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DJ Drama on the Drake vs. Meek Mill Beef: “Everyone did something wrong”


DJ Drama takes responsibility.

During an appearance on the New Rory & Mal podcast, the music executive opened up about his role in the Drake vs. Meek Mill beef. Drama admitted he could have handled the situation very differently, suggesting his actions helped fuel the drama that has been going on for years. However, he does not believe he was the only culprit.

The issue between Drake and Meek began in 2015, when rapper Dreamchasers claimed that Quentin Miller was Drizzy’s ghostwriter. Meek would later share Miller’s reference tracks for “10 Bands”, “Used To”, “Know Yourself”, which appeared on Drake’s If you are reading this, it is too late. It was later reported that Meek got the leads directly from Drama, who allegedly tried to get revenge on Drake for meeting his ex.

“Listen, everybody did something wrong, everybody,” DJ Drama told the hosts. “Quentin did something wrong, DJ Drama did something wrong, Drake did something wrong, Meek Mill did something wrong, Nicki Minaj did something wrong, like everybody’s playing a role.”

Drama said he has love for everyone he named and hopes none of them take his comments the wrong way.

“It’s water under the bridge. He fell. It was a hip-hop moment, you know what I mean? Like it’s hip-hop history,” he said. “These guys were able to tell the true version of their stories… There’s also a lot of stuff that I picked up and didn’t air. One day, will it all make sense? Maybe. But, you know, maybe some things are left unsaid. But everyone played a part in how it happened. No one is totally innocent.

You can hear Drama’s full commentary via YouTube above.

The infamous beef was finally crushed in 2018, when Drake invited Meek on stage during the Aubrey & the Three Migos tour.

Drake reflected on the moment in an Instagram post.

“It really gave me peace of mind tonight,” he said. “Healing and moving forward has created one of the most electric and rewarding moments of my career. @meekmill I’m glad you’re home and we can find our way back to our common goal 🙏🏽🙌🏽.

Pantages Theater’s ‘Moulin Rouge’ wins stunning ovations – The Hollywood Reporter


Before the lights went down at Hollywood’s iconic Pantages Theater for red Millof the North American tour, the ensemble struts around the extravagant set as a preview of what’s to come. With a windmill on one side of the stage and a massive elephant on the other, the flamboyant spectacle fits perfectly into the sumptuous Pantages theatre.

“Some shows come to the Pantages, and it looks like the show was made specifically for the Pantages,” said Hollywood Pantages Theater president Jeff Loeb. “I love watching patrons walk into the lobby who have never been there before, gobsmacked at the beauty of the theater itself. Then you walk into the auditorium, and the light shows immediately transport you with the theater. It’s a concert with the architecture of the theater. Then the pre-show starts and it kind of starts in this slow motion of, ‘Wow, you really aren’t sitting on the corner of Hollywood and Vine anymore. ‘ You are in a very special place. And this is the world of red Mill.”

The show, which opened on Broadway in 2019, is the musical adaptation of Baz Luhrmann’s much-loved 2001 classic film. The story follows Christian (played in Los Angeles by Conor Ryan), a young composer, who falls in love with cabaret actress and Moulin Rouge star Satine (played by Courtney Reed). The musical updates the film with a more modern mix of songs and an added live performance twist. Like the film, the musical score weaves original songs with popular music from Katy Perry, Sia, Walk the Moon, Pink and The Police.

“Los Angeles is an artistic mecca in America,” says director Alex Timbers. “[Moulin Rouge] is a show about a group of people trying to put on a show. Christian is an artist who arrives with so much hope and optimism from another world and is just dazzled by what he is going through. I think this metaphor of what it’s like to be an artist coming to LA, and to be blown away by the kind of adventurous spirits there, is really fitting.

The cast of the ‘Moulin Rouge’ North American tour

Matthew Murphy for MurphyMade

Audiences in Los Angeles in particular went wild for the six-minute Act 2 opener “Backstage Romance,” a number that often elicits breathtaking standing ovations. On opening night, the applause lasted four minutes.

“It always got a really good response, but it never stopped the show,” recalls Austin Durant, who plays Harold Zidler on the show. “Not in the same way as it is with us. But, you know, it’s not a science, it doesn’t happen on every show. It’s pretty exciting to hear that kind of response from an audience.

“The audience is with us, and it’s really fun,” adds Libby Lloyd, who plays a big part in the “Backstage Romance” dance number as Nini. “This energy, we can feel it. When people stay standing in the encore, like, they’re not ready to sit down, they want to be part of the dance party, that’s the end of the show and kind of a release from the emotional journey that they’ve been on on. They join in the celebration of what we do.

Gabe Martinez and Libby Lloyd in ‘Moulin Rouge’

Matthew Murphy for MurphyMade

Nearly a year after Broadway returned to shows following the COVID-19 shutdown, red Mill is the second show to grace the Pantages stage post-pandemic, after hamilton. After live shows mostly disappeared from stages at the start of the pandemic, such performances have made a comeback, with the return of audiences as well.

“I love work that recognizes the audience is there,” says director Alex Timbers, referring to the show’s tendency to break down the fourth wall. “That we’re all in a collective storytelling experience in those moments where you feel a kind of ecstatic joy with the actors: there’s nothing like it. This is the kind of work I really want to see right now, after theater has been gone for so long. We’re happy to be part of a show that does that.

Heading into the final weeks of the show at the Pantages, the theater expects greater demand for tickets than ever. Throughout his stay in each city, Durant noticed that red Mill seems to be becoming a fan following, with “repeat offenders” returning multiple nights.

“I’ve never been on a show where I’ve talked to people who’ve seen it 10 times,” Durant says. “There is this kind of draw.”

“Whoever you are, whatever type of person you identify with, whatever your thoughts, your beliefs, your political stance, you are welcome at the Moulin Rouge,” Lloyd adds. “I feel like it’s such an escape for people. It’s an escape but it’s also a heartbreaking story. So I think people are really connecting to that, even more than before the pandemic, just hanging on to that sense of some of our core beliefs that we hold dear as human beings – truth, beauty , freedom, love.

These are the four principles of the series: truth, beauty, freedom and love. These themes seem to have particularly resonated with audiences, according to Lloyd and other senior production members, after the high-profile June Supreme Court ruling quashing Roe vs. Wade.

At the start of the show, Christian claims he came to France to escape his “suffocating life in America” ​​- a sentiment that many audience members made clear out loud during performances.

“That week, after everything that was happening, the audience was screaming after he said that line, which normally wasn’t something that happened,” Lloyd explains. “I think, given our country and the pandemic and the changes that are happening, I think it’s really poignant for every audience in different ways, which is something I love about acting. You can get what you need out of it.

red Mill plays at the Pantages Theater until September 4.

Most Shazamed Song Ever & More Highlights – Billboard


Shazam turns 20 on Friday, August 18, and has officially surpassed 70 billion song recognitions, marking two decades of answering the question, “Hey, what’s that song?”

To celebrate this milestone, Shazam invites fans to take a trip down memory lane with a special playlist of the most Shazamed song from each calendar year for the past 20 years, including some of the biggest hits from the years. 2000 like “Hey, Soul Sister”, Sia’s “Cheap Thrills”, Adele’s “Rolling in the Deep” and more. The playlist is available for exclusive listening on Apple Music here.

Just in case you think 20 years seems longer than Shazam exists, it actually started in August 2002 as a UK-only text message-based service where users could dial a number, hold their phone in front of a song, then receive a text message with the song title and artist. In July 2008, Shazam was launched on the App Store and then was available for Android users in October of the same year.

Over the years, Shazam has played a major role in bringing local artists to global audiences through music discovery. For example, the world’s oldest #1 song of 2021 that was Shazamed on the platform was “Love Nwantiti (Remix)” by the Nigerian artist Kay. The track also became the second song to top one million Shazams in a week.

“Shazam has been instrumental in my career,” CKay said in a press release. “It allowed millions of people around the world to discover me and my unique Nigerian sound. It caused a stir around the world even before I started performing all over the world. of CKay cannot be told without Shazam connecting me to the world.

To celebrate 20 years of Shazam, check out 20 fun facts about the platform below, from the most Shazamed artist and song of all time to the first song to hit 1 million, 10 million and 20 million. from Shazams.

Chi-Town songwriter Marx on tour behind new album | Music


Tom Lounges

Chicago-born singer, songwriter, producer, and bestselling author Richard Marx released his latest single, “One Day Longer,” co-written by Keith Urban, last week. It’s the first of five country songs from Marx’s upcoming album and Shelter Records’ debut album, “Songwriter,” which will be released on September 30.

Although best known for his power pop ballads, Marx is no stranger to country music. He also co-wrote Keith Urban’s hit songs “Long Hot Summer,” “Everybody” and “Better Life,” as well as Kenny Rogers’ “Crazy” and “What About Me.”

“One Day Longer” is one of 20 songs on “Songwriter”, ranging from country and pop to rock and ballads. While some songs on the album were composed by Marx alone, collaborations make up the majority of the music, including co-writing that associates Marx with names like Burt Bacharach, Darius Rucker, David Hodges (ex-Evanescence) and Chris Daughtry, to name a few. The first single from the previously released album was the pop song “Same Heartbreak Different Day”, co-written with his son Lucas Marx.

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Marx will embark on a tour of Europe next week in support of the new album, followed by a US tour which will bring him home for a trio of live performances nearby: October 20 at the Arcada Theater in St Charles, the October 21 show at the Des Plaines Theater in Des Plaines and on the Hoosier side of the state line on October 22 at the Blue Gate Performing Arts Center in Shipshewana. Full tour schedule and more: richardmarx.com.

Last summer, Marx released his memoir “Stories To Tell” (Simon & Schuster) chronicling the singer-songwriter’s life and career, which now spans more than four decades. “The Vault – Vol. 1” was also released last year, the first in a series of multi-part colorful vinyl EPs featuring never-before-seen demos and early tracks.

• Fresh off his recent string of live musical performances in England, where he played the famous Cavern Club among other notable musical venues, Chad Clifford of bands The Crawpuppies and Mega-Beatles will be tonight’s featured solo artist 6:30 p.m. to 9:00 p.m. :30 am for this week’s “Acoustic Thursday” series at the Montego Bay Grille (233 Main St.) in Hobart.

Known for his penchant for Beatles covers, expect to hear some Fabs on the set this evening, along with stories of his visit to the UK, and covers from other artists and his own compositions. Clifford. More: facebook.com/mobaygrille.

• Hobart Art Theater (230 Main St.) in downtown Hobart remains dark on Saturday, but on Friday things will change with an 8pm show by Van Halen tribute band JUMP, which focuses on the David era Lee Roth and material from the band’s first six albums. Tickets: $15.

Next weekend, former Poison (1991-1993) and Mr. Big (1999-2002) guitarist Richie Kotzen, currently frontman and guitarist for The Winery Dogs, will perform on August 26 with special guest John Corabi (ex-Motley Crue) . Then, on August 27, actor/musician/author Corey Feldman will bring his band to the old movie theater for a 7 p.m. show in support of his latest album, “Love Left 2: Arm Me With Love.” . Also on that bill are local bands Steel City Hearts and Synthetic Smile. Tickets start at $25. More: brickartlive.com.

• Acoustic music by Greg Guidotti is presented tonight in Northwoods Falls (8101 Wicker Ave.) from 7-10 p.m. On Friday, the groovy tunes of Kenny Kinsey’s Funky Mojo Daddy will rock the place. Saturday is the brassy sound of The Chicago Experience: A Tribute To Rock with Horns (thechicagoexperience.com), with special guest The Rak Brothers.

Sunday’s “Acoustic Matinee” performance features the trio of Chris Grove, Kenny Kinsey and Ryan Fraham. More: northwoodsfalls.com or 219-351-5148.

• “ROCK THE VETS” – a combined motorcycle race and post-ride concert is taking place at 912 Ave (202 W. Ridge Road) in Griffith this Saturday to raise awareness and funds for the Veterans Home of the Vets. ‘Indiana. The family event kicks off with race registration at 11 a.m. (crutches up at 1 p.m.) and costs $30 single / $35 double. The afterparty inside the venue starts at 4pm and features in order of performances – The Trista Mount Band, Misfit Toyz, Believer and The Honeydew Squeeze. More: avenue912events.com.

• The weekly Free Country Friday Concerts series at the Hard Rock Cafe Stage at the Hard Rock Casino Northern Indiana (5400 W. 29th Ave.) in Gary, continues Hillbilly Rockstarz blending various genres of popular music into a country music base.

Saturday is the sound of Detroit, as ‘Motor City: The Motown Revue’ takes the stage to deliver an evening of hits from eight of the famed R&B label’s biggest artists – The Supremes, The Temptations, Marvin Gaye and Smokey Robinson, to name a few. Both are 9 p.m. shows and both are free.

Just Added: Northern Indiana’s Hard Rock Casino has announced a free 9 p.m. concert by national artist Sister Hazel on the Hard Rock Cafe stage. The September 23 performance will be part of the casino’s Free Country Friday Concerts series. More info on all shows at: hardrockcasinonorthernindiana.com.

• Leroy’s Hot Stuff (333 Wt US 20) finds Marty Carr & The Drive releasing some bluesy rock covers on Friday. Guitarist and vocalist Carr – co-founder of iconic regional band Deep River Band, later renamed Shuddup & Drive – was on hiatus until recently. Janky Limo performs classic and modern rock covers in the cantina on Saturday. More: leroyshotstuff.com or 219-926-6211.

• Northwest Indiana country artist Nate Venturelli (nateventurelli.com) has shared the stages around Chicagoland with many notable country stars over the past year or so, and next will be opening for by international hit-maker Travis Tritt on Sunday at the Rialto Square Theater (102 N. Chicago St.) in Joliet. Showtime is at 7:30 p.m. and tickets start at: $59. More: www.rialtosquare.com.

• This Saturday at 7 pm, catch Kofi Baker’s Psychedelic Trip performing the music of Cream, Hendrix and other legends of the trippy side of classic rock at The Aftermath Cidery & Winery (15 N. Washington) in Valparaiso. More: facebook.com/AftermathCideryWinery1

• The Lemmon Brothers are the star entertainment Friday for the Lowell Summer Celebration at First United Methodist Church (520 E. Commercial) in Lowell.

• Step back to the glory days of the Matteson All-Stars this Saturday at Smokey Jo’s (475 W. Burrville Road) in Crete, as that band’s swing saxophonist Barry Sperti brings his current embodiment of the jazzy-rock combo to the stage now called simply, The All-Stars. More: 708-672-3383.

• The weekend begins tonight at Elements Wine Bar (23 Washington St.) in Valparaiso with a solo acoustic concert at 6 p.m. from blues-rock singer/songwriter Mike Gallemore. Friday’s musical offering is a 7 p.m. show by cover band Breezy Radio, followed Saturday by Nigel Mack & The Blues Attack at 7 p.m. More: facebook.com/elementswinebar.

• Singer Amy McCormick and guitarist/singer Aaron Harris team up to do an acoustic show Friday at Highland’s R-Bar (9521 Indinapolis Blvd.) from 8-11 p.m. More: facebook.com/rbar.nwi. Find these two on Saturday from 11 a.m. to 1 p.m. at the Valparaiso market (63 rue Lafayette) in Valparaiso.

• NWI singer-songwriters Kasim Whiting and Cody Peek team up for a Friday performance from 7-10:30 p.m. at one of Michigan City’s oldest pubs, The Ritz Klub Tavern (124 W. 4th St. ). More: 219-879-9956.

Opinions are solely those of the author. Contact him at [email protected]

Kanye West, Reese Witherspoon and other celebrities have been forgiven for PPP loans


Despite being worth millions of dollars, Kanye West, Tom Brady, Khloe Kardashian, Reese Witherspoon and other celebrities not only got Paycheck Protection Program loans for their businesses thanks to the COVID- 19 from the federal government, but they got most or all of those loans. , according to a new report.

Companies linked to the family of senior Trump administration adviser Jared Kushner and House Speaker Nancy Pelosi’s husband, Paul Pelosi, also received PPP loans and then were released to repay the loans, according to a Daily Mail report titled “It Pays to Be Rich.”

Kanye West, left, and his son Saint West sit between Golden State Warriors co-owner Joe Lacob and Peter Guber as they watch the game against the Boston Celtics in the third quarter of their NBA game at Chase Center in San Francisco, in California, Wednesday, March 16, 2022. (Ray Chavez/Bay Area News Group)

Previous reports suggest that very wealthy people and very large corporations have greatly benefited from the program, which was created in March 2020 under the $2.2 trillion CARES (Coronavirus Aid, Relief and Economic Security) Act. the Trump administration. The loans were intended for small businesses and nonprofits affected by the pandemic, but reports quickly surfaced that many small businesses said they were struggling to get loans while dozens of Billionaire-owned businesses and private equity firms have successfully secured funding, Forbes reported.

