1. Ridgewood Exploratory Excursion: Silent Barn


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    Joe Ahearn of Silent Barn discusses the origins of the Public Meeting at Gotscheer Hall.

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    • George Washington Middle School 2003


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      2003 Eighth Grade Video - George Washington Middle School, Ridgewood NJ

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      • Ridge Elementary School 2003 Ridgewood NJ


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        Ridge 5th grade Video 2003

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        • George Washington Middle School 2006


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          GW Middle School 8th Grade Video 2006 Ridgewood NJ

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          • Wyckoff Wednesdays


            from Mariya Pylayev Added 128 0 0

            The Ridgewood Bushwick Senior Center hosts a biweekly event for senior citizens called Wyckoff Wednesdays. Seniors come for blood pressure and glucose screenings and the mingling that follows every other Wednesday morning.

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            • senses fail live at the mad hatter (covington, kentucky) 11/22/11


              from Cincinnati Local Music Scene vid Added 932 1 0

              video shot and edited by: George Forste 2011 idgf underground www.facebook.com/gforste www.myspace.com/idgfunderground www.sensesfail.com www.twitter.com/sensesfail www.myspace.com/sensesfail www.merchdirect.net/sensesfail Disclaimer: This video is for FREE promotion ONLY. No profit is to be made off of this video. band members: Buddy Nielsen - Vocals/BJJ Blue Belt purchased on Ebay. Matt Smith - Guitar/ surfing Dan Trapp - Drums/Flute Jason Black - Bass/BassPlayer Magazine Subscription Zack Roach - Guitar/SNES Listening to a new Senses Fail album is a lot like reconnecting with an old friend—although there’s a comforting, indefinable familiarity within all of the New Jersey-based post-hardcore quintet’s records, each new creation is a fleeting snapshot of the lives of its makers, indelibly capturing the things that meant the most during your mutual time apart. The band’s third full-length release, Life ...Is Not A Waiting Room, is no exception. Having the unenviable task of following 2006’s crushing Still Searching, the album showcases the face-melting musicianship and soul-baring lyricism that define Senses Fail. Once again produced by helmsman Brian McTernan (Thrice, Circa Survive) and recorded in Baltimore, MD, at his Salad Days studio, Life boasts a towering sound akin to a roundhouse kick to the skull. “This is the most fun we’ve ever had as a band,” says singer James “Buddy” Nielsen. “I think we were feeling a lot less pressure this time around, but you’ve always got to do your best.” The New Jersey-based group formed six years ago and released their debut EP, From the Depths of Dreams, in 2002. 2004's Let It Enfold You—their first full-length—was followed by Still Searching, which debuted at 15 on the Billboard Top 200 chart. To date, Senses Fail have performed multiple worldwide tours and their catalog sales have reached over 850,000, yet the band continue to evolve. Although in many ways Life picks up seamlessly where Searching left off, the new album has very distinct, unique qualities, most notably its lyrical content. While Searching wrestled with issues regarding religion and depression, Life is centered squarely on a crumbling relationship, and the desire to see meaningful change. “A lot of this record is written about the recent break up I had with a long-time girlfriend, the first person I have ever been in love with, and someone I spent a lot of time and shared my transition from kid to adult,” explains Nielsen. “The other elements of the record consist of regrets and how they can leave a burning hole in your soul; how the past is something you can’t change….There are also bright moments where I find myself coming to terms with those very facts, and in knowing the problem you can then be proactive and change.” Life also marks the addition of new bassist Jason Black (formerly of Hot Water Music), who replaces the departed Mike Glita. Meanwhile, guitarists Garrett Zablocki and Heath Saraceno (formerly of Midtown) have grown into one of the most scorching six-string tandems around; Life features more of the nimble harmonies showcased on Searching, but this time the duo took it one step further, with some truly shred-a-riffic leads, such as those heard on “Lungs Like Gallows” and “Garden State.” Another rocker, “Wolves At The Door,” was so intense that it even garnered a coveted spot within the soundtrack for the best-selling Madden NFL ‘09 video game. Kicking off with the rich, moody “Fireworks At Dawn,” Life roars and pummels its way through the album’s 12 tracks without the slightest pause for filler, delivering an absolute