The Aspen Arete is a moderate rock climbing destination situated at an elevation of 6342 feet. Climbers can expect a varied and engaging route with a mix of terrain and challenges. The climbing area is accessible year-round, from January through December, and offers parking and allows pets, making it a convenient option for those with vehicles and climbing companions. The estimated 4-hour duration suggests a relatively short but intense climb, and climbers should be prepared for a physical and technical challenge.
This rock climbing area features a moderate route that climbers can expect to complete in approximately 4 hours. The elevation of 5128 feet suggests a relatively low-altitude climb, which may be suitable for climbers of various skill levels. Climbers can access the area year-round, from January through December, and parking is available on site. The pet-friendly policy allows climbers to bring their dogs along, making it a convenient option for those who like to climb with their pets.
Aspen Busy is a rock climbing destination situated at an elevation of 8723 feet. The climbing routes offer moderate difficulty, suitable for those with some experience. Climbers can expect to spend around 4 hours completing the routes, and the area is accessible year-round, from January through December. Parking is available on site, and climbers are allowed to bring their pets, making it a pet-friendly option for those who want to bring their companions along.
The Aspen Cross Country Center offers moderate skiing trails at an elevation of 7900 feet, suitable for those with some experience. The trails are typically open from November through April, depending on snow conditions. Visitors can expect to spend around 8 hours exploring the trails, which provide a challenging yet rewarding experience. Parking and restrooms are available on site, making it a convenient destination for a day of skiing in the Aspen area.
The Aspen Cross Country Center offers snowboarding opportunities at a moderate difficulty level, suitable for those with some experience. Located at an elevation of 7900 feet, the center provides a scenic snowboarding experience amidst the Aspen trees. The snowboarding season typically runs from November through April, and visitors can expect to spend around 8 hours exploring the trails. Amenities such as parking and restrooms are available, making it a convenient destination for a day on the snow.
Aspen Highlands is a ski area with a moderate level of difficulty, suitable for those with some experience on the slopes. The elevation of 11,675 feet provides a range of skiing opportunities, from groomed trails to more challenging terrain. Skiers can expect to spend around 8 hours on the mountain, taking advantage of the various trails and amenities, including parking and restrooms. The ski season typically runs from November through April, with conditions varying depending on snowfall and weather conditions during this time.
Aspen Highlands offers a moderate snowboarding experience with a high elevation of 11,675 feet. The snowboarding season typically runs from November through April, with an estimated duration of 8 hours to explore the terrain. The area features a range of trails and slopes, with parking and restrooms available for convenience. Snowboarders should be prepared for variable trail conditions, including groomed trails, bowls, and potentially icy or powdery snow, depending on the time of season and recent weather.
The Chris Klug Foundation is a proud partner of Realbuzz and enjoys offering runners the opportunity to take on marathons and half marathons around the world. CKF runners have the opportunity to take on marathons such as the Tokyo, Berlin, and Miami marathons, among others. The Chris Klug Foundation uses the funds raised to make a difference and eliminate the wait for a transplant. Founded in October 2003 by Olympic Bronze Medalist and liver transplant recipient Chris Klug, CKF aims to promote lifesaving organ, eye, and tissue donation and work to improve the quality of life for those touched by transplantation. CKF uses the stories of organ donors, transplant candidates, and transplant recipients to inspire, alongside events, school courses, and webinars to educate. All with the end goal of encouraging individuals to give the gift of life and register as organ donors.
Ajax Adventure Camp offers a range of summer activities for kids in Aspen Snowmass, including biking, skateboarding, rock climbing, and river rafting, with over 75 different activities available throughout the camp weeks. The camp provides programs for children aged 5-6, as well as for those aged 7 and up, with activities tailored to each age group. Ajax Adventure Camp also offers a sleepaway camp option, situated on 320 acres of mountainous terrain, where kids can participate in outdoor activities and build camp traditions.