A Washington Post analysis showed that more than half of the roughly $522 billion in loans made through November 2020 went to just 5% of more than 5 million recipients. The SBA initially said 87% of loans went to small businesses, but according to Forbes, citing Washington Post analysis, the majority of total loans issued were actually to larger businesses. Only 28% of total funds were used for loans under $150,000.

FILE - In this Aug. 13, 2020, file photo, White House Senior Adviser Jared Kushner speaks during a press briefing at the White House in Washington.  A Maryland judge has ruled that an apartment company co-owned by Kushner, the son-in-law of former President Donald Trump, repeatedly violated state consumer protection laws by collecting debts without them. required licenses, charging tenants inappropriate fees and misrepresenting the status of rental units.  .  (AP Photo/Andrew Harnik, File)
Former White House senior adviser Jared Kushner speaks during a press briefing at the White House in Washington in 2020. (AP Photo/Andrew Harnik, File) Andrew Harnik/Associated Press

As for the program’s famous recipients, Kanye West, Tom Brady and Jared Kushner have emerged as the best poster children for its questionable priorities.

Rapper and fashion mogul West received millions in PPP loans in 2020 for his fashion line Yeezy shortly after declaring himself a billionaire, signing a 10-year collaboration with Gap and going public with plans to build a 52,000 square foot mansion on his ranch in Wyoming, The Daily Beast reported in July 2020.

His Yeezy LLC borrowed $2,363,585, of which $1,772,689 was spent on payroll for 106 staff members, the Daily Mail said. While the status of that loan is “undisclosed,” the Daily Mail said a Yeezy subsidiary borrowed $15,625 for an employee and all but $147 was forgiven.

Generally, borrowers are eligible for loan forgiveness if the loan has been spent on personnel costs and employee and compensation levels have been maintained, according to the SBA. The Daily Mail said borrowers can also be forgiven the 1% interest.

Tom Brady of the Tampa Bay Buccaneers against the Indianapolis Colts at Lucas Oil Stadium on November 28, 2021 in Indianapolis, Indiana.  (Andy Lyons, Getty Images)
Tom Brady of the Tampa Bay Buccaneers against the Indianapolis Colts at Lucas Oil Stadium on November 28, 2021 in Indianapolis, Indiana. (Andy Lyons, Getty Images)

Brady received a PPP loan of $960,855 for TB12 Inc, the sports performance and nutrition company he co-founded with body trainer Alex Guerroro, the Daily Mail reported. The loan was to help secure 80 jobs.

Following news that the Tampa Bay Buccaneers quarterback had received the loan, someone in February 2021 started a Change.org petition saying he should be magnanimous and return it. Some 180,000 people have signed it. Brady reportedly earned over $350 million during his NFL career.

“By accepting this money, he is playing the government no better than any crook would play a person on the street,” the petition reads.

Not only did Brady’s company fail to repay the loan, but they asked not to repay it. The full amount of the loan, plus interest of nearly $12,000, has been fully forgiven, the Daily Mail said.

Meanwhile, Kushner’s family secured three PPP loans for various businesses, while he helped lead his father-in-law’s response to the pandemic, according to the Daily Mail.

The Kushner family’s newspaper publisher, Observer Holdings, LLC, was approved for the first round of loans on April 27, 2020, the Daily Mail reported. The company received a loan of $800,407, which saved 41 jobs. The loan, including interest, was completely cancelled.

The Kushner family’s hotel business, Princeton Forrestal, LLC, received a loan of $1,569,977 in April 2020. The loan, including interest, was forgiven, the Daily Mail said Esplanade Livingston, LLC, owner of land housing the Kushner family’s Westminster Hotel in New Jersey. , received a loan of $630,735 to pay 56 employees. The entire loan was also cancelled.

Paul Pelosi is another politically connected figure who has a business that benefited from the PPP pardon. Paul Pelosi owns an 8.1% stake in EDI Associates, a North Bay-based catering company that has taken out two PPP loans, the Daily Mail said. His loans of $711,708 and $996,392 have both been forgiven.

Reese Witherspoon, whose clothing and lifestyle company, Draper James LLC, had his $975,472 PPP loan debt erased, while Jay-Z’s Malibu Entertainment was fired without repaying his full loan amount of $2,106,398. Witherspoon and Jay-Z are worth $400 million and $1.3 billion, respectively.

Khloe Kardashian’s denim brand, Good American LLC, didn’t have to repay its $1,245,405 loan, while Sean Comb’s cable network, Revolt Media and TV LLC, was also forgiven for its $1,245,405 loan. $1,929,252, the Daily Mail said. The touring companies of rock bands Pearl Jam and Green Day also saw their loans of $629,335 and $452,302 almost or entirely forgiven.

Swindon youngsters are ready for Legally Blonde the Musical at Wyvern


After weeks of summer rehearsals, a cast of young locals are set to put on one of the most iconic and certainly rosiest musical theater performances of all time.

As part of this year’s Wyvern Theater Summer Youth Project, the group of people from Swindon and surrounding areas, all aged 9 to 21, will recreate the endearing film-turned-musical Legally Blonde.

The movie/musical tells the story of Elle Woods, a society girl who dreams of getting married and ends up going to Harvard Law School.

After applications opened in February and auditions in March, the chosen lucky talents have been rehearsing for the past few weeks for their performance of the award-winning show on stage.

In June, a search was also launched to find a dog in the city who could play Elle Woods’ iconic dog, Bruiser.

The time has come for the show to take place with the first performance taking place on Thursday August 18th at 7.30pm.

Other performances will take place on Friday at 4 p.m. and 8 p.m. and Saturday at 2:30 p.m. and Saturday at 7:30 p.m.

A production spokesperson said: “A fabulously fun, internationally award-winning musical based on the beloved film, Legally Blonde, follows Elle Woods’ transformation as she tackles stereotypes, snobbery and scandal at pursuing his dreams.

“This sing-and-dance romantic comedy is a fun and heartwarming pink festival, so bend over and grab your tickets now!”

You can get tickets here – https://swindontheatres.co.uk/Online/tickets-legally-blonde-the-musical-syp-swindon-2022

The Inu-Oh soundtrack is now available on music platforms


Milan Records has announced the release of the soundtrack of Masaaki Yuasait is Inu-Oh animated movie on multiple music streaming platforms including Apple Music, Spotify, YouTube Music, etc.

© 2021“INU-OH” Film Partners

The soundtrack features many of the film’s traditional instrumental scores, as well as the composer’s glam-rock-infused vocal tracks Otomo Yoshihide. Yoshihide collaborated with Inu-Oh voice actors Avu-chan (lead singer of the group QUEEN BEE and voice actor for the titular Inu-Oh) and Mirai Moriyama (who voices Tomona/Tomoari) to capture the anachronistic quality of the film’s music for the official soundtrack. The track list consists of several classic Japanese biwa songs and modern rock operettas.

Avu-chan also contributed an original song alongside the soundtrack titled “INU-HIME” from their group QUEEN BEE. The track is inspired by Avu-chan’s work on the film and includes an accompanying music video featuring Kenjiro Tsudawho voices Inu-Oh’s father in the film.

The complete list of 20 tracks from the original soundtrack includes:

  1. 1. Birth –Otomo Yoshihide
  2. 2. A thousand Biwa players –Otomo Yoshihide
  3. 3. Journey –Otomo Yoshihide
  4. 4. Dengaku –Otomo Yoshihide
  5. 5. masked creature –Otomo Yoshihide
  6. 6. Growth –Otomo Yoshihide
  7. seven. Meet –Otomo Yoshihide
  8. 8. Pray –Otomo Yoshihide
  9. 9. divine sword –Otomo Yoshihide
  10. ten. Soliloquy – Inu-oh (CV: Avu-chan)**
  11. 11. The ghosts of the Heike clan –Otomo Yoshihide
  12. 12. INU-OH I – Tomoichi (CV: Mirai Moriyama)**
  13. 13. Weapons Mound – Inu-oh (CV: Avu-chan)**
  14. 14. INU-OH II – Tomoichi (CV: Mirai Moriyama)**
  15. 15. The whale – Inu-oh (CV: Avu-chan)**
  16. 16. See the cherry blossoms –Otomo Yoshihide
  17. 17. Sinister designs –Otomo Yoshihide
  18. 18. INU-OH III – Tomoari (CV: Mirai Moriyama)**
  19. 19. Dragon Commander – Inu-oh (CV: Avu-chan) & Tomoari (CV: Mirai Moriyama)**
  20. 20. ending theme –Otomo Yoshihide

**Designates the vocal track

Inu-Oh originally debuted at the 2021 Venice Film Festival and premiered in North American theaters on August 12, 2022 by GKIDS.

Source: Press release

How artists are exploiting lax metadata protections by streaming services


Although the exact number is disputed, in what has now become an infamous statistic, at a minimum, music streaming services (“DSPs”) ingest tens of thousands of new tracks every day.

At such a scale, metadata becomes a very tricky subject; DSPs, at the mercy of the quality of information provided to them, sift through an almost unmanageable wave of data.

Overlapping metadata entries abound, with music from two or more artists of the same name often being grouped together on the same artist page, creating a daunting task (for both rightsholders and DSPs) of separating the catalogs of individual artists after the fact.

(This author knows the subject intimately, having managed an artist whose instrumental electronic music at one time shared DSP profiles with, all at once, a French rapper, a Uruguayan reggaeton remix artist, and a Washington-based house producer , DC.)

In response to this growing problem, Spotify, for example, unveiled a dedicated platform Content Incompatibility via its Spotify For Artists platform – we imagine that thousands of artists and rights holders use it every day.

Generally speaking, these metadata delivery issues – having one’s music land on another artist’s page or vice versa – are accidents and perhaps inevitable consequences of the glut of music being introduced to the market. 24/7 retail.

What if tagging bad artist pages wasn’t just a headache to solve, but also a lucrative strategy?

What if obscure artists took advantage of purposely tagging big-name artists as primary collaborators, thereby reaching said artists’ fanbases via algorithmic music delivery systems like Spotify’s Release Radar?

This is the story of an artist/label, known as To diversify and plume.

This author was first alerted to the unusual practices of Diversity/Variegate after being served his releases, again and again, by Spotify’s custom algorithmic equivalent of New Music Friday: Release Radar.

Diversify is an artist project with over 100,000 monthly listeners. He also appears to be the owner behind a shadow operation of several ‘labels’ and artists whose Spotify (P) lines (representing ownership of recordings) are known alternately as ‘Diversify Entertainment Services’, ‘Veganism Records’, ‘ Diversify Record Association”, “Dream Records”, “Variegate Records” and “Variegate Entertainment” – the list goes on.

The Diversify biog page on Spotify provides many more questions than answers.

The company’s catalog, musically, is objectively a rambling mess, with songs ranging from EDM-meets-pop ballads to hip-hop tunes with lyrics that are blatant parody. There is not a unifying interpreter or theme; instead, dozens of different female and male singers recur throughout (perhaps from fiverr or a similar indie rental platform?); the vocal performers sometimes change abruptly in the middle of a single song.

One song in particular – judge its sonic merits for yourself – named “KRIPP ROYALreleased earlier this year, even seems to declare itself as a sketchy profit operation: “Kripp pays, Ninja kripp pays, I buy streams without real games”, as one line says (1:22).

Variegate, apparently a second Diversify alias – both pages share recurring motifs and characters, as well as the bizarre and very corporate tagline “this song is dedicated to Diversify” – offers an even wackier plot.

Variegate’s Spotify bio simply reads “youtuber”. A quick search revealed that his YouTube channel – which links to Variegate’s DSP pages – is, staggeringly, an e-commerce self-help advice channel whose bio reads: “Variegate is a channel Founded in 2021, Variegate has had a lasting impact on contemporary dropshipping culture and lifestyle. channel hopes to extend the content to other activities.

A quick search of Diversify and Variegate’s Spotify Associated Artists quickly reveals a network of artists collaborating with and releasing under the Diversify/Variegate banner, including Lucas Stevens, Susanne Davisand Harper Minta. Each of these artists has a relatively small following, but close to or over 100,000 monthly listeners.

Tellingly, all of these Diversify/Variegate artists also employ a tactic that is repeated so often that it seems impossible not to be on purpose: marking established artists (each with millions of monthly Spotify listeners) as main artists on their own outings. . Some major labels and established independent artists that appear most frequently: Aries, Mike., Yeek, Ashe and WEISS, among others.

Needless to say, in neither case are these artists actually featured — or even sampled (legally or otherwise) — on the tracks.

This author’s Release Radar brought up dozens of releases from Diversify/Variety and co, many of them in the early playlist slots, and including a new one – I’m not making this up – that appeared on the exact day where this article was written.

Additionally, Diversify has algorithmically received its own official “This Is” playlist on Spotify, which appears to contain a who’s who of these aforementioned mislabeled artists among the millions of monthly listeners:

This is not a Spotify-specific issue – what appears to be an intentional mistake by Diversify and Variegate extends to all other DSPs as well.

Details are scarce on Diversify and the identity of its owner.

Its catalog’s songwriter metadata appears intentionally ironic: John Smith is listed as the sole songwriter for most releases, and where other songwriters appear, they appear to be bogus collaborators (including, for example, “Yeekus Steinberg”, for which Google, Facebook and other searches return no results. If, as suspected, it is a fake name, it could even be a means of justifying the marking by popular indie artist Yeek.)

Diversify did not respond to a request for comment before this article was published.

To be clear, this piece is not intended to take on Spotify – quite the contrary, as its platform and more detailed data was the only way to connect this potentially ingenious thread of deception.

Spotify For Artists – which allows you to compare your own artist’s stats to another’s on the platform – reveals that virtually every stream from Diversify (as well as those from Variegate, Lukas Stevens and the full list of labels) come from the Release Radar effect, with peaks reaching 100,000 daily streams on Friday (when the algorithmic playlist is released, weekly) before cratering mid-week (since editorial and organic streams are apparently close to zero) :

Whoever is responsible for the Diversify wallet — whose name itself seems a joke about the project’s purpose as a form of supplemental income — certainly recognizes the opportunity to exploit lax metadata protections. On “THE GRIND,” ​​they rap, “Getting paid by streams…turned addiction into business.” And on “King of the Sheets” they say, “Diversify your fucking beats.”

One specific collaborator this author has reunited with is pre-teen rapper YNR Nervy who appears on Diversify’s latest album, For the fanson the track “Real Kripps”:

Ultimately, it is suspected that DSPs will eventually offer a popular form of “profile locking” that will prevent fake downloads. But until then, highly inventive “artists” can generate millions of streams – conservatively earning tens of thousands of dollars each – from distributing songs with intentionally incorrect metadata.The music industry around the world

Unparalleled – Metal Planet Music


Review by Andy Hawes for MPM

Second to none is the second album by Restless Spirits, led by Lords of Black guitarist Tony Hernando.

He is joined on this album by Journey and Generation Radio drummer Deen Castronovo and singers Kent Hilli (Perfect Plan, Giant), Chez Kane, Johnny Gioeli (Hardline, Axel Rudi Pell) and Renan Zonata (Electric Mob).

The sound of this album is classic AOR/Melodic Rock. Using a range of singers gives this the feel of a project rather than a band, but that’s not necessarily a bad thing and all the singers do a great job with the gear at hand .

There’s absolutely nothing new under the sun happening inside Second to none. If you’ve ever listened to any of the AOR/Melodic Rock projects produced by Frontiers Music on a monthly basis, you’ll know exactly what to expect from this album.

Whether or not that’s a good thing will largely depend on your perspective, but in general, if you’re a fan of this type of “AOR production line”, you’ll find plenty to enjoy here.

Hernando’s vocal choices are very cost effective and they elevate the material with the quality of their delivery. Kent Hilli kicks things off with the hook-laden, albeit somewhat repetitive rocker AOR “Need A Lil White Lie” and a superb job he does with it too. The man has the perfect lungs for this sort of thing and gives his all.

The British rocker Chez Kane then takes the microphone to unleash her formidable voice on the next three tracks. The first of these, ‘Hey You’ is a stereotypical but enjoyable play through a standard AOR/Melodic Rock track. It is followed by “Dreams of the Wild” which, despite having one of those familiar chord sequences in the verses, has a rather more interesting chorus.