haymaker just four tracks in with “Family Tradition,” which features the band’s signature blend of dark and melodic. Nielsen’s words are as insightful as they are meaningful. “I find myself at times doing things to live up to other peoples’ expectations, or cutting myself down because I assume that will make me look more humble to the world,” says Nielsen. “So this song is one part a reaction to that, and also about following the footsteps of a family member you don't really know, but who has had a huge influence on you.” Perhaps the most heart-wrenching moments of all come via the two-part song cycle of “Yellow Angels” and “Four Years,” which were inspired by a terminally ill fan named Marcel, who befriended Nielsen at an SF show in Dallas, TX. Nielsen remained in contact with the 18-year-old, who was stricken with cancer of the soft tissue of his face, and endured many painful surgeries and treatments in order to attempt to fend off tumors that were growing in vital areas such as his eyes, nose and throat. When Marcel’s mother notified Nielsen of her son’s worsening condition, the singer flew to Texas, where he spent a great deal of time with this incredibly courageous young man, during the final days of his tragically short life. “It was one of the most intense and stirring times in my life. The sheer pain this 18-year-old boy was in was mind blowing, yet his optimistic outlook and sense of humor was steadfast,” Nielsen recalls. “This kid changed my life and although he is no longer with us, he lives on everyday in the pictures I took with him, to remind myself that life is never as bad as you think it is. So ‘Yellow Angels’ is my reaction to meeting Marcel and how I needed to live in the moment and love myself and life. ‘Four Years,’ on the other hand, is about being influenced by such a life-changing [experience] and having to make new decisions about my relationship and what it really was.” The album’s title is a succinct, encapsulating statement as to its thematic thrust. Life Is Not A Waiting Room is just as much revelation as it is reflection; the sum total of every ounce of pain, fear, hope and joy that the record exudes. “I felt I had been living as if I was waiting for something to happen, but I know that is the wrong way to live—it just doesn't promote any sort of happiness,” Nielsen concludes. “The title sums up the direction I want to go in, and what I want to get away from, and it’s a cry to everyone else to stop living like I have.” Just like the rest of us, Nielsen’s struggle is far from over. But one thing is certain: SF have once again delivered their message with both passion and fury. All one has to do is listen with their ears and heart open—just as an old friend would. source: facebook About Senses Fail Today more than ever, a band doesn’t survive nearly 10 years in the volatile music business without overcoming their share of adversity. Yet for Ridgewood, NJ-based Senses Fail—now about to release their fourth full-length—weathering the storm of recent years has been an empowering journey of self-discovery, that’s only left the group in a stronger, more confident place. The end result of that voyage is The Fire, an album that captures Senses Fail at the absolute top of their game, playing as if their lives depended on it. Packed from front to back with explosive, high-energy riffs, thundering rhythms and singer Buddy Nielsen’s introspective, unflinchingly honest lyrics, The Fire is yet another milestone for a band with a truly impressive discography of post-hardcore scene staples. Although the group once again chose to head to Baltimore, Md., to team up with longtime collaborator/producer Brian McTernan (Thrice, Circa Survive, Cave In) at his famous Salad Days studio, there’s a perceptible intensity to The Fire that sets it apart from Senses Fail’s past works. “The main goal was to make the record feel exciting overall,” says Nielsen. “It’s all live drums, and it’s got a loose feeling and very natural vibe. There’s no bullshit; there are no samples on this record, no filler. When you start adding layers and layers of sounds, that’s when it starts getting harder to sound natural. There’s space in between the instruments that a lot of bands in this genre don’t necessarily have, because loud guitars and drums are fighting with each other all the time.” The end result is an offering with an urgency that’s fairly uncharacteristic for a band so far along in their career. The group formed in 2001 and released their debut EP, From the Depths of Dreams, in 2002; next came 2004’s Let It Enfold You—their first full-length—followed by Still Searching, which debuted at #15 on the Billboard Top 200 chart. Then the band’s next release, Life Is Not A Waiting Room, came in 2008, marking the entrance of bassist Jason Black (formerly with Hot Water Music). To date, Senses Fail have performed multiple worldwide tours and their catalog sales have reached over 850,000, but for Nielsen, the band’s best work is right here and now. After the