NEWARK, N.J. (AP) — A government official has testified a representative of a wealthy donor to U.S. Sen. Bob Menendez once threatened him over a contract dispute and spoke of his political connections. …read more
The FY 18 federal budget has been released and it calls for eliminating funding for the Corporation For Public Broadcasting. Although this funding accounts for 0.01% of the federal budget it provides critical funding for over 1,400 of local public television and radio stations around the country.
23% of 90.5 The Night’s annual budget comes from CPB. Imagine this station running 23% less of the programming you love…23% less of all this great music, 23% less interviews, 23% less DJs, 23% less traffic, weather, and local programming.
This is a true threat to what you enjoy and rely on. We need the support of you, our listeners and members. Help us provide 100% of what you love on the air now!
TRENTON, N.J. (AP) — Jose is threatening the New Jersey shore with rough surf, powerful winds and the chance for storm surge.
A tropical storm watch is in effect Monday for eastern Monmouth, Ocean, southeast Burlington, Atlantic and Cape May counties. Tropical storm conditions are possible Tuesday. Irma is churning up the ocean and swimmers are advised to stay out of the surf. Forecasters say wind gusts of up to 45 mph are possible. The wind could down trees and power lines. The potential exists for a storm surge of 1 to 3 feet through early Wednesday afternoon. That could pose flooding along the coast and generate moderate beach erosion.
Ted Leo is one of the finest songwriters of our generation, even if it’s not entirely clear what generation that is. Starting in New York Hardcore with Citizen’s Arrest, making the ‘90s safe for power-pop and Weller-esque hair with Chisel, then singing our turbulent lives like we were smarter than we were with The Pharmacists, and most recently providing equal parts sweetness and solace with Aimee Mann as The Both, Ted never let us down. And now, seven years after The Brutalist Bricks, he has a new solo album. And it’s wonderful.
The songs on The Hanged Man, recorded at a home-studio-in-transition in Wakefield, RI, with Ted playing almost all the instruments, are some of the finest and most finely wrought of Ted Leo’s career. Ted describes the time working on the album as one of “personal desolation that felt fallow but was actually very fertile” and, indeed, lyrically, The Hanged Man is suffused with hope of sorts but is crushingly heavy. The concerns addressed, whether personal trauma or the national disaster we’re all currently existing in, matched with the range and vitality of the songcraft, is inspiring, even uplifting.
The Hanged Man offers the sharp bursts of skinny-tie pop-punk fury one would expect from Ted—and even these feel streamlined like never before—but they are offset with an adventurousness in both tone and structure. The intention was to upend expectations but, on songs like the bookends of “Moon Out of Phase” and “Let’s Stay On The Moon,” the intention never gets in the way of the result. There’s no strain of effort in songs that are unlike anything Ted has done previously. The Hanged Man is a career high, born through industry soul sickness, nausea-inducing crisis, and a talent that feels like secular grace.