She ends her stint on the album with ‘Until the End of Time’ which has a medium pace and slightly softer production on another rather obvious, but enjoyable track nonetheless.

Renan Zonta intervenes for the next two tracks, “A Dream To Be Lost In Time” and “And Yet It Breaks”. The first starts with a rather funky piano and has quite a different feel to what has come before. This change of atmosphere is welcome and raises the album somewhat.

There’s a real hint of Journey and their track ‘Suzanne’ from Raised on the radio in this song, from the rhythm of the drums to the phrasing of the guitar solo. It’s different enough from the original to pay homage rather than simply plagiarize.

The latter pursues the emerging theme of a very competent but really quite distinctive Scandinavian AOR/Melodic Rock.

Hardline’s Johnny Gioeli steps in for the next three tracks. Her absolutely solid gold vocal performance elevates ‘Too Many’ a notch above the ordinary, even if the chorus hook is less obvious than you’d expect and ‘Nothin’ Dirty Here’ continues in the same vein. , with Hernando flexing his shredded muscle on the very cool guitar solo.

Gioeli completes her contribution with the standard AOR/Melodic Rock ballad “Always A Pretender”, which does exactly what you would expect from it.

The album ends with the return of Renan Zonta and Kent Hilli on ‘No Time Wasters’ and ‘Dirty Money’ respectively. The two continue with what we’ve already seen from the album, with both singers putting their all into their performances on very competent AOR/Melodic Rock.

All in all, fans of European melodic rock/AOR may well find a lot to enjoy here. It’s very well acted, arranged and sung and it’s very competent at what it does.

However, it doesn’t have much to stand out from the crowded AOR/Melodic Rock market; perhaps its biggest selling point is the guest vocalists who are all absolutely brilliant and make the tracks their own.

20 or 30 years ago, I would have loved this album, because it has a lot of merits. However, now with so much similar music, I personally prefer to be rather selective in what I buy and the albums have to have something a little more to grab me.

If you’re a fan of this sort of thing, it’s a “must” because it just might float your boat, but it’s a lot like a lot of other things out there right now. Listen to it and see what you think.

List of unparalleled tracks:

  1. Need a Little White Lie ft. Kent Hilli
  2. Hey You ft. At Kane’s
  3. Dreams of Nature ft. At Kane’s
  4. Until the end of time ft. At Kane’s
  5. A dream to lose in time ft. Renan Zonta
  6. And yet it breaks ft. Renan Zonta
  7. Too many ft. Johnny Gioeli
  8. Nothing Dirty Here ft. Johnny Gioeli
  9. Always a Suitor ft. Johnny Gioeli
  10. No wasting time with Renan Zonta
  11. Dirty Money with Kent Hilli

Johnny Gioeli – Vocals on tracks 7, 8, 9
Kent Hilli – Vocals on tracks 1, 11
Chez Kane – Vocals on tracks 2, 3, 4
Renan Zonta – Vocals on tracks 5, 6, 10
Tony Hernando – guitars, bass, keyboards, backing vocals
Victor Diez – Piano, Keyboards
Matt De Vallejo – Drums



Local artists to host charity musical theater performance in Bridgwater


A BRIDGWATER venue is set to host a musical theater showcase to raise money for a mental health charity.

The McMillan Theater will host Bisa show hosted by Ashley Ross Quinn with local businessman Ken Baker.

Bis is the sequel to Stepswhich Ashley and Ken organized at the McMillan last year, raising £2,600 for the Alzheimer’s Society and the NSPCC.

This year’s show will take place on Saturday September 3 and will raise funds for mental health charity Mind.

The night of sparkling entertainment will feature classic ballads and kicking favorites.

Ashley, who trained at the Italia Conte Academy of Theater Arts, said: “It’s a collaboration of people who mostly have professional training.

“Some have played in the West End, and we have people who have played on cruise ships and things like that.

“We have people going to drama school who will be moving to London this year.”

This will be Ashley’s third fundraising show. Before Stepshe organized a charity concert on his own to raise money for Macmillan Cancer Support.

Encore will take place at the McMillan Theater to raise funds for Mind.

There will also be an auction with memorabilia signed by West End artists up for grabs, as well as a raffle with prizes donated by local businesses.

The artist stressed the importance of talking about mental health as part of the organizers’ decision to fundraise for Mind.

“When you feel lonely and need support, we want to remind people that Mind is there,” Ashley said.

He added: “We are really looking forward to partnering up. This year, we are doing a lot of numbers together.

“We rehearse the group numbers separately and we will perform them together, which will be interesting!

“It will be nice to share the stage with people I grew up with.”

Artists volunteer to help raise funds for the charity.

They are Ashley Ross Quinn, Tom Crout, Gemma Coombs, Laura Sandford-Hughes, Amelia Seaton, Samuel Howes, Harry Winchester, Mia Huntley, Jessica Gardener, Shalana Serafina and Siani Medlock.

Bis will be hosted by Chris Hocking and Malcolm Cattle.

Ashley would like to thank Ken for his help in organizing the show and the performers for volunteering their time.

Tickets can be purchased from the McMillan Theater website for £15 (plus a £1.50 booking fee).

For more information, visit www.mcmillantheatre.com/events/encore/.

Metal: Hellsinger – where video games and heavy-metal music collide | Games


VVideo games and heavy metal music have long shared a passing curiosity. Look no further than Doom iconography, or Tim Schafer’s Brütal Legend, for proof. But it was in the mid-2000s – during the reign of music and rhythm games such as Guitar Hero – that the connection was most evident. Count me among the ranks of those who discovered Pantera and Megadeth through the plastic instrument.

That’s why this year Metal: Hellsinger is on my radar. The game is a cross between a first-person shooter and a rhythm game: by matching your shot to the tempo of the music, you build a score multiplier that increases the damage you deal. We have already seen this in BPM: balls per minutebut Metal: Hellsinger brings its own heavy metal setting and soundtrack to the party.

Back in 2016, creative director David Goldfarb played through the new iteration of Doom and topped it off with his own soundtrack. “I was listening to Meshuggah…and at one point my shots overlapped with the beat, and I thought, ‘Oh, that’s cool.'” Along with a few other new ideas — like playing the demon instead than the Demon Hunter – this achievement laid the foundation for Metal: Hellsinger.

“I really wanted to do metal in a way that I didn’t feel like I had done before,” says Goldfarb. “Doom has its techno metal. Brütal Legend has its songs licensed – and we knew we couldn’t afford to license songs.

He became close to the composer duo Two Feathers, made up of musicians Elvira Björkman and Nicklas Hjertberg, who had already worked with him. They set out to create their own metal disc, designed from scratch. “We’ve done a lot of dynamic music and a lot of games before,” says Björkman. “[This time] we wanted to move forward… let’s make it so interactive it could blow their fucking minds.

You can now try out a demo of Metal: Hellsinger on Steam, and like all good rhythm games, the interplay between music and gameplay is magical at its best. The rapid-fire action plays against the desire to stay locked into the beat. Maintaining the game’s 16x multiplier also has an added bonus: this is where the voices kick in, so playing the game well is the only way to hear the impressive list of guest singersincluding elusive metal icons such as System of a Down’s Serj Tankian.

Players have noticed that some weapons allow for higher scores than others, limiting your options if you want to hunt highscores on the leaderboard – but Goldfarb says the demo runs on older code and the score is up. being redesigned before release. That’s just as well, because Hellsinger really feels like a rhythm game rather than a shooter with musical elements nailed in, and rhythm games live and die by their ratings. Games like this aren’t about achieving perfection, but rather that feeling of getting a little closer with each play through. Like playing an instrument, they give you the satisfaction of progressive mastery.

Metal: Hellsinger was released for PlayStation 5, Xbox Series X/S, and PC on September 15.

Review: Barrington Stage Company’s Uneven ‘A Little Night Music’

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PITTSFIELD, Mass. – Revisiting as many Sondheim musicals as possible is not a daunting undertaking, and I have been committed at many times in my life. But this year, the first in the aftermath of Stephen Sondheim’s death, seems to be an essential part of a grieving process. As much as I can – to paraphrase one of Sondheim and James Lapine’s own characters in “Sunday in the Park With George” – I want to live in his canvases again.

Broadway recently paid homage to standout revivals of “Company” (1970) and “Into the Woods” (1987), and the coming months offer more intriguing possibilities: the Signature Theater in Arlington, centered in Sondheim, is transforming its new season into a true retrospective, offering three Sondheim musicals, including the rarely seen “Pacific Openings”, from 1976, led by ethan heardrecently appointed associate artistic director of the company.

There is a deep thirst that Sondheim satisfies, for intelligence and syntactic rigor in a form that, in lesser hands, comes across as dull and lazy. Artists, of course, such as Lin-Manuel Miranda, Jason Robert Brown, Jeanine Tesori, David Yazbek and Michael R. Jackson are worthy defenders of standards. But Sondheim’s unparalleled ability to weld words to notes, to find music and rhyme in the most startling nooks and crannies of language, sends me back to his shows in an almost compulsive way. Sondheimism is my own pleasant disorder.

Now Listen To This: How ‘Into the Woods’ Makes the Noise So Cheerful

My last encounter was this weekend in this Berkshires town and a production of “A Little Night Music”, the winning romantic farce Tony Sondheim wrote with librettist Hugh Wheeler in the early 1970s. entirely successful Barrington Stage Company is notable for the high-end leads it has recruited. The cast is led by the handsome and finely-tuned couple of Jason Danieley as Fredrik Egerman and Emily Skinner as Desiree Armfeldt, the amorous Swedish stage vet who seeks to reignite the flame of youthful passion.

The score, consisting of a series of waltz variations, is based on Ingmar Bergman’s comedy “Smiles of a Summer Night” and is Sondheim’s most seductive. It includes the number that put an end to the duck that he could not write with emotion or melodious richness: “Send in the Clowns”, here interpreted by Skinner with seductive finesse. Wheeler’s book, on this occasion, however, shows signs of old age. Half a century proves inordinately long for a comedy of sex mores to hold water, not least because at its center — in a 1905 musical — is the marriage of a middle-aged lawyer and a an 18-year-old girl (Sabina Collazo’s Anne Egerman). As a child, Anne notes, she called Fredrik “uncle”.

Stephen Sondheim: an appreciation

What might once have struck audiences as comically benign is now slightly disconcerting – much like the pun lyrics to “That Would Have Been Wonderful,” a lament song for Fredrik de Danieley and Desiree rival Count Carl- Magnus Malcolm (Cooper Grodin): “If she had only been sulky – or spiky – or bulky – or bruised”, they sing against each other. Eesh. You can factor in how long a play was written, but musicals live and breathe in our moment. It surprised me last month that “Into the Woods” rose in my rating, thanks to Lear deBessonet’s extraordinary production at the St. James Theatre, and here, director Julianne Boyd’s “A Little Night Music” lowered the show on my canon list.

Nothing, however, will ever quench my esteem for the The Act 1 finale, “A Weekend in the Country,” a witty round robin of wacky intrigue that triggers the settling of scores in Act 2. On the Boyd-Quinson stage of Barrington, the number further underscores the vital role of Countess Charlotte Malcolm, beleaguered wife of the womanizing Earl, and played here wonderfully by Sierra Boggess. Who knew the former star of Broadway’s “The Little Mermaid” could so beautifully embody the scorched ends of betrayal?

New musical version of the trips “The devil wears Prada” on the catwalks

Some of the limitations of this “nocturnal music” are technical: a seven-member orchestra conducted by Darren R. Cohen seems thin in a 520-seat hall; when it comes to the sublime orchestrations of Jonathan Tunick, only the full range of flavors will do. (I may have been spoiled by the ears of the “Into the Woods” experience, with an orchestra more than twice the size.) A few of the supporting performances sound one-dimensional. And the lyrical technique of the musical’s Greek Choir Quintet, often referred to as the Liebeslieder Singers, overwhelms some of the lyrics.

The trip to Pittsfield nevertheless proved beneficial. In a field in eternal search of true inspiration, Sondheim’s scores represent for me a kind of perfection — or at least, an artist’s indomitable effort to achieve it. So I’m going to do this trick, even if the results aren’t perfect.

A little night music, music and lyrics by Stephen Sondheim, book by Hugh Wheeler. Directed by Julianne Boyd. Sets, Yoon Bae; choreography, Robert La Fosse; musical direction, Darren R. Cohen; costumes, Sara Jean Tosetti; lighting, David Lander; sound, Leon Rothenberg. With Sophie Mings, Kate Day Magocsi, Slater Ashenhurst, Adam Richardson, Rebecca Pitcher, Stephanie Bacastow, Andrew Marks Maughan, Leslie Jackson. About 2 hours 40 minutes. Through August 28 at the Boyd-Quinson Stage, 30 Union St., Pittsfield, Mass. 413-236-8888. barringtonstageco.org.

GEM Releases First MV “Gloria” From New Album “Revelation”


On August 9, Gloria Tang Tsz-kei, also known on stage as GEM, officially released the first song “Gloria” from her new album, which opened the prelude to the series.

GEM’s brand new album from the music series Revelation is based on the concept of Afterland. The music video for the opening track “Gloria” reveals an entirely different world of a mixture of fantasy and reality where the devout heart is strengthened despite shattered hope, which provides an immersive experience for the audience in the great Afterland that s will amaze you with the fantastic visual wonders.

His first musical series of the same name Revelation presents each track of the entire album as a series. As a first-time creator, screenwriter, and lead producer, the Christian singer co-created a 14-episode music video for the music series with director Lin Bo, a versatile video creator.

A seemingly independent music video for each song on the album is in fact an indispensable part of an ongoing saga narrative. GEM candidly said, “In this era of fragmentation, very few audiences are patient enough to listen to a song completely. Yet, I have 14 revelations that I consider extremely valuable to share with them. Finally, I have found a new type of musical series that hopefully can inspire audiences to listen carefully to every track on the album.

Therefore, GEM began writing screenplays for the first time in his life, creating his first original story.

GEM is one of the most influential singers in mainland China, Hong Kong and Taiwan. In 2008, making her debut in Hong Kong at the age of 16, she not only won over a large number of music fans with her powerful and penetrating voice, but also won awards on many pop music charts. Having achieved remarkable results, many of his albums have won numerous professional awards on the pop charts. In addition to a series of national performances, GEM also added a two-year world tour to their rich performance experience. At 27, she has already given more than 140 performances in Australia, Canada, Malaysia, New Zealand, the United States and the United Kingdom. Her undeniable musical influence landed her on the Forbes “30 Under 30” list, also named her a winner of the Breakthrough Prizes (a foundation in partnership with NASA) and featured her in the BBC 100 Women, affirming its contribution and its power. in world music.

The lyrics of her new song describe a girl named Gloria living in a dark world before dawn. Despite the difficult circumstances, she believes there is no fear in the love that constantly flows to defeat all other power. Full of ardent hope for the future, she can also feel that God is ready to bear her burden, comfort her and take her flying at any time. She believes her love can lift a collapsing world and never leave her alone. With patience in her heart, she hopes that the giver of love will return soon.

In the video, beautiful scenes reenacting the story of Moses dividing the Red Sea in the book of Exodus clearly convey the Christian values ​​of resolve and aspiration shown in “Leaving Egypt.” On the Red Sea Road, a gate that contains only the light of truth stands to lead believers to love and eternity.

– Translated by Shuya Wang


GEM Releases First MV “Gloria” From New Album “Revelation”

Nationals lose series to Padres on Juan Soto’s return to Washington

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Manager Dave Martinez turned to Keibert Ruiz with a seventh-inning out to boost an offense that hadn’t had much energy.

At this point in the game, the Washington Nationals were scoreless and had only four hits. They had left two runners on base, but there was room there for Ruiz to pass with another pair. Ruiz fell behind in the 0-2 count, then tipped on a low curveball and hit a ground ball to Padres second baseman Brandon Drury.

Nationals Park fans moaned as the ball went into his glove and then was quickly returned to shortstop Jake Cronenworth who fired a strike at former Nationals first baseman Josh Bell to put end to the frame.

It was the Nationals’ 110th worst league double play; they sank into another in the eighth inning in a 6-0 loss to the San Diego Padres on Sunday.

Since early July, Washington has won only one series.

“Some days you have to tip your hat to their pitchers,” Martinez said. “[Starter Blake] Snell was good. I thought Ruiz’s pinch shot, he had a really good at-bat, he just hit the second baseman hard. We couldn’t do anything offensively.

How a future without Juan Soto became a reality for the Nats

The Nationals (38-78) have been moving guys in and out of the roster since the Aug. 2 trade deadline, trying to find any mix of players who can produce. The only player to hit consistently is Joey Meneses, the 30-year-old who has hit five homers in nine games since his major league debut.

