged me to invite Wizard into more circles at the canter as we gain balance and a more steady tempo. I could feel him getting strong when we left the circles, but a half halt brought him back to me reasonably well. Below is a video of a little bit of canter work, and you can see him resisting my half halt a little and then responding- I was a little too messy with my hands.
This was the first time I’ve seen myself on video riding Wizard; this, too, was extremely helpful… and humbling. Sometimes I feel much more balanced than I really am. From seeing this video, I realize I have a long way to go- I also realize that I need to exercise more and lay off the carbs!
As an aside, YouTube has a funny feature that allowed me to do an audio swap and add music. I chose Magnapop, a band I fondly remember from high school/college. Another artist available for these audio swaps is Mike Ferraro, who is releasing a full-length album soon with a band which includes my husband :^)
The clinic was a fantastic experience, both for schooling Wizard and for receiving excellent comments and suggestions. Onward and upward!
I rode Wizard in the indoor arena in the evening. Although it was a late night, we were not the last ones out of the barn. A boarder was showing in the Monmouth County “AA” Horse Show the next day and her horse was getting his mane braided. Although Wizard and I won’t be spending any time at a show of that caliber, it made me think of our upcoming clinic and any potential horse shows on the horizon…
It’s a huge thrill to be considering such fun projects, but it also gave me the jitters. Have I created any gaps in Wizard’s training? Is he really ready for all these plans? Is he still considered “green”? I rode through some of our usual exercises as a barometer of our training, doing forward work, transitions within gaits, and some lateral work at the walk, trot, and canter. Wizard felt much better than he did two rides ago, and any of his anxious behavior was gone. Hopefully that night was a fluke- perhaps he had a bellyache or he hated the different tack or something.
The hardest thing we’re doing these days is shoulder-in. I’m a much stronger rider to the right and my leg and seat and hand cues are better timed and more effective; therefore, shoulder-in and leg yields to the right are better than the left. This actually works out well, though, since most horses (and riders, from what I can tell) prefer to travel to the left. Perhaps my left-handedness plays a part in this. Whatever it is, it creates a decent lateral repertoire to one side and not to the other. I really concentrated on our work to the left, trying to straighten my seat and shoulders. Another issue I battle is riding with a caved hip and crooked shoulders. I aligned myself several times during the ride.
The canter work was quite nice, with Wizard picking up his leads with reasonable ease. We trotted some ground poles, did some closing stretching exercises, and cooled out. I’m a little jittery when I think about our future plans, but when I’m in the saddle, I can’t wait.
With great pride, I announce the official release of Arrivals and Departures, a CD by New Jersey musician and songwriter (and my husband) Jonathan Andrew.
A few months ago, you learned a little about Jonathan Andrew’s musical scope when his Top Ten Albums of All Time were posted here on the Rock and Racehorses Blog. Now it’s time to hear his music. The four-song CD was recorded in Hoboken, New Jersey. All songs were written and performed by Jonathan Andrew. The CD was engineered by Mike Ferraro and mixed by Ralph Capasso. Two-time Grammy Award winning audio engineer Tom Ruff mastered Arrivals & Departures.
The CD release party was held on July 3, 2009 at The Goldhawk in Hoboken, NJ. Jon performed all the songs on the CD, plus other originals and a few fantastic cover songs. He got a little help from his friends, and Jersey rock local luminaries Joshua Van Ness, Nick Ferriero, Mike Ferraro, Ralph Capasso, Jim Lovegrove, and Eric Blankenship graced the stage.
Album art for Arrivals and Departures was designed by the inimitable Chris Pierson, another talented rocker and also the web designer of my website, RockandRacehorses.com. The cover photo of the CD was taken by me in California on the last day of my Santa Anita Breeders’ Cup trip.
Thank you for supporting this fantastic musician and I look forward to hearing your comments about his music.
