SCARY SKETCHES, FROM THE UNDERGROUND

Models Kevin Tallon, Nicole Howard, and Saraphina Curry are pictured in a scene from Dr. Sketchy Asbury Park’s GRIMM FAIRY TALES event in October 2018. Photos by CJ Mars

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), October 10, 2019

 It’s a truism that applies to any musician, comedian, deejay, trivia quizzard, bingo master, psychic medium, or variety entertainer who ever forged a mutually beneficial relationship with a restaurant or bar: if you want to have a steady gig, you’ve gotta draw.

Hidden beneath the bustling sidewalks of Asbury Park’s Cookman Avenue corridor, a passionate posse of offbeat art lovers has taken that bit of accepted wisdom to literal, face-value heart — by offering local denizens a genuinely one-of-a-kind diversion; one that speaks in equal measure to expressing one’s soulful self, while indulging in a healthy bit of masquerade and make-believe.

Presented year-round, on the third Wednesday evening of each month, the communal drawing sessions of Dr. Sketchy’s Asbury Park invite participants of all ages and skillsets to “draw together” in a relaxed and yet wildly vivid setting, equipped with live figure models who are spectacularly outfitted according to each session’s designated theme.

It all happens, colorfully and often oh-so-quietly, in the lower-level Basement Bar of the Bond Street Complex, that interconnected colony of rendez-vous accessible via the Bond Street Bar, Capitoline (Cookman Ave.), or Loteria (Mattison Ave.). With sessions starting at 6:30 pm (and lasting approximately three hours, including breaks), the events are neither sober instructional classes nor merlot-marinated Paint ‘N Sips, but a place where — in the words of Carly-Jean Booker — “some super crazy talented people can work alongside people who just want to work on their skills, with a little friendly competition, but no critiquing and no pressure.”

 As the leader and public face of the Asbury Park group’s Team Sketchy, the arts aficionado who goes by the name CJ Mars maintains a “passion project” that’s loosely but officially affiliated with the original Dr. Sketchy events — the popular sessions that began in NYC, and subsequently spread to major cities across the U.S. and several other foreign shores. Call her “Doctor” if you must (in a way that suggests a Dr. Who-like regeneration process that ensures the long-term survival of the Sketchy franchise) — but as CJ sees it, she and her Team mates Tracy Coon, Celia Connaire, and Amanda Mercadante are not only offering their fellow New Jerseyans entree to a genuine international phenomenon (the Asbury chapter is currently the only regularly operating one in the Garden State), but carrying on in the spirit of the local chapter’s founder, Tim Lucas.

Organizing Sketchy sessions in the earlier years of the decade at various venues like the Jenn Hampton-era Asbury Lanes, Lucas made a late-innings convert in Carly-Jean, who “started attending in March 2015, and began to go almost religiously, it affected me so much.”

“I have a BFA in graphic design, and I was always into art, although not really figure drawing,” says the designer in the Ocean County library system. “Knowing people in the Burlesque scene, and getting involved with belly dance, I had friends who got me into some cool things…but I had never seen anything like this. It helped get me out of my shell!”

When Lucas stepped aside from his Doctorly duties, Stephanie Wolter kept the local group going in sessions at the Belmar Arts Council — but a move away from the area left the Shore chapter at sea, until CJ and company stepped in with the determination that “no way are we going to give this up…this has to go on.” And in October 2017 — two years ago this week — Team Sketchy hosted their first event; a Halloween themed offering centered around Witches and Warlocks.

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LIVE THEATER? IT’S NO ZOMBIE ART FORM

Dan Lauria of TV’s WONDER YEARS is among the actors, directors and playwrights taking part in a Theater Brut Festival of Short Plays this weekend in West End…while Ray Dademo and Frank Falisi star as the brothers Mizner, when Ocean Grove’s NENAproductions takes on Stephen Sondheim’s rarely seen ROAD SHOW.

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), October 3, 2019

On a weekend when the Zombie hordes lurch once more along the boards and boulevards of Asbury Park (and the force of nature known as Shatner walks the land, and a couple of veteran Springsteen bandmates play a free concert), a couple of seemingly unrelated happenings serve to remind us that — when it comes to resolutely original, routine-breaking, risk-taking live theater — this place sits squarely within the Land of the Living.

In fact, with more professional and semipro companies active in the area than at any time in recent memory — and several more ambitious fledgling troupes prepping for their turn in the spotlight (Asbury Park Theater, Dromio Theater, and Shore Thing Improv — about which more to come in this space), those who branded the art form a “fabulous invalid” in general, and a walking-dead issue on the local front, have to up and admit that the live local stage is most definitely No Country for Old Zombies.