He added two singles Sunday against Snell to give him 14 hits, the most by a National in 10 career games. But Snell allowed only one more hit in six innings and struck out 10 batters. The Nationals swung on 55 of Snell’s 103 pitches and sniffed out 24 of them. On his fastball alone, the Nationals missed 15 of 34 they hacked.

“Our plan was to get him to throw punches, and he did,” Martinez said. “But his fastball pitch was really good and his break ball was good.”

It wasn’t until the Padres (65-52) turned to their bullpen that the Nationals started something, but even then they squandered their opportunities. The Nationals finished in the seventh with Ruiz’s double play and had another opportunity in the eighth when the first two Nationals hit base left fielder Alex Call, who was called up before Sunday’s game.

But Call did what Ruiz did before; he got into a double play and the groans from the fans came back.

Which prospect is joining the Nationals? The Nationals, sources say, are calling CJ Abrams, the shortstop acquired in the trade from Soto. Abrams hit .232 in 46 games with the Padres this season, but was originally picked for class AAA Rochester after joining the organization from Washington.

Abrams will replace Luis García, who did not play for the second day in a row after sustaining a groin injury on Friday. García said after Sunday’s game that he felt better but still had pain when running.

What was Call’s program in August? Hectic. The 27-year-old outfielder was claimed by the Nationals off waivers the previous Sunday. Fast forward to this Sunday and Martinez beat him to the lead; he finished 0 for 4. Outfielder Josh Palacios was sent back to Rochester.

Since the start of August, Call was tapped into the Cleveland Guardians’ Class AAA affiliate on August 1 and then slated for assignment on August 5. The Nationals claimed him on August 7, he drove from Columbus to Rochester the next day, then played five games for Rochester. Then he caught a 6:40 a.m. flight from Rochester to DC in time for Sunday’s noon game.

“There are a lot of things that can always change in this game, but my routine remains the same,” Call said. “And if it’s the same, then I know I’m putting myself in the best position to be ready for whatever comes my way.”

How did Paolo Espino behave against the Padres? Espino allowed four runs in 5⅔ innings, with Martinez stretching it to a season-high 109 pitches. His pitch count increased due to 23 Padres fouls and two walks that each resulted in a run.

He walked Cronenworth in the second inning, and Wil Myers scored a two-out single to get him in. The next inning, Espino walked Padres leadoff batter Jurickson Profar before Juan Soto and Manny Machado singled out; Profar scored on Machado’s single to give the Padres a 2-0 lead. The Padres scored another point on Drury’s choice of a defenseman.

Espino’s fourth and final earned run wasn’t exactly his fault. He seemed to come out of the sixth inning unscathed when he brought up Trent Grisham in center field. But Victor Robles lost the ball in the sun and the ball fell right next to him. Myers chose on the next at-bat to tag Grisham, ending Espino’s outing.

How did Soto and Bell do on the show? Soto finished 4 for 12 with a double and two RBIs. Bell went 0 for 13 with three walks.

Pygmy Musicians Race to Save Vanishing Art – OZY


Rhythm and Survival

Polyphonic rhythms

For the Aka Pygmies, music is a language of spirituality, a means of communication and an essential part of traditional ceremonies accompanying marriage, death and hunting. In 2003, members of the tribe formed the musical group Ndima, which means forest. Over the past decade they have performed across Europe and Latin America.

Ndima’s music makes captivating use of what is called polyphonic rhythm, or the combination of several distinct melodies. Two or three singers work together to modify their voices, producing a range of pitches and sounds with the vocal technique known as yodeling.

“Our music is an important tool for many rituals that we use to channel forest spirits,” singer and Aka tribesman Ngolou Emilliene told OZY. “Every Aka child learns to sing the sounds of yodelling from an early age.”

Harp Lenzeko

Singers are accompanied by the evocative sounds of handmade musical instruments, including the lenzeko harp and a single-stranded bow known as a mbela. Music can express deep joy as well as anger and grief.

A culture on the brink

An ally joins the fight

“The Aka pygmies are currently in danger of extinction,” says ethnologist Sorel Okanango Eta, who has lived with the Aka people and studied their culture for 26 years, and is the director of Ndima.

In an interview with OZY, Eta explained that the Aka culture was unknown to many people before Ndima was created. Locally, most people knew little about the tribe, whereas today Aka music is played on TV, radio and the internet. Ndima has organized events focusing on the tribe’s traditional shamanic practices and master classes on the polyphonic sounds of Aka.

“Imagine if an epidemic were to destroy this minority population? We could lose all that knowledge and culture in the blink of an eye, and that’s why it’s important to spread Aka music,” says Eta.

threatened forest

Logging of the forests that are the traditional terrain of the Aka has endangered animals such as antelopes and wild pigs, which were once abundant here and provided a vital food source for the tribe. The Aka can no longer rely on hunting and fishing. Once a nomadic people, the many threats they face today have forced them into a sedentary lifestyle, fundamentally changing their culture. Now, to adapt to the modern way of life, they have to seek employment elsewhere and buy food in the markets, like the people of the Bantu tribes around them.

“The Bantu tribes that were colonized by France are sort of colonizing the pygmy Aka tribes and expecting them to live according to the Bantu lifestyle choices,” Eta explained.

The pitfalls of the modern school

Emilliene says that among the younger Aka generation attending modern schools, she has noticed a lack of interest in learning about Aka culture and traditions.

“Since the Aka children have been in school, they have learned to speak French and not the Aka languages. They also lose track of the forest school learning,” she told OZY. Today, “most Aka children do not understand how to navigate the forest and certain rituals that are important in doing so”.

Music, however, helps keep the culture alive.


Lessons from
the “university” of the forest

Join the conversation of cultures

Ndima regularly collaborates with other musical artists around the world in what Sorel Eta calls a “dialogue” of cultures.

“The pygmies represent an African culture and the Europeans represent another culture. So, by collaborating with different artists, we create a dialogue of cultures, so that people can learn our culture and we can learn theirs,” he says.

Eta has now written a book in French titled “L’Université de la forêt” and started a music conservatory for the teaching and practice of pygmy music, which has welcomed international tourists.

Follow them

This year alone, Ndima has collaborated with musical artists including Leila Martial, Eric Perez and Rémi Leclerc. On October 1, the group will give a concert in Paris. You can find their latest updates on the Facebook page of the Ndima group.


OZY is a diversified, global, forward-looking media and entertainment company focused on “new and next.” OZY creates space for fresh perspectives and provides fresh perspectives on everything from news and culture to technology, business, learning and entertainment.

www.ozy.com / #OZY

Curiosity. Enthusiasm. Stock. It’s OZY!

THE WINERY DOGS’ third album is “mixed and mastered”; Planned 2023 release


During an appearance in the last episode of “The Chuck Shute Podcast”guitarist/singer Richie Kotzen talked about the progress of the recording sessions for the third album of CELLAR DOGShis power trio with the legendary bassist Billy Sheehan (Mr. BIG, TALAS, DAVID LEE ROTH) and drummer Mike Portnoy (DREAM THEATER, AVENGED SEVENFOLD). He said (as transcribed by BLABBERMOUTH.NET):”CELLAR DOGS, the third album, the music exists. It was mixed up. It was approved, and it was mastered. So what we’re looking at now is when are we going to release it? But the consensus seems to be that next year, 2023, will be CELLAR DOGS year. I think the three of us are really excited to go back. It’s been too long.” Kotzen went on to say that dates are being set for CELLAR DOGS‘ upcoming tour, set to begin early next year.

Last February, Kotzen Told SiriusXMit is “Trunk Nation featuring Eddie Trunk” this CELLAR DOGS recorded 10 songs for their third album. “But we actually talked about maybe seeing each other again, just because we like spending time together,” he said. “So I don’t know if there will be more. But there are 10 that I’m very happy with, and I think people who like the group will be happy with them as well.”

In January, Richie Told “Trunk Nation featuring Eddie Trunk” on the musical direction of the new CELLAR DOGS material and how it compares to the band’s first two albums: “Well, you know, we never discuss direction; we’ll just write and see what comes out. But sitting down and listening to it, such that he’s in his state now, it reminds me more of the first album than the second album, only because on the second album, I think, the production we went in a few different directions. Some of the songs – I don’t know not – I think we explored some territory on the second record that didn’t exist on the first one. And that stuff, to me, sounds a little more raw I guess you would say – maybe more true to what the band sounds live, like a trio. Maybe that’s because I haven’t really done a lot of overdubs – it’s really just guitar, bass and drums. I said, I don’t know where this is going to end, because there are still plenty of opportunities for me to screw it up. No, I think it’s going to be good, I think people are going to like it. I play it in my car here and there, and I like it. Like I said, it’s just a matter of putting their vocals in — some harmonies — and some percussion. Maybe some small guitars [bits] — maybe I’ll double a few lines here or there; that sort of thing. But I try to keep it pretty raw, a nice powerful trio sound.”

CELLAR DOGS were founded in 2012 after portnoy and Sheehan — which initially aimed to collaborate with former WHITE SNAKE and BLUE MURDER guitarist John Sykes – reached out to Kotzenwho played with Sheehan in Mr. BIG from 1997 to 2002. The band’s self-titled debut album reached No. 27 on the Billboard 200 after selling over 10,000 copies in the United States in its first week of availability. The initial sales follow-up effort “Hot Series” were even better, as the album debuted at No. 30 in late 2015 after moving 13,000 equivalent album units in America in its first week of availability.

last september, Mike Told “Trunk Nation featuring Eddie Trunk” about the new OGS CHAI music: “I would say somewhere [between the first and the second albums]. It’s hard for me to have this real perspective that anyone listens to because when you write it and record it, everything becomes important to you. It’s hard to say; it’s hard to get that perspective.

“The debut album is just song after song after song – there’s no moment of weakness at any time – as “Hot Series”I guess we did more experimental stuff, songs like ‘Spiral’ Where ‘War machine’, songs in the background that were more experimental,” he explained. “So I would say if I had to compare it, it’s probably more like the first album because we also consciously decided to we stop around 10 or 11 Songs. Because the first album and “Hot Series”, I think, had 13 or 14 songs. People like you and me, we love everything, we love the music and we enjoy it, but for a lot of people the attention span for a 14-song album might be a bit too much. So when writing this album, we decided to find 10 or 11 that are really super strong. Nothing too experimental, nothing too off the beaten path compared to what people expect from CELLAR DOGS. So I think everything about this album is super strong from top to bottom.”

First look at CABARET at the heritage of musical theater


Music Theater Heritage today released photos of their new production of CABARET. The production is directed by MTH Artistic Director Tim Scott and stars Christopher Barksdale as the iconic emcee and Julie Pope as Sally Bowles.

In a unique twist, the stage setup offers a limited number of patrons the option of being seated at tables against the stage, providing an almost immersive cabaret experience.

The ensemble cast includes Sydnee Bell, Sydney Chow, Arthur Clifford, Coleman Crenshaw, Haley Knudsen, Evan Gamsu, Courtney Germany, Tanner Rose and Kathleen Warfel.

The creative team includes musical direction by Pamela Baskin-Watson, choreography by Kenny Personett, scenic design by Jack Magaw, lighting design by Danny Lawrence, costumes by Shannon Smith-Regnier, sound design by Jon Robertson, the technical direction of Rafael Toribo and the production. directed by Lacey Willis.

The six-piece jazz band includes Baskin-Watson on keys, Jacob Roemer on bass, Pete Fucinaro on saxophone, Karita Carter on trombone, Laura Saylor on trumpet and Kyle Brown on drums.

CABARET won 8 Tony Awards when it debuted in 1967 (including Best Musical and Best Score), the 1972 film also won 8 Oscars. It is widely considered a historic achievement of American musical theatre.

CABARET plays fourteen performances at MTH’s Grand Theater on the 4th floor of the Crown Center, August 11-28. Tickets start at just $35 and are aavailable by visiting www.MTHKC.com or by calling the box office at 816.221.6987.

Photo credit: Cory Weaver

Tanner Rose and Julie Pope

Photos: first look at CABARET at the heritage of musical theater
Sydney Chow and Christopher Barksdale

Photos: first look at CABARET at the heritage of musical theater
Tanner Rose and Julie Pope

Photos: first look at CABARET at the heritage of musical theater
Tanner Rose and Julie Pope

Photos: first look at CABARET at the heritage of musical theater
Kathleen Warfel, Evan Gamsu

Photos: first look at CABARET at the heritage of musical theater
Kathleen Warfel and Coleman Crenshaw

Photos: first look at CABARET at the heritage of musical theater
Julie Pope

Photos: first look at CABARET at the heritage of musical theater
Julie Pope and the cast of CABARET

Photos: first look at CABARET at the heritage of musical theater
Courtney Germany, Christopher Barksdale, Sydnee Bell and Haley Knudsen

Photos: first look at CABARET at the heritage of musical theater
Christopher Barksdale

Photos: first look at CABARET at the heritage of musical theater
Christopher Barksdale and the cast of CABARET

Photos: first look at CABARET at the heritage of musical theater
Julie Pope

Photos: first look at CABARET at the heritage of musical theater
Christopher Barksdale

Photos: first look at CABARET at the heritage of musical theater
Christopher Barksdale and the cast of CABARET

Tommy Lee, Papa Roach among the cast of “The Retailators”, soundtrack of the album


The film and the film will be released in mid-September

Better Noise Films will be released Retaliation in theaters September 14. The film is a horror thriller, starring Michael Lombardi (FX’s Save me), Marc Menchaca (ozark) and Joseph Gatt (Dumbo) with special appearances from the biggest names in rock music with Mötley Crüe drummer Tommy Lee as the strip club DJ, Five Finger Death Punch’s Ivan Moody, Zoltan Bathroy and Chris Kael as band members. a biker gang, Papa Roach’s Jacoby Shaddix as a convict, Ice Nine Kills Spencer Charnas as a drug-addicted brothel manager, and Cory Marks as a member of a biker gang who runs a dive bar. Members of The Hu, Escape The Fate, Bad Wolves and more are also part of the cast.

Written by Darren Geare and Jeff Allen Geare, the high-octane horror-thriller is directed by Bridget Smith. The film is part of the official selection of the Screamfest Horro Film Festival 2021 and the Arrow Video Frightfest 2021 in London. It is produced by longtime Mötley Crüe manager Allen Kovac.

Better Noise Music will be released The Retaliators Original Motion Picture Soundtrack September 16. The 18-track album features new original music from Five Finger Death Punch, Tommy Lee, Papa Roach, The Hu, Ice Nine Kills, Escape The Fate, and more.

Each member of Mötley Crüe is featured individually on the soundtrack. Lee performs “Tops” with Push Push, frontman Vince Neil joins The Stadium Tour opening for Classless Act on “Classless Act”, bassist Mick Mars is featured on “Who’s That Playing On The Radio?” by Hyro the Hero. while bassist Nikki Sixx co-wrote the film’s theme, “21 Bullets”, featuring Ice Nine Kills, Asking Alexandra and From Ashes To New.

The set will be available as a limited collector’s edition 180 gram red and black splash vinyl pressing housed in a gatefold sleeve featuring exclusive movie stills with a collectible 24×36 movie poster, blood-splattered o-card, and digital download; digipak CD; and cassette.

2 PL | CD | Cassette

1. Papa Roach – The End
2. Le Hu – It’s Mongolian
3. Eva Under Fire – Blow (featuring Spencer Charnas of Ice Nine Kills)
4. From Ashes to New – Scars That I’m Hiding (with Anders Fridén of in Flames)
5. Asking Alexandria – Faded Out (featuring Within Temptation)
6. Tommy Lee – Tops (with Push Push)
7. Classless Act – Classless Act (with Vince Neil of Motley Crue)
8. Five Finger Death Punch – Darkness Sets In
9. Nothing More – Tired Of Winning
10. Crossbone Skully – Evil World Machine
11. The Hu – Wolf Totem (with Jacoby Shaddix)
12. Bad Wolves – If Tomorrow Never Comes (with Spencer Charnas of Ice Nine Kills)
13. Cory Marks – Burn It Down
14. Hyro the hero – Who plays on the radio? (with Danny Worsnop of Asking Alexandria and Mick Mars of Motley Crue)
15. Cory Marks – Blame It on the Double (with Tyler Connolly and Jason Hook)
16. All Good Things – For Glory (with Hollywood Undead)
17. From ashes again – barely breathing
18. The Retaliation Theme (21 Bullets) (with Ice Nine Kills, Asking Alexandria, From Ashes to New)

Talented Young Artist Charles Fanti’s “Sake Of Love” Is Creating A Buzz In The Global Music Industry


Young highlife artist Charles Kwesi Quansah has already mastered the art of composing afro beat music and the songwriting has continued to show his talent with the latest release. Also known as Charles Fanti is creating a lot of buzz in the music industry with his freshly released new track named ‘the love of love‘. This new track is turning listeners’ heads with its mid-tempo, danceable music and trendy, modern lyrics. It’s the ultimate feel-good song that has the ability to lift listeners’ spirits all at once and keep them hooked to the beats.