release of Life, the group was forced to endure an extremely trying period punctuated by further lineup changes (guitarist Heath Saraceno exited, to be replaced by newcomer Zack Roach), an ugly legal battle with a former band member and the harsh realities of making music amid a recession, yet they’ve emerged from it all with a heartfelt resolve that permeates every second of The Fire’s 11 tracks. The album plays more like a victory march than a funeral dirge, and for Nielsen much of that positivity stems from his own personal maturation and perpetual self-analysis. “It’s been a really weird two years, and this record was kind of letting go of a lot of that shit, and a lot of personal anger and pain, and actively stepping forward and deciding to face and accept that in order to move forward in life, you have to look at things from a different viewpoint,” Nielsen says. “Every record had been leading up into the next record, lyrically, and on this one it broke through. Instead of just being about negative things, this time it’s about being able to work out and break through those negative things, to find a way to get rid of things you’ve held onto for years.” That theme is best reflected by the album’s title and accompanying track, which uses the metaphor of walking through fire to paint Nielsen’s recent trials. Set to a backdrop of shuddering guitars and drums, Nielsen reassures listeners that “It’s okay to feel lost”; after mustering up the courage to walk through the cleansing flames, all you’re left with on the other side are the things you really need. “You’ll go through so many things in life, and I think ultimately it’s for a purpose,” Nielsen says. “You’re always right where you need to be, no matter how hard it seems at times to understand that. You bury so many things and so many aspects of your life, once you’ve really cleared the bullshit out you can examine those things, and learn why you’re pre-disposed to feeling this way about yourself.” Another gripping moment of self-reflection is found on the track “Saint Anthony,” named after the patron saint of lost causes, lost items and shipwrecks. The chorus uses the idea of a sunken vessel to relate Nielsen’s feelings of doubt and despair, yet just as one prays to the saint for help finding lost keys or jewelry, Nielsen beseeches his canonized muse to help him regain the parts of himself that have slipped away amid the rigors of time. “Sometimes you just look at yourself in the mirror and go, ‘Oh, shit—I don’t know if I can make it through this.’ That song’s a reflection of that self-doubt,” explains Nielsen. “That’s something that everybody feels, but I definitely wanted to address that on this record and rid myself of it, and get my confidence back that I used to have.” Another lesson learned and subsequently reflected can be found in “Headed West,” where Nielsen comes to the realization that the adage “no matter where you go, there you are,” rings undeniably true. Over ringing open guitar lines and chugging crunch, Nielsen comes to the conclusion that no amount of miles, or drinks, can distance him from the demons he must inevitably face. “It’s about getting the idea in my head that moving away from where I live will solve problems. It’ll be new and exciting, or I can start fresh or I can get a different viewpoint on life, but ultimately you can’t run from any of that shit,” he says. “It’s also a metaphor about the Old West and heading West to a different, new experience, but I’m just wasting my time trying to plan something that’s not even gonna fix what I’m looking for.” Thematic continuity from Life to the new release is unforgettably created by another standout, the epic “Landslide,” which reiterates Nielsen’s resolve to live his life now, not in a distant, seemingly perfect future. “Sometimes I feel like I’m not living or appreciating what I have enough, and that partially is because I don’t take the time to let it affect me, to enjoy life and what I have,” he says. “I try to rush through things, instead of being happy with where I am. I think that’s a universal message.” It’s a reassuring sentiment, especially considering Nielsen and Co. have a bold new album to share with the masses, and an accompanying fall tour with Long Island heroes Bayside coming to a packed house near you. The Atticus-sponsored run, dubbed the “Out With The In Crowd Tour,” reflects both the band’s growing alienation from current scene fads, as well as their own artistic rediscovery, which The Fire captures so compellingly. “It doesn’t sound like we’re trying to compete with what’s out there now, and it doesn’t sound like we regressed,” says Nielsen. “It just sounds like what I think people want Senses Fail to sound like. Being able to play music doesn’t last, so you better fucking enjoy it while you have it. I needed to do this album personally, and I gained more from this than any record I’ve ever done. That’s enough for me.” source: band website

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