THE SCENT OF BRUT

The French defined “Art Brut” (“raw” or “outsider” art) as a creative work that “colors outside the lines” of socially accepted, polite, or even legal norms — and while “Theatre Brut” as practiced by the folks at New Jersey Repertory Company is done entirely according to copyright law, Equity rules, and public permit, the (more or less) annual festival of that name represents an opportunity for the Long Branch-based company to assemble an allstar team of their favorite frequent-flyer guest artists — having fun, and playing fast-and-loose with expectations, in a way that allows actors, directors, and playwrights to invade each others’ wheelhouse.

Going up for four separate sessions between tonight, October 3 and Sunday, October 6, the 2019 Theater Brut Festival of Short Plays presents 16 never before seen works, loosely collected under the assigned theme “Some Like It Hot.”

It’s the eighth such event presented by NJ Rep co-founders SuzAnne and Gabor Barabas, and the third to be hosted inside the West End Arts Center, the reborn and repurposed elementary school building (occupying a whole city block worth of Long Branch’s West End neighborhood) that’s the subject of some truly ambitious plans for future seasons. It’s also the centerpiece of the latest West End Festival of the Arts, a five-day fling that kicked off Wednesday night with an all-star poetry reading hosted by poet/ educator/ editor/ musician Daniel Weeks and his magazine This Broken Shore (there are also concurrent visual art and photo exhibits on display for the duration of the weekend).

As with previous years’ themes (some of which have included “The Seven Deadly Sins,” “The Circus Comes to Town,” and “America’s Pastime”), playwrights are invited to submit scripts that interpret the given title in any number of ways — and, as SuzAnne Barabas explains, the concept of “Hot” has inspired the authors to deal with topics that range from sexual relationships, to climate change — and even “elements from the movie Some Like It Hot, like gangsters and drag!”

And, as is the custom, those playwrights are a diverse lot, ranging from award-winning veterans to newcomers — and even a couple of scribes who are more familiar as faces on our nation’s TV screens.

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MOTION ON THE OCEAN, AT SEA.HEAR.NOW’S CLAMBAKE

Oceanport native Fred Schneider (center) returns Shoreside with The B-52’s, for a 40th anniversary tour spot in the 2019 Sea.Hear.Now Festival.

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), September 19, 2019

In that “uncompromisin’, enterprisin’, anything but tranquilizin’” place called Asbury Park — where Local Summer is practically as big a deal as everyone else’s “regular summer,” and it’s never a fashion faux-pas to wear Life after Labor Day — the season of open-air concert activity continues to expand its horizon ever closer to the flat-earth edge of autumn’s threshold. And, even as Fall 2019 officially drops ready-or-not this coming Monday, Summer saves up what’s arguably its biggest finishing-move salvo for the weekend ahead.

Going up for its sophomore edition this Saturday and Sunday, September 21 and 22, the Sea.Hear.Now Festival commandeers an ample slice of the city’s beach, boardwalk, Bradley Park, and briny Atlantic for A Celebration of Live Music, Art and Surf Culture that spills over into several circuit-satellite locales. While the born-big event has been SOLD OUT since right around tax-filing time, there’s still a chance to get in on some of the ancillary action and after-parties taking place at such local landmarks as The Stone Pony, Wonder Bar, House of Independents, and The Saint — and potentially partygoing parties are advised to check into it right now, at seahearnowfestival.com.

Unlike such hyper-local hootenannies as last weekend’s Bond Street Block Party, and next weekend’s Asbury Park Porchfest (or that downtown strolling smorgasbord AP Underground, returning on October 19), Sea.Hear.Now takes much of its cues from the national/ international profile of its founder, photographer, and fellow-traveler musician Danny Clinch. Following up on the 2018 schedule co-headlined by Jack Johnson and Incubus, Clinch’s Between the Sets and producing partners C3 Presents secured a slate of performers topped by one of the most consistently popular concert tour and festival-circuit draws of the past 25 years — the Grammy-winning, platinum-selling Dave Matthews Band — as well as by another, more recently minted (but still precious metal-plated) act: Jersey-bred, Denver-based folkrock/ alt-Americana band The Lumineers.