Fanti was once a rising star in her home country of Ghana and the song made her presence known on the country’s music charts. This song, produced by Gavali Music has already topped the Ghana charts and people have been pouring love on the singer and his creation. It was well received by several nationally known DJs and radio presenters who played this track many times on radio stations.

The country’s famous DJ Joy’s Countdown Chart aired on ABN Radio and was ranked number five on the chart. In addition to that, another famous personality, DJ Bone’s Top 10 Trending Songs, also gave the song the fourth position in the chart. Reportedly, locals loved the song so much that they rushed to the internet to download Fanti’s new track. After finding success in his home country, the artist is now eyeing the global music industry.

The artist has already stated in numerous interviews that he is serious about internationalizing his music and ready to compete with other artists who have achieved success on international platforms. His latest adventurous track’the love of love‘ really proves he’s in it for the long haul and his mastery of the different segments of chart composition is beyond reproach. The song carries a mid-tempo which is beautifully blended with afro beat. These Afro beats are from the highlife genre which gives the song a unique essence.

Not only the composition or the beats of the song, but its lyrics are also nice which adds another flavor to the song and makes everyone feel the beat. Paired with an energetic voice, the artist once again showed his powerful and confident singing talent which creates an attractive mood for the audience. The song is currently available on major music platforms such as Spotify, Youtubeand Apple Music. For more updates, you can follow the artist on social media platforms.

Santigold Shares New Single “Shake” Ahead Of Spirituals Album

Santigold in

Santigold in “Shake”
Image: Frank Ockenfels

Santigold has shared the fourth single from his upcoming studio album, titled “Shake.” The SBTRKT-produced song follows previously released singles “High Priestess”, “Ain’t Ready” and “Nothing”, all of which will appear on her new studio album, Spirituals.

In a statement on the new song, Santigold shares:

“’Shake’ is one of those songs that just floated around me to be picked up. What I mean is there are songs that basically write themselves, and all you have to do as an artist is be open enough to reach out and pull it back and say thank you. When that happens, I’m always very grateful because it’s like the universe just gave me a gem. I sit down to write and as soon as I open my mouth, the song pours out. In this case, SBTRKT had sent me several tracks he was working on, and this one stood out because it sounded so different from anything I had ever heard from him, and also so different from anything I had never done before. I literally stood in front of the mic, opened my mouth and said “ooh – hoo, shake, shake, shake!”, and all the rest of the melody flowed out from there. And then when I sat down to finish the lyrics, they came just as fast.

I can’t say this song is about one thing, as much as it is about a feeling. It’s about flow, about riding the ebb and flow of life, it’s about rolling with it, moving through it, letting it all move through you. And it’s about the feeling in that moment when you feel life flowing through you, the rapture of it all. It’s about our resilience as human beings and our ability to keep picking ourselves up from adversity and moving forward.

The music video, directed by Frank Ockenfels, is inspired by “images of civil rights protesters being pounded with high-pressure hosepipes, ignited by authorities, during their peaceful protests.” Santigold writes, “The strength and courage it took for many teenagers and young adults to endure what they have done and carry on is monumental. This video is a tribute to them, in which I try to thrive singing this song while enduring the pain of a high pressure water hose.

Santigold – Shake (Official Video)

Spirituals is slated for a September 9 release via Santigold’s Little Jerk Records. Following the release of Spirituals, Santigold will embark on a US tour.

Santigold The Holified Tour Appointment

9/10—Atlanta, Georgia—Buckhead Theater

10/11—Silver Spring, MD—The Fillmore

10/13—Philadelphia, Pennsylvania—Franklin Music Hall

10/16—Boston, Massachusetts—House of Blues

10/17—Brooklyn, NY—Great hall at the Avant Gardner

10/19—Montreal, QC—Melus

10/21—Toronto, Ontario—The Danforth Music Hall

10/24—Chicago, Illinois—Byline Bank Aragon Ballroom

10/25—St. Paul, MN—Myth Live

11/3—Los Angeles, CA-The Wiltern

11/5—San Francisco, California—The Masonic

7/11—Portland, OR—crystal ballroom

11/8—Seattle, WA-Showcase Sodo

11/10—Salt Lake City, UT—The complex

11/11—Denver, Colorado—Fillmore Auditorium

11/13—Albuquerque, New Mexico—theater of the sun

11/14—Temple, AZ—Marquee Theater

11/16—Las Vegas, Nevada—House of Blues

11/17—San Diego, California—Soma

David Sullivan allegedly filed false documents for COVID loans


A Naperville man is one of three people charged with filing fraudulent documents to obtain more than $2.75 million in small business loans under federal COVID-19 relief programs.

David L. Sullivan II, 49, was charged with wire fraud in connection with money obtained through Paycheck Protection and Economic Disaster Loan programs, a press release from the office of the US Attorney in Chicago.

The indictment accuses Sullivan of working with Samuel W. Jackson, 42, and Elizabeth A. Chervinko, 41, both of Chicago, in 2020 to submit false applications and supporting documents to lenders, suppliers lending services and the US Small Business Administration on their own behalf. and the names of five companies, according to the statement.

Two of the companies were based in Illinois, Top Flight Real Estate LLC and [email protected] Inc., and three in Montana, Dream Builder LLC, Ordained Destination LLC and Ordained Real Estate LLC, according to the statement.

The materials submitted “contained materially false statements about the defendants’ companies, including the number of alleged employees, income and payroll amounts, and other expenses,” according to the indictment.

They were able to secure $2.49 million in PPP loans and about $256,000 from the SBA in Economic Disaster Loan Program funds, which they would have used to purchase real estate and lease or purchase automobiles. luxury, according to the press release.

Sullivan and Chervinko, also charged with wire fraud, will be arraigned Aug. 17 in federal court in Chicago.

Jackson pleaded not guilty at his arraignment Tuesday to five counts of wire fraud and three counts of money laundering.

Under federal CARES law, a PPP loan allows interest and principal to be forgiven if a business spends a certain amount of the proceeds on essential expenses, such as payroll, rent and utilities, the statement said. . The Economic Disaster Loan Program provides loan assistance or grants to cover working capital and other operating expenses.

The Disney Princesses will take the stage at the Saenger Theater this fall


HATTIESBURG, Miss. (WDAM) – More shows and performances will take place this fall at the Saenger Theater in downtown Hattiesburg.

Magical music will fill the theater in October with Disney Princess: The Concert. Guests will hear Broadway performers sing popular songs from several Disney Princess films.

Theater event planners say they are looking for low-cost entertainment for all families in the Pine Belt.

Theater manager Nathan Jennings said the Saenger is always working to make tickets affordable when exciting shows like these come to town.

“We try to have it so it’s affordable for everyone,” Jennings said. “Like, for example, there is a range of ticket prices. So this one, ticket prices range from $35 to $225, of which the highest prices have a VIP package. I think by trying to offer price tiers, that way you don’t have to have a lot of money to come and see the show in general.

Those who attend the Disney concert will learn about theater icons who have starred in other Broadway productions such as Mamma Mia and Moulin Rouge.

According to Jennings, the Saenger wants guests to “relive their VHS glory days” and even dress up in their favorite royal attire for the show.

“They’ll be singing popular Disney songs,” Jennings said. “They are supposed to be the ones everyone can recognize. I can imagine it will be fun for kids and adults.

Tickets for Disney Princess: The Concert goes on sale this Friday, August 12.

To buy tickets, click on this link, Disney Princess: The Concert tickets.

For more information on VIP tickets, click Disney Princess: The Concert VIP tickets.

The concert will take place at the Saenger Theater on October 28 at 7 p.m.

Copyright 2022 WDAM. All rights reserved.

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‘The Bachelorette’ gets Monday primetime ratings for ABC


Romance Competition Series Got Highest Key Demo Rating And Most Viewers

“The Bachelorette” stole the hearts of audiences en route to claiming Monday night’s highest ratings and ratings.

The ABC show, now in its 19th (!) season, delivered major drama among its contestants last night earning a 0.7 rating in the coveted 18-49 demographic. The episode was also the most-watched overall primetime offering with 3.3 million total viewers, although ABC was not the most watched network overall.

Emerging artist Nick Ray has released a new indie track titled “Divide and Conquer”


The promising and auspicious artist of this generation, Nick Ray released a brand new single divide and conquerwhich is creating a lot of buzz in the music industry. Indie music lovers have become hooked on this song since its release due to its unique and fresh composition. The artist has gained some quality followers in a short time and after this release of the latest track, he has received a lot of praise and compliments which he really deserves.. Through this song, the artist took the traditional genre of independent music to another level, which perfectly reflects his creative freedom and artistic mastery.

The song has a unique music composition that has a soothing indie music background sound with a refreshing tone that makes the song even more addictive for the listeners. The rhythms and the touch of the instruments almost create an enchanting experience in the ears and minds of the audience, which is one of the sole reasons for its success and praise. Apart from the musical arrangements, the song carries a powerful vocal performance from the artist which captures his confidence as a singer. The vocals are soothing, revitalizing and tranquilizing, making the new track full of life and vitality. Thanks to the amazing and attractive voice, the artist managed to accurately convey his emotions and his message to the audience.

Besides that, the song has beautiful and haunting lyrics that showcase the artist’s ability and mastery in the art of lyricism. The lyrics are uplifting yet emotional with a touch of hardcore reality that captivates listeners in just the right way. Nick Ray also showed his talents with his previous songs such as ‘Quest for Peace’, ‘Tread Lightly’, ‘Shells of Men’, ‘Soundcloud Warrior’ etc. But he really outdid himself as an artist with the new divide and conquerbecause the song carries a deep meaning that shows the fierce side of the artist that goes hand in hand with the intensity. You can listen to the title as well as his entire discography on sound cloud and Apple Music. For further updates, follow the artist on social media platforms like instagram, Twitter, Facebook, Youtubeand his website.

Song link: https://soundcloud.com/nickraymusic/divide-and-conquer

Check out for more news updates on Google New

Poll: What is the best Stone Temple Pilots album?


Stone Temple Pilots are another rock band that have gone through several “eras” due to their various frontmen, two of whom they have released albums with. But which of their records is the biggest? That’s what we want to hear from you this week Wired Nights Poll on the album of the week.

You will have until Friday at 12 N ET to vote. We will then play the three songs from the album with the most votes during Wired Nights‘ Album of the week block to start the following Monday’s show!

Stone Temple Pilots have arrived with their debut album Heart, which came out the same day as Alice in Chains’ Dirt in September 1992. Because alternative rock was already so big at the time, especially because of the number of artists coming from the Pacific Northwest, Heart was an instant commercial success – but it didn’t come without its share of criticism. The rockers, originally from San Diego, were shunned by many fans of the Seattle rock scene due to the similarity in sound.

The haters didn’t stop STP, however, as their 1994 follow-up Purple debuted at No. 1 on the Billboard 200 and sold 252,000 copies in its first week. Scott Weiland’s quirky demeanor onstage set him apart from most shy “grunge” singers – he was meant to be a rock star, and he knew how to flaunt it. Unfortunately, like many other rock stars, Weiland had a tortured soul, which contributed to many internal conflicts with his bandmates, brothers Robert and Dean DeLeo and drummer Eric Kretz.

The rockers released three more albums before going on hiatus, then returning in 2010 with their self-titled debut album. The band broke up again, and Weiland tragically passed away in December 2015 while on tour with his solo band, The Wildabouts. STP has since reunited with new vocalist Jeff Gutt, and they released their self-titled second album in 2018, followed by lost in 2020.

Head below to vote for your favorite Stone Temple Pilots album, then tune in Wired Nights next Monday at 7 p.m. ET to find out which record prevailed. During tonight’s show, you’ll find out which Disturbed album was voted best and hear three songs from the winner.

Loudwire Nights with Toni Gonzalez airs nightly starting at 7 p.m. ET. You can connect anytime, from anywhere here or by downloading the Loudwire app.

Top 30 grunge albums of all time

How to Play at a Music Festival


Read our top tips on how to play a music festival, how to be part of a festival lineup, getting ready to play and tips for the day itself.

Organizing your first music festival is an important and exciting step. You can reach new fans who just walked by, perform to bigger crowds than ever before, meet other artists, and get paid.

Plus, you never know which industry professionals might be watching. Music festivals are also about networking. It’s work, but it’s also a lot of fun.

Want to see your name on a lineup? Check out these seven tips for performing at a music festival.

Different festivals have different booking processes

Big famous music festivals are filled by artist booking agents liaising with festival bookers. Many festivals, such as SXSW, will have their own submission process.

In the UK, for example, BBC Introducing hosts stages at festivals and delivers up-and-coming artists who need that initial push to take them to the next industry ladder.

Get a music booking agent

Some artists employ a booking agent to approach festival organizers. They will have the necessary contacts to present your act as worthy of being included in the queues.

When you show up, send an electronic press kit with samples of your music along with stats about your social media and streaming numbers; and where you’ve played before, including live footage of you if you have it.

If you come to the booker with a good idea of ​​your genre and vibe, they can choose the appropriate festivals. You need to make it as easy as possible for them to hire you.

How to play a festival without a booking agent

For an artist without a booking agent, the DIY approach is the only way. You will need to research how each festival recruits artists and contact them to introduce yourself and persuade them to put you on their lineup.

For smaller festivals that don’t have a submission process, make sure you know exactly who the festival booker is for each event and contact them personally, introducing yourself and sending an EPK.

Find out where the booker is based, and you can even invite them over if you’re playing a show nearby, so they can see you in action.

After the first contact, if you haven’t heard anything, be sure to follow up every two months, especially if new releases come out.

Build the hype first to secure your first festival booking

Get your music on streaming services to start building a fanbase and getting your artist name out there. Bookers need to see that you can draw a crowd. At RouteNote, our music distribution is free and unlimited forever, so you can put your music on Spotify, Apple Music and platforms around the world and people can start discovering your music.

Along with that, make sure you have a solid brand, both on stage and online. You want to be memorable for the festival-goers and promoters who will take you there. This means a good logo and a strong social media presence.

Once you’re in line for the festival, use social media marketing to generate hype and encourage your followers to grab tickets to support you on D-Day. With RouteNote, you can get your music on TikTok , as well as Facebook and Instagram to use in videos and give fans a taste of what to expect.

When to contact music festivals

If you’re aiming for summer festivals, start contacting festival bookers in November. Early next year is when festival queues start to take shape. You don’t want to be left behind.

Big festivals want to see a progression – that you’ve had experience playing and moved to bigger venues as you’ve grown as an artist. Bigger venues mean a bigger fanbase – which means festival ticket sales, which is of course what the promoter is interested in.

You should also try to focus on festivals in your music genre, especially when starting out. If you’re an EDM producer, for example, look for dance festivals with smaller stages.

start locally

When you’re just starting out as an artist, music festivals feel like a step up and demand more professionalism than your local bar. You have to make a good impression and start making a name for yourself, to be booked year after year and play on a larger circuit.

Aim for local festivals first. Early opening slots will go to local bands and solo artists, partly because it encourages their local fans to buy tickets.

Once you’ve played at a festival and made a fantastic impression, you can reach out to subsequent years and be on their radar already.

What to expect as a performer at a music festival

On the day, get ready with everything you need to get on stage and get set up quickly. There will be rapid changes and an unknown configuration. Practice getting on and off stage and make sure everyone knows the setlist.

When you’re playing at a festival, it’s easy to get carried away by the party vibe. But you’re there to play a show, not attend the festival, and if you act like you would as a ticket holder, you risk having too a lot of pleasure.

Arrive drunk or late and you’ll ruffle some feathers and gain a reputation that will make your life harder in the short and long term.

Start building hype for your first festival appearance by releasing your music to streaming platforms. RouteNote can put your music on Spotify and all major services and stores quickly, easily and for FREE. Learn more here and register today.

‘The Devil Wears Prada’ Musical Is a Mess


CHICAGO — “You have no style or fashion sense,” fictional magazine editor Miranda Priestly viciously observes in “The Devil Wears Prada.”