Eco Steam Aspen Detailing at the St. Regis Hotel provides high-quality detailing and cleaning services using dry steam technology, which uses 90% less water than traditional methods and produces zero run-off. This allows the company to work in various locations, including indoors, without the need for drains or large spaces. The company's services are available for a range of vehicles, and they also offer mobile detailing units that can bring their services directly to clients.
Erik Berg is a seasoned real estate professional and long-time Aspen resident who provides luxury real estate services in Aspen and Snowmass Village. He offers a range of services, including listing houses and finding homes for sale in various neighborhoods, such as Red Mountain, West Aspen, and East Aspen. With extensive local market knowledge and a results-oriented approach, Erik guides clients through every step of the real estate process, from buying and selling to investing.
Five Star Destinations provides luxury property rentals and travel experiences in international locations, including Aspen. The company offers a range of services, including concierge services, to ensure a high level of comfort and satisfaction for its clients. These services include personalized support, property management, and access to amenities such as private chefs, ski lessons, and luxury car drivers.
The Hunter-Fryingpan Wilderness offers a range of recreational activities, including backpacking, biking, boating, fishing, horseback riding, and skiing. Visitors can also engage in day hikes, driving routes, and picnicking, among other activities. The wilderness area is managed by the US Forest Service, which oversees the National Forest System and works to conserve and sustain natural and cultural resources.
The Fretliners are a band defined by their songwriting—stories carried by powerful harmonies, dynamic arrangements, and a sound that feels both timeless and new. Their music leans into the tradition of acoustic string instruments but reaches well beyond genre, resonating with listeners through honesty and craft. In 2023, they swept both the Telluride Bluegrass and RockyGrass band competitions—an achievement matched only once before. That fall, their debut self-titled album earned widespread acclaim, praised for its originality and heartfelt lyricism. With songs that balance tradition and innovation, The Fretliners continue to chart a bold path forward, creating music that connects as deeply on record as it does on stage. Heartful and Dedicated: The Mississippi dew clings to the banks of the city, a barge pushes 100,000 tons of coal, and the voices of a storied history sing the melodies of Creole jazz, Appalachian string bands, and Deep Southern Blues....This is what its like growing up in St.Louis. An early love of singing, writing poetry, and old music is where I come from. It's in my bones. It's in my songs, and it's the fabric of my life. I have been performing since I started singing in my grandpa's church at an early age. Over the years I have played in many ensembles, with many different musicians, and in many different settings for various people. I know whole heartedly that I gleaned something from every musician and was honored by every turned ear. I once read that it's "not how you do something, but why you do something" and this is my why.... to connect with YOU, and for us to be in this music together. Currently living in Carbondale Colorado, Ken enjoys a quiet life in the mountains full of inspiration and music. He plays full time in Elk Range, an original string band that has appeared on festival bills with Sam Bush, made an appearance on the Real Housewives of Orange County (truly a weird experience), and had 2 viral videos of over 7 million views for playing on a closed Colorado highway in a snowstorm in January 23. He is a featured multi-instrumentalist in The Hugh Phillips Band, who is currently on the country music charts and is recording out of Nashville, Tenn. He has a new project called “Modern Form” a folk-jazz ensemble that features Ken's original compositions, old folk ballads, and gypsy jazz of the 40's. He is lucky to play in various duos, trios, and ensembles. In addition to those projects, he loves playing solo and singing original music. In other words, “Music is Life” -Louis Armstrong
The Law Offices of Edson & Maytin provides legal counsel in several areas, including business and regulatory marijuana law, criminal defense, and dependency and neglect defense. The firm's attorneys, Warren Edson and Lauren Maytin, have extensive experience representing clients in Colorado's state and municipal courts, as well as in the marijuana industry. They offer assistance with setting up and running marijuana businesses, including cultivations, infused product manufacturing, and stores, among other related businesses.