Feb 26- March 1, 2009 My first trip to the Pennsylvania Horse World Expo was a few years ago (2003?). My friend Stephanie, a veteran of larger events such as Equine Affaire, asked me to go with her. She taught me the ways of the expo- wolfing down hot dogs, chuckling at the round penners, shopping for all things sparkly, and seeking out the best clinicians. Many return trips and many shopping bags full of tack later, I still attend them when I can. I like to support equine community events whenever possible, and it’s great to see the latest and greatest changes in the horse world. In comparison to past years, the attendance and overall presentation of the event seemed to have dropped. There were still lots of auditors and elbow-to-elbow shoppers, but it seemed like only a handful of clinicians were drawing the biggest crowds. My favorite vendors were not there, and I miraculously left the Expo without purchasing a single, solitary item. For a tackaholic like me, this is no easy feat. I can find a Joules jacket in a haystack and I will sift my way through a mountain of Ariat paddock boots to find my size. Between hotel fare, admission, food, and parking, I still made my economic contribution to the PA equine industry, but no shopping this year. The clinics were fun to watch; due to time constraints, they are not typically as in-depth as a one-person equine clinic, but the large crowd and venue make them enjoyable to watch. Tommie Turvey, as always, is one of the hardest-working clinicians in the equine industry. You never know what he has in store and he seemed to be the biggest crowd-pleaser of the Expo. Although he is billed as an Equine Extremist, his horses looked sound, fit, and prepared for their jobs. One of the things I liked best about his performances and clinics was that he was fully aware that his animals are not machines. Sometimes the performance does not go like clockwork and he’s a good enough horseman to roll with the changes and ad-lib when things do not go as planned. He even discussed how important it is to keep the drives up in his horses and dogs- they do not always behave like perfect automatons because he wants them to be eager to do their work. My favorite clinician was dressage trainer/clinician/performer Matt McLaughlin. He had a perfect blend of showmanship, knowledge, and talent. He was honest and thoughtful in his discussions about dressage and natural horsemanship alike. I just about stood up and cheered when he talked about the lack of contact in the outside rein being one of the biggest downfalls in modern natural horsemanship practices. Inside leg to outside rein is essential for meaningful contact and in order to progress up the training scale. But Matt also had a bone to pick with the strictly classical dressage world. He talked about the passage and joked about how riled up the dressage folks get when he refers to it as a “trick”. Unlike the majority of purists, McLaughlin said that most horses possess some level of piaffe and passage, even if it’s basic, and he does not consider it a sin for a person to safely experiment with it. He also talked about the benefits of 3 and 4 track shoulder-ins and how a stationary turn on the forehand is not functional in a horse’s training progress, other than to teach a new behavior. As a performer, McLaughlin also addressed his training methods- he talked about how some movements are accentuated with his horses for better visibility in performances. He said to train a horse to 110% at home in order to get more an 80% effort off the farm. A horse has a hard side and a hollow side and it’s our job to work with both, mostly by softening the ribcage. He mentioned the ribcage several times, talking about how a rider achieves softness by establishing contact with the outside rein, then getting a bend in the ribcage, THEN worrying about softness in the neck, mouth and jaw. Also discussed were some of the dualities of riding: a horse must be collected in order to extend, and how good lateral work is the way to straightness and forwardness. Plus, Matt is a really nice rider- it’s always inspiring to see talented riders. The breed parades are always fun. My favorite horse in the breed demos is Gatsby, a grey Tennessee Walking Horse/Racking Horse gelding. He’s about 20 years old and he travels to clinics and shows all over the country. He and his owner do search and rescue work and he’s a wonderful ambassador for the breed. I’ve known a few dozen horses in my lifetime who really and truly seem to love performing and Gatsby is one of them. When he was showing off his amazing racking powers, his ears flicked forward and he racked even faster when the crowd cheered. What a cool horse :^) I wish I could have seen more of the gaited horse clinics- I don’t know much about the conformation and riding of gaited horses and I’ve learned a lot of good information in the past in Harrisburg. Friday night’s Theatre Equus was fun as always. There is something so thrilling about seeing people who are performing their hearts out for a packed arena of horse lovers. Matt McLaughlin, fantastic as always with his Andalusian stallions, Pecos and Corral. Corral is 24 years old and going strong (and apparently barefoot!). La Garrocha performance with Pecos, his younger stallion. Tommie Turvey and his equine superstar sidekick Pokerjoe performed their famous “Riding Instructor” skit. Pokerjoe, who has performed the skit hundreds of times, looked like he played with Tommie just a little bit. He’s a smart horse who really keeps Tommie on his toes. The skit is something to see in person, but here’s a Youtube clip to give you an idea:
Not to be upstaged were Ace and Joker, who took Turvey over a jump of FIRE. Jennie Jackson and amber champagne Tennessee Walking Horse stallion Champagne Watchout were fine performers. She showcased the stallion’s talents beautifully both in a solo performance and a comical pas de deux with Craig Cameron and foundation AQHA stallion, Chief. Aside from being a solidly built and showy horse with a fantastic disposition, Champagne Watchout has the distinction of being the first flat-shod horse to compete in many years in the 1999 Tennessee Walking Horse Celebration. Click here to read more about this interesting story. The read is interesting enough to ignore the goofy music ;^) Chief has an amazing story of his own! He was on his way to becoming a champion reining horse when he lost his vision. The day before the clinic was the first time Craig Cameron rode this horse, and the two of them looked like they knew each other for years. Trick riding and drill rides by the Canadian Cowgirls thrilled the crowd and we were treated to jousting and a six-horse team of Percherons. I attended the Expo again the following day. I left inspired and entertained :^)
The MelodyBar. The Court Tavern. Plum Street Pub. My college years were filled with late nights and local rock. The Court Tavern was my favorite place in town, but I probably spent the most time watching bands at The Budapest Cocktail Lounge. At the end of school, my husband-to-be Jonathan Andrew played in a band called The Angry Monsters. The Monsters played with all the great bands in town and I had the opportunity to spend a lot of time immersed in New Brunswick rock.
Members of a few of these bands had a reunion show at Maxwell’s in Hoboken, NJ on Saturday night.
First up was the female-fronted quartet The Mellowtraumatics, a late-90s band which boasted two future Jersey rock powerhouses. Front-chick and rock vixen Christina Alessi would go on to greater success with Hoboken-based combo Hey Tiger, who self-released the successful debut September and subsequently opened for Bon Jovi at Giants Stadium (which I photographed – woo hoo!). After the break-up of The Mellowtraumatics, guitarist and riffmaster Pete Marceau went on to join Hero Pattern and prove to be the missing piece this promising band needed in order to take the next step – a number of well-received indie releases and a handful of get-in-the-van tours across the country. The reunited-for-one-night-only band closed their set of funky and atmospheric tunes with their classic “Stalker”, much to the delight of the Mellowtraumaniacs in attendance.
The second act of the night were Manalapan natives Ben Trovato, who formed in high school in the late 1990s aand hadn’t performed together for nearly a decade. On Saturday night, they were back to their old tricks- frequent tempo chances, spastic riffing, and heart-on-their-sleeves high school poetry. The band is fronted by the multi-talented Val Emmich, who is once again releasing music independently after Slow Down Kid, his major-label debut on Sony Records in 2004. Emmich can also be seen on the small screen on shows such as Ugly Betty, 30 Rock, and Cashmere Mafia. Ben’s set was the truest time capsule of the night; hearing them brought me back to late nights at the Budapest Lounge, when they played with such New Brunswick luminaries as The Angry Monsters, The Rosemary Pure, and frequent guests from DC, Anne Summers.
Third out of the gate was the band who organized the event, Small AM. Formed in Sparta, NJ in the late 1990s under the name Wisemaster Joshu, the band evolved from a jangly, rootsy quintet into a double-guitar rock powerhouse, taking equal doses from international supergroup Radiohead and local legends Prosolar Mechanics. After several years gigging on the local scene, Small AM released their self-titled full-length debut in 2002 on local label Childlike Records. Reuniting for the first time in 5+ years were vocalist/guitarists Jim Fitzgerald and Damien Musto, bassist Jim Lovegrove, and drummer Ralph Capasso. Opening the set with standout “Heather”, the band tore through the majority of their self-titled album, including a bruising rendition of “Anyway”, a few unreleased numbers from a never-completed follow up, and an outstanding new song entitled “The Starting Line”. They ended with the perennial set-closer “Perfect Day”, repeating the signature closing riff until band and crowd alike were sated.