She’s dressing up her would-be new assistant, Andy, but that same harsh criticism should be thrown at the new musical adaptation of Lauren Weisberger’s film and novel which opened Sunday night in Chicago.

theater review

Duration 2h30 with an intermission. At the James L. Nederlander Theater in Chicago.

Call the fashion police. The alarmingly unamusingly slow-paced show with a score by Elton John and Shaina Taub is a misfire of misfires, and the worst screen-to-stage move in recent memory.

Considering the mind-numbing cinematic properties that have been cynically schlepped on Broadway in recent seasons, this is a Guinness-worthy achievement.

Every song sucks, and there’s nothing here worth fixing.

No convincing artistic effort has been made to reinterpret the film and the book into something new that makes logical and convincing sense on stage. Almost every plot point is identical to the 2006 film which was slick, sexy and satisfying and earned Meryl Streep a well-deserved Best Actress Oscar nomination.

But “Prada” should have been completely reworked. When the cinematic story is set to lifeless music, it becomes dull and slow; clumsy and boring; without laughter and sterile. The “Devil” wears out.

Andy (Taylor Iman Jones) will work at Runway magazine with Nigel (Javier Munoz) and Miranda Priestly (Beth Leavel).
Joan Marcus

It’s still about Andy (Taylor Iman Jones, capable and without texture), an aspiring New York journalist who unwittingly becomes the second assistant of Runway magazine, a replacement for Vogue, directed by Miranda Priestly (Beth Leavel) — a cruel but brilliant editor a la Anna Wintour who rules the fashion industry with icy stares and put-downs.

Starting out as a Kmart mess, Andy learns to navigate the treacherous waters of Runway while alienating his friends and annoying Brooklyn boyfriend and earning the ire of First Assistant Emily (Megan Masako Haley).

Composers John and Taub, writer Kate Wetherhead, and director Anna D. Shapiro have squandered beloved sources, even borrowing heavily from them.

First assistant Emily (Megan Masako Haley) schools Andy (Taylor Iman Jones).
First assistant Emily (Megan Masako Haley) schools Andy (Taylor Iman Jones).
Joan Marcus

Early plot sensibilities were cautiously and stupidly updated to the mores of 2022. Andy is now a progressive Gen Z activist and Miranda is, I dunno, Nancy Reagan?

When Andy says she thought she was going for a job interview on a Vox-like website called City Dweller, Miranda calls the post “a liberal echo chamber.” Later, the fearsome editor mockingly sings, “Who’s got time for purses when democracy’s on the line?!”

What is the heel? No one in the fashion world would ever say that, especially now, and it’s a completely wrong way to define the mystery character.

Miranda is a major obstacle for the musical due to how little she shares. Musicals, of course, rely on oversharing. That’s a ballad. To compensate early on, Leavel sings awkward songs as if she were the very model of a modern major publisher. His later big number in Act 2 during a lunch in Paris is a vocally impressive, but forgettable and oddly placed piece “Cruella de Vil”. Thus, Miranda was turned into a supporting role.

Leavel, a fun vocal powerhouse in “The Prom” and “Drowsy Chaperone,” was cast poorly here. In tandem with the writers, she makes Miranda appear as an intermediate average rather than a great cultural icon.

Andy and Miranda, mystifyingly, never even sing a duet, which is what we’ve been waiting all night for. Instead, the climax is a dull, soft scene.

Javier Munoz plays Nigel, a fashion editor at Runway.
Javier Munoz plays Nigel, a fashion editor at Runway.
Joan Marcus

There are a lot of womp-womp choices like that. For example, too much stage time is given to Andy’s depressed roommates (Christiana Cole and Tiffany Mann) and his handsome boss (Michael Tacconi), who sing a dirge about losing their friend at her job.

Another tearful number is sung by Nigel, Runway’s editorial director, in Paris about growing up gay in Kalamazoo. “I used to hide in closets, but now I manage them,” he sings. You have Prada laughing at me.

Either way, actor Javier Munoz, who plays Nigel, is the best part of the show. His material is gritty, old-school “Queer Eye for the Straight Guy” style jokes, but he has tremendous energy.

Meryl Streep and Anne Hathaway starred in the film version of "The devil wears Prada."
Meryl Streep and Anne Hathaway starred in the film version of “The Devil Wears Prada.”
©20thCentFox/courtesy Everett C

Some will see “Prada” for John, who in addition to giving us “Tiny Dancer” and “Goodbye Yellow Brick Road”, wrote the great Broadway musicals “The Lion King” and “Billy Elliot” (and also bad comedies musical “Aida” and “Lestat”).

But “Devil” overtook the vampiric “Lestat” debacle as the worst incidental music of John’s career. None of these songs will appear on the set list of his inevitable final, final, final farewell tour.

That’s a shame. “Prada” was never a deep film. Streep was sensational and elevated what she received. What the show had to do was build an intoxicating world of New York fashion, let us inhabit this exclusive club and have a classy good time.

Instead, we got a nasty bore.

Unfortunately, Arianne Phillips’ clothes are underwhelming – even in Andy’s costume number “Who’s She?” They’re nowhere near as fabulous as Bob Mackie’s spectacular looks in “The Cher Show” or Amneris’ outfits in John’s “Aida”‘s “My Strongest Suit.”

What should have been a high fashion musical is hopelessly ready-to-wear.

Are federal student loans even “loans?” » From forbearance to forgiveness to taxpayers’ expenses. Fairer: Authorize bankruptcy


The educational and industrial complex laughs all the way to the bank.

By Wolf Richter for WOLF STREET.

One person’s loan is another person’s asset. If the loan is cancelled, the property is destroyed. It’s like that.

No one is making payments on government-backed student loans anymore, after two years of forever indulgences, countless campaign promises of forgiveness, various targeted forgiveness programs already in place, and now the big problem, the program of general forgiveness being abolished.

Total student loans outstanding, assuming they are still “loans,” remained at $1.59 trillion in the second quarter from the first quarter, according to the Household Debt and Credit Report from the Bank. New York Fed. They have been relatively stable since the first quarter of 2020, as new loans have been added, while hardly anyone has made payments, and the many rebate programs reduce the count on the other side.

Federal student loans.

Federal student loans account for about $1.3 trillion of that $1.59 trillion total in student loans, according to a separate New York Fed report. The rest is made up of Federal Family Education Loans (FFEL) held by commercial banks and private loans.

These are the $1.3 trillion in federal loans that were all moved into permanent forbearance in the spring of 2020, and are now due for forgiveness.

The median federal student loan balance is $18,773, which means half of federal student loan balances are below $18,773 and half are above.

The outliers everyone is talking about, the loan balances of $150,000 and $200,000, were accrued by a small percentage of borrowers going to law school, medical school, etc., whose most now have well-paying careers and do not need loans. sorry at all.

Delinquencies “resolved” forever.

The amount of student loans past due for 30 days or more has fallen from the official 9.4% of total pre-pandemic balances to just 1%.

For federal student loans, the delinquency rate is 0%. All were automatically enrolled in forbearance programs in the spring of 2020, which have been renewed many times and are still in effect. When a loan is forborne, it is reclassified as ‘open’, not ‘overdue’, regardless of the payment status.

FEEL and private student loans, which were not enrolled in forbearance programs, accounted for all of the defaulted loans.

Student loan forgiveness and cancellation.

In addition to the list of existing student loan forgiveness programs – public service loan forgiveness, teacher loan forgiveness, closed school leave, and others – there is now forgiveness when students feel the complex educational-industrial fucked them.

So last Thursday, a federal judge granted preliminary approval for a settlement that would forgive $6 billion in student loans from more than 200,000 students who said they were defrauded at 153 mostly for-profit colleges.

Few of these schools have been held accountable. So it’s the taxpayers who will pay the $6 billion, not the educational and industrial complex that has gotten the $6 billion over the years, laughing all the way to the bank.

And the big problem, a general forgiveness program is currently being developed by the administration. The proposal started with $10,000 discount per borrower. But this taxpayer greed leaves many voters deeply frustrated, and the anger boils over, putting politicians under pressure to buy more votes, or buy back the same votes, by increasing the amount of the rebate to perhaps $50,000. with income caps.

Then the automatic loan forgiveness… Just kidding, sort of.

The average transaction price for new vehicles is nearly $46,000 and the average advertised price for used vehicles is $28,000.

By comparison, the median government-backed student loan is $18,773. Just another consumer loan. It’s not the end of the world to have to pay $200 a month for 10 years – and salary increases and inflation over 10 years will reduce that burden.

And if people can’t even make a $200 payment, they can’t make a $400 or $800 payment on an auto loan either. So when are we going to buy votes with promises of car loan forgiveness?

It is unfair that people who buy a car because they have to drive to work have to pay back those loans. We need a general car loan discount. The government could simply buy back all outstanding auto loans and then forgive them, up to $50,000 each, perhaps with certain income caps, like $250,000 per individual and $500,000 per married couple filing jointly.

Think of it this way: it would be a huge boost to the economy because instead of making car payments, these people could then waste their money on other things.

It ain’t fair, but fairness ain’t got nothing to do with it.

The government (taxpayers) financed these student loans by borrowing from the Treasury bill market. He then handed over this borrowed money to the educational and industrial complex via the students, expecting to be repaid most of the money, plus interest, by the borrowers after they started working. Their payments would have helped the government pay off debt incurred to fund student loans. But it’s over. Going forward, the taxpayer repays the borrower’s loan.

In other words, the server who would have liked to go to college but couldn’t afford it now has to pay off the student loans of the software engineers who went to college. It’s not fair, but fairness has nothing to do with it. It’s about buying votes. And they hope the server can’t figure that out.

Let the bankruptcy courts decide what is unloaded and how much borrowers have to pay each month.

Borrowers cannot currently obtain discharge of their student loans in the bankruptcy court system. But they found something much more attractive to get rid of their debts: politicians willing to buy votes with other people’s money, namely with taxpayers’ money.

But it doesn’t have to be that way. These same politicians could change the law to allow the release of student loans in bankruptcy courts.

So it would be a judge deciding how much that Stanford-graded coder can pay each month for the next 10 years, and how much that OSU-graded teacher can pay each month. And the judge can then acquit the rest that cannot be paid. Personal bankruptcy has operated this way since the Bankruptcy Reform Act of 2005. In personal bankruptcy filings, people cannot simply walk away from all of their debts.

Student loan borrowers would then consider whether to resist and make the payments; or declare bankruptcy, get the spot on the credit report, get a portion of student loans canceled, if any, and make payments under a court order for many years.

This system is already in place for personal bankruptcies. It’s not perfect, but it works. And that would relieve borrowers who really can’t pay. And that would be a lot fairer to everyone, including the waiter who can’t afford to go to college and doesn’t really want to pay off the student loans other people have taken out to get their degrees .

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Why Lizzo Says ‘Special’ Is ‘A Survival Soundtrack’


Lizzo shot to fame in 2019 and has since continued to give her fans hit after hit. The singer is known for her daring antics and body positivity, as well as her talent. She recently released her fourth studio album, Special, which she says is a “soundtrack to survival”.

Lizzo didn’t want features on her ‘Special’ album

Lizzo performs onstage during the 2022 BET Awards at Microsoft Theater on June 26, 2022 in Los Angeles, California. | Leon Bennett/Getty Images for BET

After releasing his award-winning studio album Because I love youLizzo got to work on her fourth studio album, Special. In 2020, she shared with her followers that the album was almost done except for a few songs. The following year, the singer announced that “Rumors” would be her first song, dropping it on August 13.

The song featured rapper Cardi B. She went on to say that her album was made at a festival in March 2022 and is “coming very, very soon”. She told Zane Lowe in April that Special was originally called In case no one told you until they restructured the hook for the song “Special”, resulting in the album’s renaming.

Shortly after the release of “About Damn Time”, Lizzo announced that Special would drop on July 15 and released a tracklist for the album on July 6. Lizzo said The breakfast club recently that she wanted to put the album in the spotlight and didn’t want to include other artists in the project.

She said, “Obviously there were people I’m a fan of that I sent songs and stuff to, and it didn’t work out. But I get a little greedy, where it’s like, ‘Man, I really want to take this opportunity to show y’all what I can do.'”

Lizzo said that while she was open to working with other people on other projects, she wanted Special to represent his title. “It’s a classic album, no skips, no features. I think I deserve to have this moment.

Lizzo called ‘Special’ a ‘soundtrack to survive’

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Lizzo recently sat down with Elle UK to talk about her career, and she revealed that when she was writing songs for Special, she proposed several that were not part of the final programming. She told the magazine that while some were her favorites, she didn’t want to include a song that didn’t serve a greater purpose.

“I think the bigger goal is, what do I say now that can help people forever?” She told the outlet that several issues came to mind while writing. Some of the issues she reflected on included social justice, climate change and mental health, which the flautist acknowledges is a critical issue.

“It seems that every week we are hit by traumatic events. And one does not surpass the other. They are all equally tragic, equally terrifying, equally traumatic. Lizzo revealed that she struggled to find joy in being an artist when people were dying.

“I had to remind myself that when we come out of lockdown, people will come out of a depression,” she said. “I wanted to make music that people can use as a soundtrack to survive. That was the driving force behind this album,” she continued.

How does “Special” work?

The album received a positive response from music critics upon its initial release. Metacritic, which assigns a rating out of 100, gave Special a 78 out of 100 based on 16 reviews. The album debuted at No. 2 on the US Billboard 200 chart and sold 69,000 units in its first week, becoming the singer’s highest charting album to date. Special is also the highest-charting album by a female artist of 2022.

RELATED: Lizzo Hand-Glitered CD Copies of Her New Album ‘Special’

Phish at the Pine Knob Music Theater in Clarkston, MI


Phish brought the jam session to a drenched, rain-delayed crowd at the Pine Knob Music Theater in Clarkston, Michigan.

It was only the second stop in the Midwest of the jam band’s summer tour, and the excitement among the band’s famous diehard fans was evident as they stood outside the classic venue of the Detroit area. Even when a heavy band of thunderstorms delayed the start of the show by two hours, fans were kept in high spirits knowing that Phishing has often rewarded its crowds with extra special jam sessions when the weather tries to rain down on the parade.

Lead singer Trey Anastasio opened the night with “I Never Needed You Like This Before”, a new song from his 2020 solo album solitary journey. It was an inventive but relatively straightforward performance of the classic rock-style tune that transitioned to “Everything’s Right” from Phish’s 2020 Sigma Oasis workshop scrapbook. The song carries an uplifting message that has helped many fans through the worst of the COVID pandemic. This evening, it may have served to assure them that a few storms would not spoil the party. Considering the large number of people dancing happily on the lawn of the amphitheater, this was certainly not the case.

Bassist Mike Gordon led the band down a funky, twisty road through the one-song, 15-plus-minute jam session, which was the longest of the night. The band had really started to hit a groove when Trey moved his bandmates into an extended version of “Kill Devil Falls”. Just when the band started to slow down the beat, they then quickly picked it up with a funky rendition of “Camel Walk”.

Then they moved into “Stash”. Although the song is a longtime favorite of the band, they somehow continue to find new ways to keep it fresh. Drummer Jon Fishman, dressed in his trademark robe, provided the structure as keyboardist Page McConnell and guitarist Anastasio worked together to pile peak after peak into the song.

The band then dug into their 90s catalog starting with their two shortest songs of the night, “Bouncing Around the Room” followed by “My Friend, My Friend”. Fans were then treated to another classic in “David Bowie.” Although it wasn’t the extremely elongated version like the band usually does, it was still deliciously jammy.

The set ended with another song from Anastasio’s solo project in “Drift While You’re Sleeping” from his 2019 ghosts in the forest album. Trey closed the set by handing over his pick to 9-year-old Jovi, whom he had called on stage to sing “Bug” with him at his solo concert in Grand Rapids in June.

It was a hint for things to come as Phish again launched into “Bug” to start the encore, with the crowd joining the band in raising their fists in the air during the chorus. The rain finally subsided when the band ended the night with the bluesy “Possum” jam, proving that a bit of bad weather can’t detract from a good time when there’s positive vibes and great music to be had. have.

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Goodheart | Music and art come together in ‘Save Ormsby Hall’ project | New


The first phase of a Save Ormsby Hall initiative which began about four months ago is coming to an end. It’s “a huge project,” says designer, well-known artist Laura Facey, who is spearheading it, and the movement to save the venerable building at 3 Victoria Avenue as a community center still has work to do. way to go.

In April, Facey removed five truckloads of old, broken down and long-abandoned furniture, appliances and equipment from the venue, then installed some 40 to 50 works of art, valued at millions of dollars. It took a month and the exhibition officially opened with the introduction of a second artistic genre, music.

