<-- Venues

  White Eagle Hall
Address: 337 Newark Avenue
City: Jersey City
State: NJ
Date Time Event Description
Oct-27-18 08:00 PM The Wailers with P-Funk North
The legendary Wailers band is carrying its revolutionary sound and message to loyal fans around the world. Steered by famed bassist and founder Aston Familyman Barrett, and joined in solidarity with original Wailers band members, The Wailers are on the brink of musical history!This Wailers band promises to deliver music and talent perfected over numerous decades. Old-school members welcome the new-generation talent of drummer Aston Barrett Jr., Fams multi-talented son and nephew of Wailers co-founder and innovative drummer Carlton Carly Barrett. Familyman Barrett is heralded as a musical genius, was named as one of the most influential bass players of all times, and received the 2012 Lifetime Achievement Award from Bass Player magazine.Since 1974, Bob Marley & The Wailers have recorded, toured, and performed before millions of fans in multiple countries. They have claim to more than 250,000 Bob Marley & The Wailers records sold since the early 70s, including 1977s Exodus, declared Best Album of the Century in 1999 by Time Magazine. The BBC named One Love Song of the Millennium that same year. The New York Times named Bob Marley the most significant musician of the century, and Rolling Stone magazine name Bob Marley & The Wailers Band of the Year in 1976. All of these accolades were made possible with the Wailers band creation of and participation in timeless, distinctive music; intricate arrangements, and lyrics that touched fans everywhere.The incomparable Wailers are coming together, to perform on stage, and this is a slice of musical history you must not miss.
Oct-31-18 08:00 PM Deafheaven & DIIV
Nov-01-18 08:30 PM Guster
"I told Swift that our last two records took a year each to make," laughs Guster's Ryan Miller. "He told me he'd never spent more than nine days on an album." The band and producer got together anyway and the result is 'Evermotion,' an album of raw acid-soaked chamber pop, and a stylistic departure that no one saw coming. Guster sought out Shins keyboardist/Black Keys bassist Richard Swift based on his work with Damien Jurado and Foxygen, giving themselves over to the full experience of recording at Swift's Cottage Grove, Oregon studio for three weeks in January 2014. "It wasn't hard to figure out where we overlapped with Swift," adds percussionist/drummer Brian Rosenworcel. "It was just a matter of trusting ourselves to go big and commit. Richard is the type of artist that's always standing back and taking in the whole canvas." With a new looseness and swagger, Guster pushes the acoustic guitars into the background, instead exploring deeper drum grooves, keyboard textures and atmospheric noise -- a language they shared easily with Swift. The band that emerged from this session sounds like one that is no longer evolving, but has evolved into something else entirely. "Richard helped us figure out what was important about recording," says guitarist Adam Gardner. "We had just one microphone over the drum kit, used whole takes, didn't obsess over vocals or really edit things at all -- it's a raw version of our band, mistakes and all, that feels more relevant. He helped us tremendously with the big picture." The first single from 'Evermotion,' the infectious "Simple Machine," has been hailed by TIME magazine for its "frantic beats and crawling synthesizers." The chiming lullaby of "Long Night" with its aching Ryan Miller falsetto, the shimmering "Endlessly," the distorted steel drums and Bacharach melody of "Doin' It by Myself," the a cappella Beach Boys harmonies in the gently breezy "Lazy Love," the dream-pop of "Expectation," the British Invasion beat of "Gangway," the woozy trombones and whistling of "Never Coming Down" and the Beatle-esque psychedelia of "It Is Just What It Is" shows Guster is still learning new tricks. Since forming at Tufts University in 1992, Guster has become one of the leading indie/alternative bands, releasing seven critically acclaimed albums in 20 years, starting with 'Parachute' in 1995. 'Evermotion' (to be released on their own Ocho Mule label through Nettwerk Records) is the follow-up to 2010's 'Easy Wonderful,' which earned the band its highest-ever chart debut on the Billboard 200 at #22, while reaching #2 on both the SoundScan Alternative and iTunes charts. On 'Evermotion,' Guster's acoustic roots are buried deep beneath the surface, almost impossible to detect, even though every song has, at its heart, an indelible melody and more than its share of tight, lethal hooks that catch and hold. The 2010 addition of multi-instrumentalist Luke Reynolds to the core group of founding members Miller, Gardner and Rosenworcel, added immeasurably to Guster's expanding musical palette. 'Evermotion' marks the first time that Reynolds joined for the preproduction and writing process, which took place in Rosenworcel's Brooklyn basement over 2012 and 2013. Reynolds' stamp is clear and his passion is all over the record, from his guitar melodies on "Lazy Love" to his fuzz bass on "Doin' It By Myself." Guster's songs remain packed with hummable choruses and dense lyrical detail amid the muscular guitar riffs, clanging percussion and deceptively dark lyrics. The new album features adventurous turns on slide guitars, brassy trumpets and even a glockenspiel, with sax and trombone accompaniment by Jon Natchez, whose stints with the War on Drugs, Beirut, Passion Pit and others have led NPR to call him "indie rock's most valuable sideman." From the start of the album, it's clear that this is a renewed band with a bolstered purpose, a band on their own vector. 'Evermotion' introduces you to a Guster that is free, not calculated, seasoned but loose, confident in re-shaping their legacy.