You want to shine for friends when they’re shining—for you or maybe not for you, either way shine is shine—and you can equalize the levels by bringing a bit of your own recent glow, and that other light-filled person can enjoy it instead of worry. That’s how it is with some people. Two auras, touching, as you each bring your way of worlding into the bar or the diner or the movies, the car, like so. See Morby, Kevin, in the Encyclopedia Britannica of Glow, or Who’s Who in America and Outside of It That Moves Me, published by No One Ever, but indelibly print-on-demand. Last time I saw Morby there was a gash on the driver’s side rear quarter-panel of his big blue truck. “What’s up with that?” A happy shrug. “Looks like I use it.” He does use it. I was in the cab practically yesterday in Kansas City and now we’re West. He parks on my street. We go down a secret stairwell and along a brutal stretch of Sunset. “This will never gentrify,” I say, “because the cars here go seventy.” “It already is,” he replies, as we pass a natural wine shop or whatever they’re selling, spare shelves and a tote bag logo. But it’s mostly nuclear fall-out, the underside of a rich city, trash and weeds and plundered copper, before we turn left up to what I call Peacock Park. Kevin’s never been. It’s dusk. We sit like kings, like Mickey in the Night Kitchen, perched over the storybook up-close downtown skyline. I’m ready to practically camp out when Kevin says, Let’s go. Next is Astro Family. Him, a burger and fries. Me, omelet. Pacifico; Stella. Kevin poses with the Heinz bottle, and we agree that “I like ketchup on my ketchup” is a T-shirt in the category of Pop sublime. “Haruki Murakami wears one,” he says. (I can hear a baby crying on this part of the tape. Next over orange vinyl booth. I like ketchup on my ketchup. I like babies in the booths.) Our beers come in chilled steins. “I’d be into having a fridge full of these,” Kevin says. But he does not strike me as someone who lives for beer, and he seems to be leaving behind the midwestern concept of the den, the wet bar, the basement pool table, Miller Lite pendant lamp. Or maybe not. But he’s leaving Kansas, is the point, and this record is about it. Before our hangout I googled “little wide open” to see if there’s something besides my sense of this phrase, which is that if once the future was legible, it’s now a bit less predictable. It’s a little wide open. But to some this phrase means lit, as in drunk. News to Kevin. For him, the LWO is the big sky, the small lives—it’s his origins in the Midwest and every duty and modesty and familiarity and isolation: the land, the people, and the parts of that inside him. “I love the little wide open,” he tells me, “and I hate the little wide open.” Cities of a hundred thousand people. Places where girls twirl batons. Hearing those lines, “pretty girls, pretty sisters, twirling batons, blowing penny whistles,” I think immediately—as would you—about the story of Terrance Malick asking Sissy Spacek if she had any special talents. Baton, she said, and twirled one in the movie. But Kevin’s song Badlands isn’t exactly about the Malick. “Kansas City is not the badlands but it’s my badlands. It’s not the bible belt but it’s my bible belt.” The song “Bible Belt” alludes to something that happened in 2021, when Kevin was on tour and got word that a couple, a boy and a girl who were on their way to see him play in Denver had a car wreck and the boy died. The girl lived, and while she was in the hospital, Kevin sent her a message. A year later he played at the Bataclan, in Paris, which naturally made him think of what had happened there, ninety shot dead in a terrorist attack. Onstage, he looked down, and there was the girl who had survived the car wreck in Denver. She was with the mother of her boyfriend who died. They had come all this way to see Kevin play. He recognized them immediately. “Do you have priestly instincts to rise to the moment and be what people need?” “Sure. But everyone goes into a show with a preconceived idea of how it’s gonna go. Whether it’s, I want to drink beer and rock out. Or …. That. It broke the ice for me. The Bataclan felt like hallowed ground. It was very very sweet to see them.” We shift to talking about time. The record isn’t just about leaving. It isn’t just about Katie (there are more love songs here than usual, I tell him, and he concurs). It’s about time, about feeling like he has shifted from nostalgia, and the losing game—losing but beautiful—of holding onto the past. He has accepted that time is ceaselessly flowing, and you can’t stop it. Instead, he feels like he’s riding it. He’s riding passenger with time. They’re doing it together, shooting forward in tandem, Bonnie and Clyde. I ask him about that line, “I’ll ride passenger in a burlap