The rest of the schedule’s no slouch, either, representing a shuffle-mix of Hall of Fame trailblazers (Joan Jett) and punk-electronica upstarts (Matt & Kim); frequent Asbury flyers (Donavon Frankenreiter, Bad Religion, Dropkick Murphys) and occasional returnees (Pigeons Playing Ping Pong, Chan “Cat Power” Marshall, St. Paul); world-beat emissaries from other shores (Steel Pulse), and even some able ambassadors from our own big back yard — notably Ken “Stringbean” Sorensen and The Boardwalk Social Club, the blues-roots unit that boasts the distinction of generally being the first and the last band playing out of doors each extended-summer season (the latter courtesy of their still-ongoing stand outside AP Yacht Club/ Langosta Lounge every Monday eve).

Then there’s an internationally renowned act that carries with it a Jersey Shore connection that might still be a surprise to some — The B-52’s., fronted as ever by perennial party-starting toastmaster (and onetime resident of Oceanport, NJ) Fred Schneider.

In the process of gifting the world with perhaps the most epic beach bake anthem of all time in “Rock Lobster,” the alumnus of Shore Regional High School, who found community and delightfully unlikely rock stardom in the fertile music scene of Athens, Georgia, has never exactly exploited his roots in the sandy Shore soil. Drawing instead from elements of Southern culture, gay culture, thrift-shop pop culture, and the benificial-bacteria culture of infctious fun, Schneider and his cohorts Kete Pierson, Cindy Wilson, and Keith Strickland (plus the late Ricky Wilson) created something all their very own; a universal party music that breaks down all resistance in the squarest (and don’t-carest) audiences.

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THE RIBEYE BROS. BRING THE MEAT ‘N MORE, TO BLOCK PARTY & BEYOND

The Ribeye Brothers showcase some prime cuts during a prime slot at the Bond Street Block Party on Saturday, September 14…then return to Asbury town for a special “Taint at The Saint” evening on September 19. Photo by William DeVizia for Cool Dad Music

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), September 12, 2019

 They’re the indoor/outdoor carpeting that ties the music-mad ROOM together — connecting the 20th century Shore scene with the hypercurrent hipsterverse; the roots-rock traditionalists with the alt-rock trailblazers; the experience of playing before international stadium-size audiences, with the bump ‘n grind of an old neighborhood go-go bar.

Here in the Local Summer interlude — when many of the season’s busiest bands curtail their activities, and some of the Shore’s most venerable venues up and fold their patio umbrellas for a long winter’s nap — the year-round institution that is The Ribeye Brothers is perhaps more visible and audible than ever; pushing the open-air envelope well into the post-Labor Day afterbirth, seeking out and exploring strange new places to play, and boldly Going There with an all-new, as yet untitled, recorded music project.

Pretty ambitious and confident for a group whose thematic stock in trade has been the musical tale of woe — short and bitterly sweet blasts of “detached garage” rock with titles like “Drinkin’ and Stinkin,” “Swagger Turns to Stagger,” “D.W.I.,” “Disappointment Punch,” “Wrong End of the Leash,” and that crossover crowdpleaser, “Sh*t Car.” Working a side of the street once occupied by classic “tears in my beer” country, the songs of former Monster Magnet men Tim Cronin and Jon Kleiman are vroomed-up vignettes of rejection, recidivism and ruin, narrated by characters whose dreams of grandeur have been curb-jawed by store-brand booze, romantic betrayals, suicidal brooding, and an unerring instinct for the Bad Choice.

Even when Cronin and company channel Andy Griffith’s megalomaniacal Face in the Crowd character in “Lonesome Rhodes” (a purported favorite of no less a public figure than The Boss), or landing songs on the soundtracks of network TV shows (Criminal Minds) and indie features (Let Me Down Hard), there’s a fatalistic (but fun) vein of Eeyore-attitude soaked into every fiber of “the band who hates themselves more than you do.” But, whether the Sons of Mrs. Ribeye are stomping out a brand new number or cutting up on covers of old Black Sabbath (or very old Pink Floyd), the fact remains that, for the band’s devoted audience, a Ribeyes roast is a guaranteed and garage-rested good time — or, as this correspondent has said before, “the most raucously pounding pity party you’ll ever encounter.”