Nov-02-18 04:00 PM NJ Community Leaders Open House with Downtown New Jersey, Jersey City Economic Development Corporation, Hudson County Chamber of Commerce, Glamurosa
Please join us at White Eagle Hall for an evening of networking with Jersey City and NJ State community leaders. This open house will follow the annual SID conference and awards ceremony which will take place at NJCU-School of Business at Harborside, 9am-4pm. This conference draws municipal officials, planners, developers, real estate brokers, and Special Improvement District directors from the entire State of NJ. This open house is geared to promote communication and partnerships amongst community leaders of New Jersey. The growth and development of New Jersey lies with our business owners and politicians, with non-profit organizations and other volunteers and professionals. Enjoy and unwind with an evening of casual networking. Admission is free, but one RSVP is required per attendee and tickets are limited. Please reserve your spot today!
Nov-09-18 08:00 PM Cannibal Corpse
Nov-16-18 08:00 PM The Last Waltz
Nov-18-18 04:00 PM JCTC Dance: Carolyn Dorfman Dance Company
Nov-18-18 04:00 PM JCTC Dance: Carolyn Dorfman Dance, Hillary-Marie's Sole Music Collective
Nov-27-18 06:30 PM Awards Celebration The Jersey City Arts Council honors excellence and impact in the Arts with a celebration at White Eagle Hall on November 27, 2018 from 6:30-9:30pm. The Jersey City Arts Council will recognize three major categories of awards:Medici - for arts philanthropy: SILVERMANLeadership - for leadership in arts advocacy and development: Mana ContemporaryLegacy - for long-term contributions to the Jersey City Arts community: Charles Kessler The eight committees of the Arts Council will also recognize excellence and impact in their fields:Architecture & Design: URBYArts Education: Willie ThomasFilm & Television: Jenna LaurenzoLiterary Arts: TBAPerforming Arts: Thinking in Full ColorPublic Art:  Norm KirbyVisual Arts:  LITMYoung Artists:  David Acosta Individual tickets are $100 until November 7; starting November 8 the price rises to $125, and tickets sold at the door are $150. Ticket price includes buffet and bar. Sponsorship Silver - $2,000Includes 6 tickets, with the option of donating some or all of them to artists; a quarter page ad in the program and logo on promotional materials, including screen slideshow during the event. Gold - $5,000Includes 10 tickets, with the option of donating some or all of them to artists; a half page ad in the program and logo on promotional materials, including screen slideshow during the event. Platinum - $10,000Includes 20 tickets, with the option of donating some or all of them to artists; a full page ad in the program and logo prominently on promotional materials, including screen slideshow during the event. To discuss sponsorship options further, please contact RobinsonHolloway@gmail.com
Nov-30-18 08:00 PM Snail Mail
Lindsey Jordan is on the brink of something huge, and shes only just graduated high school. Her voice rises and falls with electricity throughout Lush, her debut album as Snail Mail, spinning with bold excitement and new beginnings at every turn.Is there any better feeling than coming clean? sings the eighteen-year-old guitarist and songwriter halfway through the sprawling anthem that is Pristine, the albums first single. You cant help but agree with her. Its a hook that immediately sticks in your headand a question she seems to be grappling with throughout the records 10-songs of crystalline guitar pop.Throughout Lush, Jordans clear and powerful voice, acute sense of pacing, and razor-sharp writing cut through the chaos and messiness of growing up: the passing trends, the awkward house parties, the sick-to-your-stomach crushes and the heart wrenching breakups. Jordans most masterful skill is in crafting tension, working with muted melodrama that builds and never quite breaks, stretching out over moody rockers and soft-burning hooks, making for visceral slow-releases that stick under the skin.Lush feels at times like an emotional rollercoaster, only fitting for Jordans explosive, dynamic personality. Growing up in Baltimore suburb Ellicot City, Jordan began her classical guitar training at age five, and a decade later wrote her first audacious songs as Snail Mail. Around that time, Jordan started frequenting local shows in Baltimore, where she formed close friendships within the local scene, the impetus for her to form a band. By the time she was sixteen, she had already released her debut EP, Habit, on local punk label Sister Polygon Records.In the time thats elapsed since Habit, Jordan has graduated high school, toured the country, opened for the likes of Girlpool and Waxahatchee as well as selling out her own headline shows, and participated in a round-table discussion for the New York Times about women in punkgiving her time to reflect and refine her songwriting process by using tempered pacings and alternate tunings to create a jawdropping debut both thoughtful and cathartic. Recorded with producer Jake Aron and engineer Johnny Schenke, with contributions from touring bandmates drummer Ray Brown and bassist Alex Bass as well, Lush sounds cinematic, yet still perfectly homemade.The songs on Lush often come close to the five-minute mark, making them long enough to get lost in. The albums more gauzy and meditative songs play out like ideal end-of-the-night soundtracks, the kind that might score a 3am conversation or a long drive home, from the finger-picking of Speaking Terms to the subtle, sweeping harmonies and French horn on Deep Sea. It only makes sense that Jordan wrote these songs late at night during a time when she was obsessively reading Eileen Myles and listening to a lot of slowcore and folk songwriters.Heat Wave is one of the albums most devastating moments, a song that wallows in a crumbling mid-summer relationship. I broke it off, called out of my shift, and just cried in my bathtub and wrote this song, Jordan recalls. I was just so desperate to just get the way I was feeling out onto paper so that I could just have it and be done with it. It was almost kind of painful. It was like puking onto paper, and crying, This girl hurt my feelings! Towards the end of writing the record, I became better at dealing with my emotions. Jordans personal crown jewel of the album, Lets Find an Out, puts her childhood classical guitar training on display. Its a road song of sorts, a nod to feeling young and disoriented on her first ever tour: Id gotten knocked around a lot by the process. I was scared. Its sort of this love song about another person who is going through the same thing. Youre always coming back a little older / but it looks alright on you, she belts over her intricate playing, on one of the albums most pensive and gorgeous moments. Lucky for us all, she doesnt sound scared anymore.