sack,” it’s more than at peace, and passive. It’s, I’ll risk everything, and could end up dead. That’s what I hear. I started rambling about a memoir I just read by a musician I once knew, a guitar player who was in the band Tuxedomoon. Every story in his book was about how fate intervened. Fate did this fate did that. He was riding passenger to the extreme. It was all excuses. It was sad. In Kevin’s case, he conjures death but it feels more fictional, speculative, it’s reality, but he has no death wish that I can sense. Our food arrives. “A side of ranch dressing with the fries, without even asking? This is very midwestern.” He can access the comforts of his origins without living there any longer. Without the isolation, the big sky, the small lives. You can sing about the ugly brothers with the muscle cars in the front yard but that doesn’t mean you have to stay. In the song they are characters, and listening to, as he imagines it, Metallica. “In reality, it’s probably trip-hop,” he says. But Kevin is burnishing his lyric-fictions to something more timeless and poetic, than now and tomorrow. I assure him there are ugly brothers out here, too, with muscles cars in the yard. I know them. And he’s like, Yeah, Rach, you would. After dinner I want another beer and Kevin says let’s have it elsewhere, someplace dark. That’s when I see something about him that I never have before: he’s restless! I like that I can see it, because I would not have guessed. We walk under the freeway to Zebulon. It’s closed. On its locked door is a flyer for a show next week by a former member of Tuxedomoon. “Weird!” we say in unison, checking the box that we are following destiny’s map, the one that is presented to the human mind as “chance.” We go to the Red Lion, with its quiet local Oktoberfest vibe. I ask Kevin what sign he is. I know nothing about astrology, and so any answer is good. “Aries,” he says, “the most fire of the fire signs. The most intense. The type who leaps before they look.” Is that you, I wonder. And he nods. “Most definitely.” I tell him I kind of see him leaping and looking. “Yeah, maybe. But remember, I dropped out of high school. Moved to NYC. Joined a band. Then started a band.” I come back to little wide open. The song by that name. “Sometimes the myth grows bigger than the dream” I read out loud from a lyrics sheet. “It’s about the two of us being songwriters. The pros and cons. The complications. A crazy lifestyle of us each crisscrossing the world.” Could it be, I ask him, that he and Katie created something together that partly takes place in the Midwest, Kevin’s “little wide open,” but his dissatisfaction with that place isn’t a dissatisfaction with her, or her with him, and instead, maybe they are lifting off, together? “One thousand percent,” he replies. Since moving to LA, he’s been so happy. I remind him that I’d accidentally left a “Los Angeles” sweatshirt at their house in Kansas City and was hoping Katie would find it and wear it. “It’s in the valley of the lost,” Kevin says. The way he says it, it’s like even losing things is wholesome to this dude. They go to the happy valley of the lost. Morby, those golden-brown curls, the jacket with fringe, different versions, like a paper doll whose variations, gold or white or American flag, only reconfirm a consistent core, editions of one. Heartlander but no, not a rube. The broad, open face, and yes he throws flowers to his public but he’s marked by death like you and me. The way of standing, feet a little out, what anatomy declares a slight external rotation. I could recognize Kevin’s gait on grainy security footage, I mean if I needed to. If they asked, and if it mattered. A flood of people walking past CCTV? Border control, 7-11, truck stop, or even Joe Paranoid’s Ring camera? I could ID him no problem. If I needed to guess what his music would contour toward, or away from, that would be harder. He thinks in the unit of the album, album-sized steps into the future, each one a concept that ripples through, song by song, to the end. “Field Guide for the Butterflies says everything this record’s about,” he tells me. “It’s all in there. I was on this drive through Arkansas by myself. I noticed that butterflies kept hitting my truck, as they were trying to cross the highway. I went to Dickson Street Books in Fayetteville, and looked at this book, Field Guide to the North American Butterfly. It was this moment where I was like, what does it mean that there are butterflies crossing the highway, what do they mean as a symbol? The people who died going to my show, it means that. It means me and Katie meeting on the road and touring together and falling in love. It’s like, we’re floating around. Flying over the highway like we are not butterflies. Like we are not fragile.” But they are. We are.