Closing the night was the reunited original lineup of Jersey mainstays The Milwaukees. To celebrate the tenth anniversary of their classic breakthrough record Missile Command, Milwaukee-in-Chief Dylan Clark was joined by the original rhythm section of bassist Dave “Posty” Post and drummer Scott Pohlman. The band tore through songs from their early period with the energy and passion for which they’ve been known throughout the local scene for the last decade plus.
Frightened Rabbit at Johnny Brenda’s, Philadelphia, PA: 1/16/09
I discovered the Scottish band Frightened Rabbit when my cousin Grant, a Glasgow resident, sent a copy of their first album, Sing The Greys, home with my father as a gift to me after a recent visit. I thought the CD was fair, particularly the title track and “Yawns,” but I was not overly impressed. After coming across several rave reviews online, I decided to pick up the band’s follow-up, The Midnight Organ Fight. That the record was produced by Peter Katis—the gentleman who manned the boards for the two most recent records by The National, my favorite contemporary band—was another vote in its favor. I was curious as to how he would apply his exacting yet organic style to the rough-hewn Frightened Rabbit. I was not disappointed. Beginning with brilliant opener “The Modern Leper,” the record was a huge step up from the debut. Over the course of several months of near-compulsive listening, it emerged as my favorite record of 2008.
I have long believed that in order to truly “get” a band, you need to see them live as well as listen to their records. Somewhere between the live performance and the studio sound lies the essence of the band. If a band can both produce a great record and succeed in a live context, they are truly exceptional.
Having already established a strong relationship with Frightened Rabbit’s recorded output, I wanted to see how they measured up live. As such, I bought a pair of tickets to the band’s January 16 performance at Johnny Brenda’s in Philadelphia. A small venue, Johnny Brenda’s is comparable in size and sound to the better-known Maxwell’s in Hoboken, New Jersey. If you can squeeze into the area in front of the stage prior to the set, you are guaranteed an intimate experience. Arriving about an hour before the time I guessed Frightened Rabbit would hit the stage, my buddy Aaron and I grabbed a few locally brewed beers and found a prime spot near the center of the floor and waited for the Rabbit to emerge.
After an underwhelming opening act whose name I did not catch, the Scottish foursome took the stage, offered a few friendly waves, and picked up their instruments. Opening the set as they do the sophomore record with stand-out “The Modern Leper,” the barrage began.
With a much more raw approach than their recorded work would suggest, frontman Scott Hutchison howled his paens to broken relationships with reckless abandon, often pulling very far off the mic, yet still audible due to his impassioned cries. His confident rhythm guitar, often played at an impressive speed, powered the band’s groove. Despite Scott’s amazing energy and charisma, his brother, drummer Grant Hutchison, nearly stole the show. Grant’s powerful pounding, innovative beats, and incredible energy drove each song in the set. The other two Rabbits, Billy Kennedy and Andy Monaghan, traded off on guitar, synthesizer, and bass, supplying supporting textures and other key musical elements.
As the band does not include a dedicated bass player, many of the songs were performed without bass. At times, this resulted in a thinner than ideal sound, but on tunes like the countrified “Old Old Fashioned” and the almost danceable “Head Rolls Off,” the absence of low end was negligible. Grant compensated nicely on these numbers with his kick- and floor tom-heavy beats. In addition, both Grant and Billy are capable vocalists who produced an excellent range of backing vocals. The band’s strong vocal talent helped them overcome the lack of bass, as Grant and Billy’s vocal counterpoints filled out the sound throughout the set, including an awesome three-part wordless vocal in conjunction with Scott to close “Good Arms Vs. Bad Arms” which was one of the highlights of the set.
Having run through the vast majority of the tunes from The Midnight Organ Fight, the band dove into the title track of their debut. “The Greys” was performed with a very different feel, including a totally new beat from Grant. After this, they launched into a furious rendition of first-album standout “Square 9.” At its conclusion, the band members left the stage one at a time—Andy, then Billy, then Scott—until only Grant remained, pounding out a furious beat. He played on for several bars, speeding up to a climactic finish. After his final cymbal smash, he rose and glared out at the crowd with a palpable intensity before exiting stage left.