Though still a Red Bank-based band by pedigree, the lineup of Cronin (lead vocals), Brent Sisk (guitar), Kleiman (guitar, vocals), Joe Calandra (bass), and Neil O’Brien (drums) can stake just as much of a claim to the coverage area served by your friendly neighborhood Coaster and Link newsweeklies, with the latter three hanging their hats these days in Neptune, Eatontown, and Asbury Park respectively. In fact, Asbury habitues might better know O’Brien under his alter ego DJ Foggy Notion, with the man and his milk crates remaining a fixture at Anchor’s Bend, Salvation Lounge, AP Yacht Club and numerous other nightspots (in addition to the odd participation in performance-art events like Andrew Demirjian’s Lines in the Sand, presented on the AP beach this past August by DC’s Transformer collective).

This Saturday, September 14, the Brothers (with adopted sibling Sweet Joey filling in on drums) are among the featured acts taking it outside at the 2019 Bond Street Block Party, the annual presentation of the Bond Street Complex venues (about which more momentarily) that commandeers the stretch of Bond between Cookman and Mattison Aves for a festival of bands, beers and BBQ that runs from 1 to 10 pm. Then on the evening of Thursday, September 19, a busy-season Neil rejoins his mates; once more steering the back of the firetruck as the band opens for the satirically satanic stylings of Witch Taint (‘the most extreme Norwegian Black Metal band from Gary, Indiana ever, probably”) at that downtown boxcar berthplace of rock, chief engineer Scotty Stamper’s The Saint..

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REMEMBER JONES WELCOMES YOU TO TOMMY’S HOLIDAY CAMP

An all-star team of talents celebrates the 50th anniversary of The Who’s rock opera TOMMY, with three performances of a special concert adaptation in Ocean Township.

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), September 5, 2019

Rain or shine, the Labor Day holiday just passed is traditionally a time of last-licks recreation and relaxation for most; a somewhat arbitrary DMZ between the interlude in which we are expected to “make memories,” and that in which we return our attentions to the great filled-beyond-capacity IN box of our lives.

Not so much Anthony D’Amato. Given his superhuman schedule and otherworldly work ethic, the singer/actor/ bandleader/ producer/ director and master-showman impresario best known these days as Remember Jones can be forgiven for maybe not knowing what season it is, which tour stop on the itinerary, or even exactly which full-length show he’s performing at this moment.

In truth, however, the new heir to the mantle of Hardest Working Man in Shore Business remains completely in command of his faculties, his frankly awesome musical organization, and his vision for a continuously evolving career that’s seen the big Remember Jones band crisscross the country as crowdpleasing ambassadors for the Jersey Shore scene — all the while continuing to explore (and stake a significant claim to) nearly every corner of the popular music landscape.

Having just come in off the road from an extensive 30-city tour — and keeping the momentum going with shows in Atlantic City and Long Beach Island — Mr. Jones and company ushered in September with a full-set outdoor concert at Asbury’s Springwood Park — the capper to a “Funky Fresh Market” event that found D’Amato also lining up the numerous opening acts, coordinating the food trucks, and pretty much taking on everything short of serving as parking valet.

Labor Day proper found the troupe devoting the entirety of that alleged day of rest to some intensive rehearsals for their latest project:, TOMMY in Concert — an all-star, golden anniversary salute to that game-changing album of the classic rock era; one that commandeers the auditorium of the Axelrod Performing Arts Center for three performances this Saturday and Sunday, September 7 and 8.

Speaking at the end of a ten-hour rehearsal session at the Ocean Township venue where he mounted an acclaimed concert version of HAIR in 2018, D’Amato/Jones confides that “they wanted me to do a Woodstock celebration as a follow-up, but I felt that it had kind of been played out by this point…I wanted to do something different; a full recreation of The Who’s original Tommy that will make you believe you’re ‘hearing it again for the first time’.”

While it shares a 50th anniversary with that generation-defining festival — and while it did manage to have a presence on the Woodstock stage, as The Who performed some of its score during their featured set — Pete Townshend’s rock opera of a deaf-dumb-and-blind kid represents a bit of of a break with the spirit of those Three Days of Mud and Music on Max Yasgur’s farm. Taking off from Townshend’s earlier character-driven songs (plus little mini-epics like “A Quick One While He’s Away”), and inspired in part by his own spiritual explorations, Tommy has some pointed things to say about twisted family dynamics, self-imposed isolation, cults of personality, plus the many temptations and weirdnesses of life on post-WWII planet Earth.

 As the Tommy phenomenon took hold of the popular imagination, the ambitious rock record project took on a whole other life of its own; first with a 1972 orchestral album that boasted contributions from Ringo Starr, Rod Stewart, and Richie Havens among others — and, eventually, a Tony winning Broadway musical that departed somewhat from past incarnations, in terms of song selection and the relationships of the characters.