In their eighteen years together as a band, celebrated Los Angeles culture-mashers Ozomatli have gone from hometown heroes to being named U.S. State Department Cultural Ambassadors. Ozomatli has always juggled two key identities: they are the voice of their city and they are citizens of the world. Their music - a notorious urban-Latino-and-beyond collision of hip hop and salsa, dancehall and cumbia, samba and funk, merengue and comparsa, East LAR&B and New Orleans second line, Jamaican ragga and Indian raga - has long followed a key mantra: it will take you around the world by taking you around L.A. Originally formed to play at a Los Angeles labor protest, Ozomatli spent their early days participating in everything from earthquake prep “hip hop ghetto plays” at inner-city elementary schools to community activist events, protests, and city fundraisers. Since then, they have been synonymous with their city: their music has been taken up by MLB’s Los Angeles Dodgers and the NBA’s Los Angeles Clippers, they recorded the travelogue “City of Angels” as a new urban anthem, and they were featured as part of the prominent L.A. figures imaging campaign “We Are 4 L.A.” on NBC-TV. Ozomatli also have the distinction of headlining the Hollywood Bowl three times, in 2008, 2010 and 2012. In recognition of their efforts, the City of Los Angeles has officially declared every April 23rd in perpetuity as “Ozomatli Day”. On the national stage, the band were recognized for their service not just to Los Angeles but as global activists, receiving the National Council of LA Raza's Humanitarian Award, and performing twice for President Barack Obama. “This band could not have happened anywhere else but L.A.,” saxophonist and clarinetist Ulises Bella has said. “Man, the tension of it, the multiculturalism of it. L.A. is like, we’re bonded by bridges.” Ozomatli is also a product of the city’s grassroots political scene. Proudly born as a multi-racial crew in post-uprising 90s Los Angeles, the band has built a formidable reputation over five full-length studio albums as well as a relentless touring schedule. “Just being who we are and just doing what we’re doing with music at this time is very political,” says bassist Wil-Dog Abers. “The youth see us up there and recognize themselves. So in a playful, party-type of way, I think it’s real easy for this band to get dangerous. We are starting to realize just how big of a voice we actually have as a band and how important it is for us to use it." Several years ago, the reach and power of that voice went to new global heights. The band had long been a favorite of international audiences-playing everywhere from Japan to North Africa and Australia-and their music had always been internationalist in its scope, seamlessly blending and transforming traditions from Africa, Latin America, Asia and the Middle East (what other band could record a song once described as “Arabic jarocho dancehall”?), but that year they entered the global arena in a different way. They were invited by the U.S. State Department to serve as official Cultural Ambassadors on a series of government-sponsored international tours to Asia, Africa, South America, and the Middle East, tours that linked Ozomatli to a tradition of cultural diplomacy that also includes the esteemed likes of Duke Ellington, Benny Goodman, and Louis Armstrong. In places like Tunisia, Egypt, India, Jordan, and Nepal, Ozo didn’t just play rousing free public concerts, but offered musical workshops and master classes and visited arts centers, summer camps, youth rehabilitation centers, and even a Palestinian refugee camp. They listened to performances by local musicians and often joined in for impromptu jam sessions with student bands and community musicians. Most shows ended up with kids dancing on stage and their new collaborators sitting in for a tabla solo or a run on the slide guitar. In the case of Nepal, the band’s trip was part of a celebration of the country’s newly ratified peace accord. Their concert, which drew over 14,000 people, was a historic one. Ozo were the first Western band to do a concert in Nepal, and the event was the country’s first peaceful mass gathering that was not a protest or religious ceremony. They then went on to be the first contemporary western band to play public