It took the form of a recital on May 1 by husband and wife team Peter Ashbourne (violin) and Rosina Christina Moder (recorder). Ashbourne had played on stage at Ormsby Hall as a child, during early music exams.

The exhibition ended on July 31 and during the next week the work will be moved. Some have already been entered into the National Gallery of Jamaica’s current biennial, Facey said in an interview.

“Ormsby Hall has a new owner (the Blue Power Group of Companies), and we hope they will use it primarily as a community space,” she continued. Acknowledging the challenge this would pose for owners, who need to earn money, she said: “It’s a huge project, but if the many interested parties come together and help, maybe we can make a difference. support. In the meantime, we are still talking.

Project chair Dr. Elizabeth Ward, professor of urology and consultant urologist at the University of the West Indies, Mona, and chair of the board of directors of the internationally linked Violence Prevention Alliance (VPA), said specified with the gleaner. “We need an endowment fund to help prevent violence,” she said.

She explained that the fund would be used, among other things, to organize music and art lessons for children. The context was that Ormsby Hall is “a neutral space” between various violence-prone communities. “There are very few spaces like this, with both the land and the building,” Dr Ward said. She revealed that during the first years of the COVID-19 pandemic, she organized drumming lessons for children, which led to an improvement in the (aggressive) behavior of young people.

The VPA was officially created in January 2004 during the meeting organized by the World Health Organization on the milestones of a global campaign for the prevention of violence. The VPA is an opportunity for groups from all sectors (governmental, non-governmental and private) and levels (community, national, regional and international) to unite around a shared vision and approach to prevention. of violence that both address the root causes of violence and improve services for victims.

Ormsby Hall was built in 1930 and is named after the Reverend Stephen Ormsby, rector of nearby St Michael and All Angels Anglican Church. It was built to host public events and musical recitals but at different times housed a primary school and several families.

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Emily Skinner, Jason Danieley, Sierra Boggess, Mary Beth Peil star in A Little Night Music at Barrington Stage from August 6


Regional News

Emily Skinner, Jason Danieley, Sierra Boggess, Mary Beth Peil Star in A little night music at the Barrington stage from August 6

Sondheim’s musical is directed by outgoing BSC founder and artistic director Julianne Boyd.

Emily Skinner, Jason Danieley, Sierra Boggess, Mary Beth Peil

Barrington Stage Company A little night music begins performances on the Boyd-Quinson Stage at the Massachusetts Theater on August 6, and the run will continue through August 28. Julianne Boyd, BSC’s outgoing artistic director, is at the helm.

The production is helmed by Broadway favorites Emily Skinner as Desiree, Jason Danieley as Frederick, Sierra Boggess as Charlotte and Mary Beth Peil as Madame Armfeldt, alongside Cooper Grodin in the role of Count Carl Magnus, Liesl Collazo as Anne Egerman, Noah Wolfe as Henrik Egerman, Sophie. Mings as Petra, Kate Day Magocsi as Fredrika, Adam Richardson as Mr. Lindquist, Rebecca Pitcher as Mrs. Nordstrom, Stephanie Bacastow as Mrs. Anderssen, Andrew Maughan as Mr. Erlanson, Leslie Jackson as Mrs. Segstrom, and Slater Ashenhurst as Frid. Paula Gaudier, Sarah Goeke, Gabriel Logan, Teri Ralston and Andrew Ramey complete the company as understudy.

Joining Boyd in the creative team. Jacqueline Holloway is intimacy choreographer and David D’Agostino is production manager. The production is entrusted to Pat McCorkle of McCorkle Casting.

Based on the film by Ingmar Bergman Smiles of a summer night, A little night music premiered on Broadway in 1973, originally produced and directed by Harold Prince. It won six Tony Awards, including Best Musical, Best Book of a Musical (for Wheeler), and Best Original Score (for Sondheim). The work was revived on Broadway in 2009 in a production starring Catherine Zeta-Jones and Angela Lansbury, and Bernadette Peters and Elaine Stritch later in the run.

A little night music follows series of Don’t misbehave and Anna in the tropics on the Boyd-Quinson Stage, and will be followed by the world premiere of Laura Winters All of me From September 21 to October 9.

For more information, visit BarringtonStageCo.org.

In the field of musical theatre, Hooghlywala is Arun Ahir’s best-known stage name.


Due to her ability to sing a wide range of songs, her fame has recently grown nationwide.

Indian rapper, composer, guitarist, recorder, music producer and programmer Hooghlywala is well known. Although he has performed in various Indian languages, his preferred language is Hindi. Hooghlywala is one of the best known and most versatile rappers in the annals of Indian music and Bollywood movies. His career took off after meeting other directors and he became famous.

Hooghlywala is one of the well-known names for budding rappers and artists. Besides becoming a well-known YouTuber, he also dabbled in singing and music. Due to his amazing collection of music tracks and movies, he is well known among his followers and fans. Due to her ability to sing a wide range of songs, her fame has recently grown nationwide. He was born in Hooghly, Kolkata, India, and his first song, “Hooghly Gang Rap”, was made available on all music streaming services.

Arun Ahir is better known by his stage name Hooghlywala in the rapping world. He was born on August 12, 1995, his real fame came after his most popular song ‘Sabar Rakh’ was released in 2022, this song became immensely popular and reached 2 lakh+ views on YouTube across the world in one month. This song gave him a new direction, fame and popularity with the public.

Its 10+ year old soundtrack was later released on a number of music streaming sites including Spotify, Apple Music, Google Play Music, iTunes, JioSaavan and Amazon Music. He has also been seen uploading his soundtracks to a number of other foreign music streaming platforms including Napster, Tidal and Deezer to name a few. Of course, he has a ton of videos of himself singing on Tik Tok and other social media platforms including Facebook Library, Instagram, and Tik Tok, to name a few. Hooghlywala is a music blogger in general and a music YouTuber in particular.

He is also a well-known social media influencer which elevates him to the top celebrity manager. He focuses all of his efforts on YouTube because that’s where he finds the most success online. This helped him become a skilled YouTuber on social media, where he previously seemed to sing a lot in the music business. The accessibility of social media has also been made possible by the growth of the internet. Even now YouTube remains a huge platform with many potential applications. India, which has over 700 million people, has made significant progress on the internet.

The young man struggled to achieve success despite being a YouTuber, Rapper and Singer. He hasn’t made an effort to turn the tide despite presenting himself as someone marketable. He has created a YouTube channel and uploads music videos to it on various topics. Hooghlywala continued to perform music at the same time and put in a lot of effort to be successful there as well. He paved his way while creating countless songs and films on a variety of other issues with his great talent.


Continue reading about India saga.

Watch Stunning New Oleksandr Usyk Vs Anthony Joshua Promo Video 2


300 locals alongside Usyk and Joshua to promote fight of the year

The accumulation of At Oleksandr Usyk’s World heavyweight title clash with Antoine Joshua in Saudi Arabia has kicked into high gear with the release of the stunning cinematic promo for Rabies on the Red Sea.

The full two-minute film is available for viewing below and at https://youtu.be/OUXcvH9SWY8.

Shot in both London and Jeddah, the film captures the epic intensity of the biggest fight of the year, as well as the unique magic that Jeddah offers as a stunning backdrop.

Directed by Dominic O’Riordan, the promo brings to life the vision of Prince Khalid bin Abdulaziz, who wanted to capture the excitement of the fight taking place in the beautiful city of Jeddah.

Usyk will defend his WBA, IBF, WBO and IBO titles at the indoor King Abdullah Sports City Arena on August 20 against the man he claimed them from last year, with Joshua once again looking to the Kingdom to regain his belts.

Prince Khalid bin AbdulazizSCEE President: “The promo is breathtaking and we are thrilled to see how it captures the excitement of the biggest fight of the year unfolding in our transforming country.”

Ravi Samani of Skill Challenge added, “The complexity of filming the promo in multiple locations was overcome through incredible collaboration and hard work from everyone involved, including the people of Jeddah who really bring the film to life.”

The promo tells the story of each fighter’s preparations, both in their home country and then in Jeddah. The promo’s conclusion is set in the magical neighborhood of Al-Balad, located in its historic old town, and features the two fighters face-to-face, with over 300 local men and women watching.

“It was an incredible experience to shoot in the historical location of Al-Balad for the face-to-face scene,” said O’Riordan, whose resume includes films for adidas, BAFTA, Nike and Visa. “It was really important to me that we gave viewers a taste of Saudi culture which for many is still unknown. I think you can tell in the film that both boxers fed off the incredible energy of the local population, their music and their dance.

O’Riordan added: “Part of what I love about being a director is having the opportunity to shoot in places I’ve never been before and Saudi Arabia has always been a place I wanted to visit. I knew this film deserved a very cinematic treatment to reflect the occasion of the fight that unfolds in Jeddah.

Produced by Whisper and directed by executive producer Jemma Goba, the film was shot in multiple locations in the UK and Jeddah and used some of the latest technology and production techniques. Working alongside local creative and production agencies, Whisper led a production team of over 60 people.

To ensure cinematic quality, Whisper used Sony Venice cameras including very rare Panavision B-series anamorphic lenses as well as a colorist to ensure the best possible image quality.

The Rage on the Red Sea is the latest international sporting event to take place in Saudi Arabia, which has recently become one of the fastest transforming countries in world sport. Since the ‘Clash on the Dunes’ between Joshua and Andy Ruiz Jr in 2019, there has been an almost 300% increase in male and female boxers in the Kingdom, with the number of boxing gyms rising from just seven to 59. As part of the country’s goal to engage and engage its people in sports, the Saudi Boxing Federation aims to inspire 500,000 people to play sports over the next four years.

The promotional film which was directed by Whisper and delivered with support from various local agencies including Purple Brain and 8ies. In addition to Al-Balad, venues included the King Abdullah Sports Stadium, a covered warehouse, Jeddah’s Old City and Usyk’s training in the Red Sea.

The final version will be available in two-minute, 60-second, 30-second and 15-second versions and will be part of the Kingdom’s plans to use the event to inspire more of its people to get involved in sports and lead healthy lives. . Sport participation levels have increased by more than 30%, including a 149% increase among women and girls.

Tickets for Usyk vs. Joshua 2 are available on SAR375 and fight fans can get their tickets via Hala Yalla (www.halayalla.com/sa-en/tickets/rage-on-the-red-sea). For VISA entry information, fans should go to Visit Arabia (www.visa.visitsaudi.com) information on how to apply.

Facts and figures about Rage on the Red Sea:

Produced by Whisper for Skill Challenge Entertainment

Executive produced by Jemma Goba (credits Peloton, Red Bull, World Rugby, UEFA, Nissan)

Directed by Dominic O’Riodran (adidas, Nike, BAFTA, PUMA and Visa credits)

Creative agency 8ies

Purple Brain agency rental

Filmed in multiple locations in the UK and Jeddah

Over 300 local men and women included in final scene at Al-Balad

A musical score specially commissioned by Simon Brown

Production team of more than 60 people

Four different versions of the film: two minutes, 60 seconds, 30 seconds, 15 seconds

Ben Harper, Dawes and Rich Ruth release albums


Here is a trio of new albums worth checking out:

“Lineage Maintenance”, Ben Harper

The acclaimed folk-blues-rock artist returns with his 16th studio feature, which follows 2020’s instrumental affair “Winter Is for Lovers.”

Harper is accompanied on the album by legendary keyboardist Larry Goldings, who takes the opportunity to present his work on the clavinet.

“He’s kind of the unsung hero of soul music,” Harper says of the clavinet. “It was made famous by the intro to Stevie Wonder’s ‘Superstition’, which was probably the first song my dad ever played for me. I brought Larry and we had a blast.

Ben Harper and the Innocent Criminals are supporting “Bloodline Maintenance” with a concert September 18 at the Mountain Winery in Saratoga. Showtime is at 7:30 p.m. and tickets start at $59, mountainwinery.com.

“The Misadventures of Doomscroller”, Dawes

The cool LA rock band is back with their eighth studio album, produced by longtime collaborator Jonathan Wilson (Billy Strings, Father John Misty, Angel Olsen).

“Misadventures of Doomscroller” includes the singles “Ghost in the Machine”, “Everything Is Permanent”, and “Comes in Waves”.

Dawes supported the album on a tour with The Head and the Heart which landed at the Greek Theater in Berkeley on August 19. Show time is 7:30 p.m. and tickets are $55, apeconcerts.com.

“I survived, it’s over”, Rich Ruth

We’re loving the few tracks we’ve heard from the Nashville-based ambient music composer’s new album, which is due out August 12th.

The cut we keep playing over and over again is “Older But Not Less Confused,” which is a mesmerizing slice of post-rock-meets-jazz-fusion drama for the ears. The accompanying video was directed by Brook Linder, who has worked with Billie Eilish, Grimes, Spoon, Beck and others.

Shawshank Redemption Stage Play Plans UK Tour


International information

Shawshank takeover Stage Play Plans UK Tour

Joe Absolom and Ben Onwukwe will direct the work based on Stephen King’s story.

Joe Absolom and Ben Onwukwe

The stage adaptation of The Shawshank Redemption will embark on a new UK tour from August 31 at the Theater Royal in Windsor. The cast will be led by Joe Absolom (Midsomer Murders) like Andy Dufresne and Ben Onwukwe (The Lion, the Witch and the Wardrobe) as Ellis “Red” Redding. Onwukwe returns to the role after starring in a UK tour of the work in 2016; this production will be re-staged for this new release.

David Esbjornson is back at the helm after leading the 2016 tour, with designs by Gary McCann and lighting by Chris Davey. Additional casting and creative teams will be announced in the coming weeks.

This stage adaptation of Stephen King’s short story Rita Hayworth and Shawshank Redemption, best known for its 1994 screen adaptation starring Tim Robbins and Morgan Freeman, is written by Owen O’Neill and Dave Johns, centering on banker Andy, who is wrongfully sentenced to life and befriends a fellow prisoner. The work debuted in 2009 at the Gaiety Theater in Dublin, playing in London’s West End later the same year. The adaptation made its North American debut in 2019 at the Metropolitan Ensemble Theater in Missouri.

The new tour is produced by Bill Kenwright.

Salzburg Festival review – dark bluebeard, bewitching Lenz, awful Orff

Ausrine Stundyte and Mika Kares in ‘Bluebeard’s Castle’ © Monika Rittershaus/Salzburger Festspiele

In a strange sleight of hand, Romeo Castellucci made the Felsenreitschule in Salzburg disappear. Almost every production in this rock-cut theater uses the stone alcoves that frame the stage. Castellucci, in the opening production of this year’s Salzburg Festival, concealed them behind a gigantic black curtain.

His staging of Bluebeard’s Castle is black, black, black. In the darkness before Bartók’s music begins, we hear a baby crying, then a woman crying. For Castellucci, maternal love is born of guilt, a regressive view of original sin. Darkness, water and fire define the castle and form the scene of Judith’s frantic battle with herself. Rather than being a wife-killing despot, his Bluebeard is a gently bewildered husband, vainly trying to support his new bride through a psychological crisis. A dead baby makes the most dubious of props, grabbed by Judith and sometimes handed over to Bluebeard.

We are drawn into this symbolic world partly by the feverish intensity of Ausrine Stundyte’s Judith, partly by Teodor Currentzis’ fanatically detailed reading of the score. The Gustav Mahler Jugendorchester responds to Currentzis with slavish devotion, making the sweetest of pianissimi, the scariest of sound effects; Bartok wins.

A group of women in dark black long clothes stand and sing
Oratorio by Carl Orff ‘De temporum fine comoedia’ © SF/Monika Rittershaus

The idea of ​​twinning Blue Beard with the appalling Carl Orff Fine temporum comedy (Play at the end of time) takes on fleeting meaning when the tuned percussion echoes the harsh half-scales of Bartók’s opera. But that’s where the compatibility ends. Orff’s endless religious oratorio of 1971 reads like the composer’s attempt to explain the imperative of his own redemption; if even Lucifer can atone and earn forgiveness (the heretical premise of all that ends well in the play), Orff’s flexibility when the Nazis arrived certainly doesn’t have to preclude heaven.