In between appeared Tommy: The Movie, a 1975 carnival from director Ken Russell that starred Who singer Roger Daltrey in the title role — and that paired the first-time actor with a supporting cast that included Ann-Margret, Jack Nicholson, Oliver Reed, and (as the Pinball Wizard), a height-of-his-popularity Elton John. Still, while the Remember Jones conception of Tommy takes some crucial cues from these past endeavors, this golden-jubilee tribute promises to be a thing unto iteself.

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THE TIDE IS HI, AND THE TIME FOR TIKI SOUNDS IS NIGH

L-R; The 5-6-7-8s bring the Woo-Hoo sings…Eddie Angel spreads his wings (in The Neanderthals, plus his Guitar Project),…and Deke Dickerson puts some torchy twang on the strings, as the re-imagined HI-TIDE SUMMER HOLIDAY brings the coast’s biggest celebration of surf/ tiki/ retro culture back to Asbury Park on August 16-18.

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), August 1, 2019

When the stars aligned, and all the elements were in place — as they were on a memorable afternoon and evening in August of 2017 — few summertime events made better use of their seaside setting than the Asbury Park Surf Music Festival. Parked on the Anchor’s Bend bar’s beachtop bandstand just off the good ship Convention Hall; the Atlantic waves at its back and the panoramic scene alight with passing ships, planes, drones and various heavenly bodies, the East Coast’s largest ever such gathering was a cool communal cocktail with a vibe that was both ambitiously international in scope, and as intimate as the most relaxing lantern-lit patio party.

Even when the elements didn’t completely get their act together — as in 2018, when excessive heat and threatened storms forced an indoor relocation to the ConHall floor — the AP Surf Music Fest still stood tall as the region’s only event of its kind; a celebration of a burgeoning worldwide instrumental music scene (and of the retro-rocketing “tiki” culture that tags along for the ride) that proved the Jersey Shore could compete with the likes of this week’s Tiki Oasis confab in San Diego. And, perhaps most impressive of all, the whole thing was the briny brainchild of two young visionaries named Magdalena O’Connell and Vincent Minervino.

For its sixth annual edition, the Festival returns under a new name — The Hi-Tide Summer Holiday, a nod both to the Hi-Tide Recordings mini-empire founded by the Freehold-based couple, as well as to the thematic expansions and logistical changes in store for the slate of happenings that kicks off with an afternoon Meet-Up at the Bend next Friday, August 16.

Speaking between turntable spins at The Wonder Bar — where he, Magdalena and colleague “DJ Devil Bat” preside over a deck-top Tiki Tuesdays series in August — “DJ Hi-Tide” allows that “we picked up a few learns from last year…one of them is the fact that you plan all year round, but you never control the weather!”

“Another factor is that the boardwalk and the beach have gotten really popular in recent years,” Minervino continues, adding that “it’s understandable why they wouldn’t want to block out an area of the beach for a ticketed event.”
With the additional caveat that the old festival format “was just a very long day…for us, the bands, and the audience,” Vinnie Minnie ‘n Mags re-imagined the old family recipe as a weekend-long affair “broken up into smaller events, spread out over a couple of evenings,” and centered largely around the various concert stages, rooftop spaces, lobby-level lounges and poolside patios of the Asbury Hotel and Asbury Lanes complex. Also on tap are late-nite record hops, scholarly seminars, and mixology demos at such “satellite” locales as Anchor’s Bend and downtown’s Little Buddy Hideaway — and while surf in all its reverb-drenched glory remains the active ingredient in the potent cocktail (thanks to the participation of 30-year veterans The Insect Surfers, SoCal’s Jason Lee & the R.I.P.tides, and Impala out of Memphis), the menu also boasts the retro-rootsrock ravings of Missouri’s Deke Dickerson and Canada’s Bloodshot Bill; the lilting luau tones of Philly’s Slowey & the Boats; the rockabilly exotica of California’s Hula Girls, and not one but two great all-female bands from Japan: The 5-6-7-8’s (famed for their appearance in Quentin Tarantino’s Kill Bill Vol. 1) and Lulufin the Woo Hoo.

“By expanding beyond just strictly surf, we’re tapping into a wider fanbase,” explains Magdalena, who devotes herself full-time these days to the management of the couple’s fast-growing record label (in addition to their previously established Big Slick Pomade line of hair products). “It’s gonna be quirky and fun.”