concerts in Mongolia (drawing a crowd of 25,000), and to perform in Myanmar during the height of military rule. Ozomatli also traveled to China, South Africa, Madagascar, Vietnam and Thailand performing free concerts and extending humanitarian outreach, including HIV and AIDS care clinics, visits to schools for the blind and deaf, orphanages, Methadone clinics, and outreach programs to refugees and disadvantaged youth. Ozomatli were honored to accompany the Boston Symphony Orchestra. Celebrating the Pops 125th Anniversary. Since that first orchestral collaboration, they have gone on to perform Ozo classics live with the National Symphony Orchestra at the Kennedy Center, the Colorado Symphony, the San Diego Symphony, and the New York Pops. Ozomatli made an appearance at TEDxSF – the first musical talk ever given at any TED conference - mixing discussion and sound to explore the challenges and promises of musical identities in a global age. In addition to their substantial history licensing their music for film, television and video games, the band has also gone on to compose and score, recently contributing music to Happy Feet 2 and Elmo's Musical Monsterpiece for Warner Brothers Interactive, SIMS for EA Games, music for PBS Kids, the motion pictures A Better Life and Harlistas, and Gabriel Iglesias Presents Stand-Up Revolution on Comedy Central. The past few years have seen the band focused on Ozomatli Presents “Ozokidz”, a special family friendly set geared towards performing for children and adults alike. The album, released on Hornblow Recordings in fall of 2012 has been recognized by the media as a standout release in the children’s music genre, with plaudits coming from NPR, the Los Angeles Times, USA Today, New York Daily News, iTunes and more.
In their eighteen years together as a band, celebrated Los Angeles culture-mashers Ozomatli have gone from hometown heroes to being named U.S. State Department Cultural Ambassadors. Ozomatli has always juggled two key identities: they are the voice of their city and they are citizens of the world. Their music - a notorious urban-Latino-and-beyond collision of hip hop and salsa, dancehall and cumbia, samba and funk, merengue and comparsa, East LAR&B and New Orleans second line, Jamaican ragga and Indian raga - has long followed a key mantra: it will take you around the world by taking you around L.A. Originally formed to play at a Los Angeles labor protest, Ozomatli spent their early days participating in everything from earthquake prep “hip hop ghetto plays” at inner-city elementary schools to community activist events, protests, and city fundraisers. Since then, they have been synonymous with their city: their music has been taken up by MLB’s Los Angeles Dodgers and the NBA’s Los Angeles Clippers, they recorded the travelogue “City of Angels” as a new urban anthem, and they were featured as part of the prominent L.A. figures imaging campaign “We Are 4 L.A.” on NBC-TV. Ozomatli also have the distinction of headlining the Hollywood Bowl three times, in 2008, 2010 and 2012. In recognition of their efforts, the City of Los Angeles has officially declared every April 23rd in perpetuity as “Ozomatli Day”. On the national stage, the band were recognized for their service not just to Los Angeles but as global activists, receiving the National Council of LA Raza's Humanitarian Award, and performing twice for President Barack Obama. “This band could not have happened anywhere else but L.A.,” saxophonist and clarinetist Ulises Bella has said. “Man, the tension of it, the multiculturalism of it. L.A. is like, we’re bonded by bridges.” Ozomatli is also a product of the city’s grassroots political scene. Proudly born as a multi-racial crew in post-uprising 90s Los Angeles, the band has built a formidable reputation over five full-length studio albums as well as a relentless touring schedule. “Just being who we are and just doing what we’re doing with music at this time is very political,” says bassist Wil-Dog Abers. “The youth see us up there and recognize themselves. So in a playful, party-type of way, I think it’s real easy for this band to get dangerous. We are starting to realize just how big of a voice we actually have as a band and how important it is for us to use it." Several years ago, the reach and power of that