The crowd, many of whom were singing along throughout the set, were not satisfied with this action-packed 60-minute performance. We clapped, stomped, and hollered until Scott emerged sporting an acoustic guitar. He walked out to the lip of the stage, in front of the microphone and vocal monitors, and began finger-picking the intro to “Poke.” Many of the crowd, myself included, took a few steps forward as he began to sing and listened at rapt attention as he performed the song without the aid of the PA. The rest of band then rejoined their leader as he informed us that, since this was a night of firsts—including, I believe, their first headlining performance in Philly—they were going to play one of the first songs they ever played together. They launched into Neutral Milk Hotel’s “Song Against Sex,” and the crowd sang along to each drawn-out verse-ending hook. They closed the encore—and the show—with a cathartic version of Midnight Organ Fight centerpiece “Keep Yourself Warm.” After this, the house music came on, followed by the house lights, indicating that the show was over.
As I walked out of the venue, ears ringing and shirt sweaty, I reflected upon the performance I had just witnessed. Although unable to adequately reproduce the lush sound of The Midnight Organ Fight—which includes richly layered guitar, keyboard, and percussion arrangements that would require many more than four musicians to execute—Frightened Rabbit still managed to effectively put across each and every song they performed. Their energy, confidence, and impressive vocal and instrumental talent added up to a truly brilliant performance. Onstage as well as on record, Frightened Rabbit is the real deal.
1. The Modern Leper
2. Fast Blood
3. Old Old Fashioned
4. I Feel Better
5. Good Arms Vs. Bad Arms
6. The Twist
7. My Backwards Walk
8. Head Rolls Off
9. Floating in the Forth
10. The Greys
11. Square 9
12. Poke (solo acoustic)
13. Song Against Sex (Neutral Milk Hotel cover)
14. Keep Yourself Warm
Jersey rock mainstay Joshua Van Ness performs at The Saint, celebrating the release of his new record, DNA. Formerly a member of bands including Souls’ Release, The Crayons, Van Ness, and Brother Jenkins, Joshua put together a supergroup of local rockers to accompany him at this event: Jonathan Andrew (Mike Ferraro and The Young Republicans, formerly of Souls’ Release), Joe Beninati (Dacks, Almost Lucile, Alison Cipris and many others), Eric Blakenship (formerly of Brother Jenkins and The Original Swingers), and Marty O’Kane (Spiraling, April Smith & The Big Picture Show).
Jonathan Andrew (my awesome husband) performs his song “Me and Someone Else” with Joshua Van Ness and Friends at the DNA record release party at The Saint in Asbury Park, NJ.
Formerly a member of Souls’ Release with Joshua, Jonathan played bass on many of DNA’s tracks. Jonathan’s current projects include What’s Yours Is Mine, the newest release by Mike Ferraro and the Young Republicans, and Arrivals and Departures, his solo debut.
Marty O’Kane joined Joshua Van Ness onstage for the release of DNA, Van Ness’ debut solo album.
I first saw Spiraling (then dubbed You Were Spiraling) open up for They Might Be Giants at The Tradewinds in the late 90s.
“Spiraling’s own history begins in the waning days of the twentieth century, when Tom Brislin, keyboardist/vocalist/songwriter, joined up with bassist Bob Hart to form You Were Spiraling. After releasing a self-produced eponymous debut, the group caught the attention of They Might Be Giants’ John Flansburgh, who released the band’s next effort, The Hello CD, under the imprint of his Hello Recording Club. After touring the world as a keyboardist for both Meat Loaf and Yes, Brislin revamped his original band concept, dropped two syllables, and added two new members: guitarist Marty O’Kane and drummer Paul Wells. As Spiraling, this lineup toured in support of a number of marquee bands, including OK Go, Live, They Might Be Giants, Violent Femmes, Hot Hot Heat, and many more. The group has also toured Japan as both the opener and backing band for Atlantic recording artist Marion Raven, and, more recently, backed up pop legend Deborah Harry on her 2007 American tour.”
Former Brother Jenkins members Eric Blankenship, Billy Brucker, and Joshua Van Ness reunite for the first time in over a decade on stage as part of Van Ness’ record release party at The Saint in Asbury Park, NJ.
Rock and Racehorses: Sarah K. Andrew 