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FIFTH ANNUAL PROMENADE’S A DAY TO MERM-EMBER

Jenn Mehmaid is front and center at last year’s Asbury Park Promenade of Mermaids, the family-fin event that returns to dry land this Saturday, June 29. (Photos by Mermaid Studio)

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), June 27, 2019

As Jennifer Mehm tells it, she was living far from Atlantis — and thousands of miles from her native Jersey Shore — when she got the notion of bringing her lifelong love of “Mermanity” to finny fruition on the streets of her then-hometown of Sacramento.

“That first year was more like a flash mob than a formal event, because the town wouldn’t give us a permit,” she says of the California city’s Promenade of Mermaids for which she served as founder (or flounder?). “Then all of these people started showing up…and now here they are, in their ninth year, with a big annual happening!”

Upon returning to the Asbury Park area a few years later, the woman known from coast to coast as “Jenn Mehmaid” also returned to her original vision of a fun and family-friendly outdoor event; one that would fold her passion for those “beautiful and exotic” legendary denizens of the deep into a celebration of our seaside setting, in all its colorful diversity and inclusive spirit.

Thus was born the Asbury Park Promenade of Mermaids, an event that’s become a summertime staple since its first inquisitive incursion onto dry land in 2015 — as well as a worthy companion to the generations of grand Baby Parades, elegant Easter Parades, and world-record Zombie Walks that have made the herringboned hardwoods of the famous boardwalk the place to be for walkers, marchers, runners, strollers and rollers of all ages, shapes, sizes, and stages of decomposition.

When the Promenade assembles for its fifth annual edition this Saturday afternoon, June 29, it will boast its signature mix of marching mer-people (and pirates, and sea creatures, and shorebirds) with eclectic music, exotic dancers, unique handcrafted merch, and literal basket-loads of fabulous prizes, courtesy of some of the greater Asbury area’s favorite purveyors of goods and services. It will maintain the vibe with a series of post-Prom meet ‘n greets, special film screenings, and “happy hangover” pool parties — and it will also take things to the next sea-level, when it sets up its base of operations for the first time across from the Convention Hall complex, on the spacious expanse of Bradley Park. It’s there, under the quizzically stony gaze of Founder Bradley, that attendees will find the event’s Registration Tent, where prospective promenaders can sign up to walk the boards between the hours of 12 and 2 pm (while there’s no charge to participate in the march, a $10 registration fee qualifies entrants to compete for the prize packages in various adult, child, and group costume categories).

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JOHN CAFFERTY’S ENDLESS SUMMER NIGHTS

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), June 13, 2019

We’ve said it before, but if there was such a thing as a Mount Rushmore of Honorary Shorecats (you know, those seasoned performers “whose wall-of-sound work ethic has allowed them to make themselves entirely at home among the stars and bars of the Jersey Shore, despite being rooted in other states/ other scenes”), then surely the chiseled features of John Cafferty can stake an undisputed claim there.

A frequent fixture on the Asbury Circuit since the days when music-biz types still spoke of Bruce Springsteen as a “cult” act, the Rhode Island-bred rocker was already a veteran of countless regional bar-band gigs when, as frontman of The Beaver Brown Band, he found a spiritual home-turf on the stages of the Stone Pony and the late lamented Fast Lane. As a true contemporary of The Boss — one whose rock-star cred was also rooted in the teen-dance band scene of the mid-1960s — the lanky guy from Narragansett soaked up all of the same sonic influences; investing the mileage and the man-hours in those rowdy roadhouses up and down the Northeast corridor, while ultimately arriving at a musical place that found the stuff of epic romance and heroism in the working-dude life.

Accompanied by such Beaver bandmates as guitar lieutenant Gary Gramolini and longtime signature saxman Michael “Tunes” Antunes, Cafferty forged a hard-earned reputation as a master showman of the shot-and-beer-joint milieu; competed to catch the ear of the old-school record industry, and — thanks in good part to a mythical music-maker named Eddie — tasted success on a big-time international level, with a pair of hits (“On the Dark Side,” “Tough All Over”) that topped the charts in the 1980s. While the guys could tell tales of having gone through the major-label wringer — an experience they share with felow Honorary Shorecats like Joe Grushecky, John Eddie, and Willie Nile — the band’s path since then has been a satisfyingly centered, back-to-the-basics dedication to that live-room natural habitat, as well an enhanced level of devotion to fervent fanbases in places like Asbury Park, where Cafferty and company return to the famous Stoney stage this Saturday night, June 15.

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