voice went to new global heights. The band had long been a favorite of international audiences-playing everywhere from Japan to North Africa and Australia-and their music had always been internationalist in its scope, seamlessly blending and transforming traditions from Africa, Latin America, Asia and the Middle East (what other band could record a song once described as “Arabic jarocho dancehall”?), but that year they entered the global arena in a different way. They were invited by the U.S. State Department to serve as official Cultural Ambassadors on a series of government-sponsored international tours to Asia, Africa, South America, and the Middle East, tours that linked Ozomatli to a tradition of cultural diplomacy that also includes the esteemed likes of Duke Ellington, Benny Goodman, and Louis Armstrong. In places like Tunisia, Egypt, India, Jordan, and Nepal, Ozo didn’t just play rousing free public concerts, but offered musical workshops and master classes and visited arts centers, summer camps, youth rehabilitation centers, and even a Palestinian refugee camp. They listened to performances by local musicians and often joined in for impromptu jam sessions with student bands and community musicians. Most shows ended up with kids dancing on stage and their new collaborators sitting in for a tabla solo or a run on the slide guitar. In the case of Nepal, the band’s trip was part of a celebration of the country’s newly ratified peace accord. Their concert, which drew over 14,000 people, was a historic one. Ozo were the first Western band to do a concert in Nepal, and the event was the country’s first peaceful mass gathering that was not a protest or religious ceremony. They then went on to be the first contemporary western band to play public concerts in Mongolia (drawing a crowd of 25,000), and to perform in Myanmar during the height of military rule. Ozomatli also traveled to China, South Africa, Madagascar, Vietnam and Thailand performing free concerts and extending humanitarian outreach, including HIV and AIDS care clinics, visits to schools for the blind and deaf, orphanages, Methadone clinics, and outreach programs to refugees and disadvantaged youth. Ozomatli were honored to accompany the Boston Symphony Orchestra. Celebrating the Pops 125th Anniversary. Since that first orchestral collaboration, they have gone on to perform Ozo classics live with the National Symphony Orchestra at the Kennedy Center, the Colorado Symphony, the San Diego Symphony, and the New York Pops. Ozomatli made an appearance at TEDxSF – the first musical talk ever given at any TED conference - mixing discussion and sound to explore the challenges and promises of musical identities in a global age. In addition to their substantial history licensing their music for film, television and video games, the band has also gone on to compose and score, recently contributing music to Happy Feet 2 and Elmo's Musical Monsterpiece for Warner Brothers Interactive, SIMS for EA Games, music for PBS Kids, the motion pictures A Better Life and Harlistas, and Gabriel Iglesias Presents Stand-Up Revolution on Comedy Central. The past few years have seen the band focused on Ozomatli Presents “Ozokidz”, a special family friendly set geared towards performing for children and adults alike. The album, released on Hornblow Recordings in fall of 2012 has been recognized by the media as a standout release in the children’s music genre, with plaudits coming from NPR, the Los Angeles Times, USA Today, New York Daily News, iTunes and more.
Steeped in classic soul standards and outfitted with modern flair, The Burroughs are a nine piece band with a powerhouse sound that has been electrifying audiences across Colorado and beyond. http://www.theburroughssoul.com/ booktheburroughs@gmail.com
This business specializes in custom van conversions, overland vehicle upgrades, and repairs, with a focus on building vehicles engineered for four-season mountain travel. They design and build semi-custom camper van conversions, overland upgrades, and truck upgrades, offering services such as solar and electrical systems, diesel heaters, and suspension upgrades. Every vehicle is purpose-built around the client's adventure needs, with the company prioritizing local knowledge and testing gear in real mountain conditions.