Castellucci’s staging populates the stage with symbols: a large rock for the Sibyls, a dead tree for the Anchorites, the inevitable dead children, the omnipresent darkness. Currentzis and his orchestra provide nebulous waves of noise for the action when extra sound is required. About two-thirds of the way through Orff’s repetitive, creaky score comes one of the doomed cries, “It’s the end!” It is the end! This is the end!” – and the worst part is, you know it’s not. It all drags on and unless you can ride the spiritual wave – which one hope the protagonists were – it’s grueling and grim. ★★★☆☆

A man stands among the orchestra players on a stage;  next to him, the conductor applauds
Georg Nigl sings the title role in ‘Jakob Lenz’, directed by Maxime Pascal, right © SF/Marco Borrelli

Wolfgang Rihm’s opera Jacob Lenz, presented the following evening in concert at the Mozarteum and premiered in 1979, is an infinitely better piece. Young Rihm had all the inventiveness and sense of dramatic form that old Orff lacked, and Lenz is still a tense and gripping masterpiece. It is strongly inspired by Büchner’s short story on the descent of the young eponymous poet into madness and death and rubs shoulders with that of Berg Wozzeck like a classic tale of individual suffering in an incomprehensible word.

With Georg Nigl giving a riveting performance in the title role, John Daszak as the wonderfully nuanced Oberlin, and the polished direction and acting of Maxime Pascal and Le Balcon, it’s a worthy tribute to Rihm, part of a series of concerts of his work as this recipient of the Salzburg Ruby Festival pin of the year. The composer himself, now in a wheelchair, was a visibly grateful spectator. ★★★★★

A group of men and women huddle on and around a wooden double bed
‘Gianni Schicchi’, part of Puccini’s ‘Il trittico’ © SF/Monika Rittershaus

For Puccini The tritticodirector Christof Loy and his team remixed the traditional order, starting with the comic Gianni Schicchiwhich is usually played last, moving into dark jealousy/murder drama The tabaro (usually first) and ending with the tragic transcendence of Sweat Angelica. For all the immensity of this effort, with its triple casting and its maximalist set changes (a complete barge for The Tabarro!), the main draw here is Asmik Grigorian in all three female leads. She’s a stage beast, with charisma to spare and a fine, brilliantly managed voice, and she effortlessly commands attention.

Loy’s direction is competent and detailed without being revealing; it is scrupulous conservatism at its best. Much of the success of the evening is the unsentimental conducting of Franz Welser-Möst in combination with the luscious playing of the Vienna Philharmonic Orchestra, performing in a half-raised pit, making Puccini’s orchestration a character in itself.

Welser-Möst drives this orchestral trailer like a Porsche, knowing exactly when to bring delicacy to the smallest detail and when to unleash its full force. The more restraint it brings, the more moving the result. We hear the modernity of Puccini, his lively spirit, his pathos, and we always hear the singers, in themselves rarely acquired. ★★★★☆

Whether festival director Markus Hinterhäuser makes conservative choices out of post-pandemic economic necessity or simply lacks a clear artistic vision, his opening productions represent a series of safe options, from proven directors whose work can be seen in many European festivals and opera stages, with only the most cautious hints of modernity. The actors are top notch and the musical standards are very high; that may be enough. Still, if Orff’s chillingly banal eschatology is the height of risk-taking, it won’t go down in history as a memorable Salzburg year.

The festival runs until August 31 salzburgerfestspiele.at

Atlanta’s canceled Music Midtown festival puts lax gun laws to the test



As gun control legislation stagnates at the federal level, the evolution of the music festival circuit has underscored the impact of state laws: Atlanta’s Music Midtown festival, originally scheduled for next month, was canceled Monday due to a Georgia court ruling that prevented organizers from banning firearms from the festival grounds.

“Due to circumstances beyond our control, Music Midtown will no longer take place this year,” the festival said in a statement. on its website and social media accounts. “We were looking forward to reuniting in September and hope that we can all enjoy the festival together again soon.”

Music Midtown, which was founded in 1994 and most recently held last September, was slated for September 17-18 this year with Fall Out Boy, Future, Jack White and My Chemical Romance headlining. The past decade of festivals have taken place in Piedmont Park, about 200 acres of land managed in part by the city.

According Billboard and rolling stone, both of whom cited industry sources, legal liabilities stemming from Georgia’s extensive pro-gun laws were to blame for the cancellation. The Atlanta Journal-Constitution cited officials who also attributed the decision to “ongoing legal fallout”. In 2014 Governor Nathan Deal (right) signed a sweeping package of bills expanding where people could carry concealed firearms to include spaces such as bars, parks, parts of airports and some churches. The Safe Carry Protection Act, also known as the “Guns Everywhere” bill, gave the state more power to anticipate local gun restrictions.

That same year, pro-gun activist Phillip Evans sued the Atlanta Botanical Gardens after being escorted off the premises for possession of a weapon. Georgia’s Supreme Court reviewed the case in 2019 and ruled that companies with long-term leases could ban firearms on public land; a later decision of the Court of Appeal from this year reinforced that short-term events had little power to restrict firearms.

While Music Midtown took place last year, gun rights advocates took issue with the gun ban this time around. Evans pleaded in May that his legal loss to the garden, which holds a 50-year lease from the city, opened a clearer path to victory against short-term occupants of public lands like the festival. He said to the Journal-Constitution on Monday that he alerted the organizers to his “legal concerns”.

Neither Music Midtown nor its owner, promoter Live Nation, responded to a Washington Post request for additional comment on the decision to cancel the festival. Reached Monday, a member of Atlanta Mayor Andre Dickens’ communications team wrote in an email, “We’ll look into this.”

City council member Michael Julian Bond told The Post on Tuesday that while Live Nation hasn’t confirmed to him the reason for the cancellation, he can see why organizers would be reluctant to hold the event without firearms restrictions. fire: Piedmont Park’s lawn is “exposed on all sides, practically,” he said.

Bond compared the opening of Piedmont Park to the Route 91 Harvest festival produced by Live Nation in Las Vegas where, in 2017, a gunman opened fire and killed dozens of people. He said the proliferation of firearms, facilitated by the loosening of state restrictions, has an economic and social cost.

“As a society, we trade one set of rights for another,” he continued. “You can carry any kind of crazy weapon you want, but you can’t gather peacefully.”

As Gun Ownership Rises, Georgia Seeks to Ease Restrictions: It’s the ‘Wild Wild West’

Festival security measures have come under scrutiny since a wave of crowds at rapper Travis Scott’s Astroworld festival in November killed 10 spectators and injured hundreds; a Post investigation found that most of the victims of the Houston event were in a heavily populated area. Morgan Milardo, chief executive of the Berklee Popular Music Institute, said she has seen an increase in security procedures implemented throughout the festival circuit this summer. Some tell performers and their team members what to do in an emergency, such as if they spot an incident taking place from the stage.

Festival security tends to be “pretty black and white”, according to Milardo. She said including specific safety measures in a runner – or a contractual set of requirements for a performer to perform in a venue, which local journalist George Chidi clocked in friday as a potential reason for Music Midtown’s impending cancellation – is common practice. What has changed here are the laws surrounding the place.

“It’s an open conversation in the music industry right now: how do we keep everyone safe?” said Milardo. “This stuff happens unfortunately, and it’s something we need to be aware of. Promoters are going out of their way to keep their events safe, and artists are going out of their way… it goes a long way.

Music Midtown’s cancellation is not the first time entertainment industry figures have drawn attention to controversial Georgia laws. In 2019, after Governor Brian Kemp (right) signed a ‘heartbeat bill’ that effectively banned most abortions, Hollywood filmmakers announced plans to boycott Georgia. The studios did not follow up on the threats, likely because of the state’s generous tax credit. Most studios remained silent again last year after Kemp enacted voting restrictions which, as CNBC noted at the time, drew criticism from major companies such as Coca-Cola and Delta. As the backlash continued to build, Major League Baseball moved its All-Star Game from Atlanta in protest.

Stacey Abrams, the Democratic candidate facing Kemp for the governorship of Georgia, tweeted a long statement Monday night, condemning his “dangerous and extreme gun program.” The canceled festival “is proof that its reckless policies are also endangering Georgia’s economy,” the statement said, noting later that the incident would “cost Georgia’s economy.” proven 50 million dollars.” Phoebe Bridgers, a Grammy-nominated singer-songwriter who was scheduled to perform at Music Midtown, retweeted Abrams’ post.

Kemp’s office did not respond to the Post’s request for comment.

Korean Singer-Songwriter John Eun Talks Making Music That Lasts With


When you think of Korean music, K-pop usually comes to mind first. But amid the shiny pop bangers and slick music videos are rare gems like singer-songwriter songs. John Eun.

Like most people, I had first heard of John’s music in 2020, when Twitterverse shared a song called ‘Hope’. MR of BTS had contributed backing vocals to the folk-pop track, and that was enough to make me curious. After my first listen, I added it to my playlist, and it became part of my regular rotation. It left me wanting more (I still think 2:05 was painfully short for such a great song), so I backtracked and checked out his previous singles, as well as his debut EP of 2019, merchant groove.

Over the past two years, in between working on his new album, he reunited with RM by sharing co-writing, co-producing and co-arranging the song FESTA 2021, ‘Bike,’ and play the guitar eAeon’latest studio album, Brittle.

Now it’s John’s turn to be in the spotlight as he finally shares his first full album, Suna. Released three years after he officially burst onto the music scene, the new record takes John’s music from the neo-soul styles of his early days into full-on atmospheric folk-pop/rock territory. Sound and thematic cohesion, Suna takes us through rich soundscapes created by the guitarist, who occasionally tinkers with trumpet, bass, piano and mandolin. Made “the old-fashioned way”, John also tells how he did not use any type of pitch correction on any of the vocal tracks on the record.

In an email interview, we talk to the singer-songwriter about his musical journey so far, create records that last over time and introduce his music to listeners.

Hi John! How are you these days?

Great to say hello to anyone checking this out, I’m doing great. Thanks for asking, hope you’re all doing great too.

Tell us a bit about your musical journey. How did you start music? What drew you to the guitar? Was it your first instrument?

Well I started when I was in college when I was living in New Zealand I saw the music video for ‘American Idiot’ by the band called green day, and I got my first guitar for my birthday present that year. You know how the rest went, haha.

What were your influences growing up? What are your favorite artists to listen to right now?

My dad is a HUGE music guru and truly a master listener. I grew up listening Led Zeppelin, Eric Clapton, Joni Mitchell, Nick Drake, Jeff Buckley, Steely Dan, John Coltrane, Dexter Gordon, Art Blakey, and for a few years I’ve been a big fan of a band called Kirinji from Japan. They are truly amazing songwriters with lyrics that sound like poems. [A] enormous influence on me in recent years.

What’s it like to be a singer-songwriter in a country known for K-pop music? In Manila, there are small concerts every night with local musicians. How is the local music scene there?

Well, Korea wasn’t always K-pop. I mean the word “K-pop” means Korean pop music, right? To be honest, I left Korea and traveled the world living in several different countries since I was 14, so I wasn’t really catching up with the whole pop music scene in Korea, as I I said earlier, I used to listen to the Beatles and Joni when I was in middle school and high school.

Speaking of local music, it’s been down a lot since the outbreak of COVID-19, but it seems some jazz clubs are opening these days and I’m glad for that. I’m not so involved in the live music scene anymore (and actually, I wasn’t there anymore), and when I do play live, it’s mostly jazz gigs.

What made you decide to get into music professionally?

An easy but tricky question. To be true I know this might sound a little corny but I really felt and thought as soon as I got my first guitar and practiced for a week I told my parents that I wanted to be a musician when I grew up.

Your first EP, merchant groove, leans more towards neo-soul and your successive singles “Walkin”, “Heart” and “Hope”, gradually take you into atmospheric folk-pop/rock territory. Can you briefly explain your musical journey from your first EP in 2019 to your new album in 2022? Has the pandemic affected/shaped this trajectory? How?

You’re right. The first EP was all about showing up on stage and saying to everyone, “Hey, you don’t know me yet, but see! I can do this, that and also that! I was trying to prove myself to everyone, myself included. And was really aware at the time of the trend and all that.

As I continued to write music and lyrics, I kind of realized that all that trending and “hipness” per se didn’t really matter to me, and more importantly, I found myself realized that I’m not the kind of person who follows the trend and news every day. Most of the music I listen to is at least 50-70 years old and it still sounds great to my ears. The thing is, over time, I become more confident about what I hear in my head and just write them down and record them, go for it.

The pandemic definitely had an effect on me too, song ‘Heart‘ is my point of view.

Your first full album, suna, is finally here. Can you tell us more about the new record?

I want listeners to take them in their own way.

There are very old songs that I wrote at least 2 years ago, and others that I wrote fairly recently. Most of the lyrics of the song are in English except one. Still to this day, I think and process my feelings mostly in English, I think. My mom told me when I was younger than when I sleep, I say things that aren’t in Korean or English, but to her ears it sounded much closer to English. Weird isn’t it? So all the song lyrics came out very, very naturally, not having to choose between the two languages. I left and continued to write them with the first words that accompanied each song.

What song would you ask someone to listen to to introduce them to John Eun? Why do you think this piece of music most represents you and your artistry?

When I was talking to my distributor (The vault) I told them if I could release it without a “title” because all the tracks are almost equal in terms of the importance of the record.

For some who want an escape, I’ll ask them to check ‘Heart’, ‘Hope,‘ Where ‘Double’. For some who need silence but want some background music, I would say ‘Rain shape’ Where ‘Love’s Whisper’.

What do you hope to convey with your music and what do you want listeners to take away from this new record?

I really think it’s not the artist who can decide or suggest [to] somebody [what] to take or feel from the recording.

Everyone’s life is so different in their own situation. Things could be tougher from the inside, take a closer look when it’s next to nothing for someone, right? I just wish this record lived a long time. Like all the legendary albums we all listen to. I’m not saying this record is on any level with the albums and artists I’ve talked about before, but I’ve put my heart and soul into it for almost the last 2 years. The things you put effort into stay and shine even if they flare up later. I believe in my music and everyone’s music these days.

Thanks for reading this and hope you all have a wonderful day, week and month.

John Eun’s first full album, Suna, is now available on streaming services via The Vault. Listen now.

The Reagle Music Theater of Greater Boston will present PIPPIN in August


Reagle Music Theater of Greater Boston aunveiled the cast of Pippin applethe 2nd and last production of the Summ companyuh the 2022 season. August 5-13, 2022 at the Robinson Theatre, 617 Lexington St. Waltham, MA, 02452, Pippin apple tells the story of a young prince struggling to decide whether he wants to lead a peaceful life or “work magic” with the dazzling cast of performers who help him tell his story. Pippin apple will feature a diverse cast of actors including award winner Elliot Norton Davron Monroe (2019, Breath & Imagination) like the enigmatic “Leading Player”.

Reagle will present Pippin apple of August 5-13, 2022. Directed and choreographed by award-winning artistic director Rachel Bertone (Cabaret, In the Heights, Carousel), with the musical direction of Dan Rodriguez (The Last Five Years, Little Shop of Horrors, Mame). Tickets can be purchased at www.reaglemusictheatre.org, by calling 781-891-5600, or at the theater box office. Recommended for ages 13 and up.

A mysterious performance troupe – led by the main player – tells the story of Pippin, a young prince in search of passion, adventure and meaning. He seeks it in the glories of the battlefield, the temptations of the flesh and the intrigues of political power. Ultimately, however, Pippin discovers that happiness lies not in extraordinary efforts, but rather in the non-extraordinary moments that happen every day. The score (by Nasty and divine spellby Stephen Schwartz) includes “Magic to Do”, “Corner of the Sky”, “Simple Joys” and “No Time at All”. Music and lyrics by Stephen Schwartz; Book by Roger O. Hirson. Presented by special arrangement with Music Theater International (MTI).

Performance schedule: Friday, August 5 – 7:30 p.m.; Saturday August 6 – 7:30 p.m.; Sunday August 7 – 2 p.m.; Wednesday August 10 – 2 p.m.; Thursday August 11 – 7:30 p.m.; Friday August 12 – 2 p.m.; Saturday August 13 – 7:30 p.m.

Featured Actor Bios: (* denotes a member of the Actors Equity Association):

Recent credits include Once on this island (Agwe) with SpeakEasy Stage and STRANGE PASSBY (Stew) with Moonbox Productions. Davron is the winner of the 2019 Elliot Norton Prize Breath & Imagination (Roland Hayes). Other theater credits include: songs for a new world and The view upstairs (Speakeasy Stage Co.), Murder on the Orient Express, The Wiz, Camelot, Company, My Fair Lady, City of Angels, Sweeney Todd, One Man, Two Guvnors, The Mikado, Avenue Q, and Don’t misbehave (lyrical scene), Caroline or Change, Godspell (Moonbox Productions), The Little Mermaid, RAGTIME (corporate theatre), Man from La Mancha (New representative), hair spray (Reagle Musical Theater), dream girls, Jesus Christ Superstar, Children of Eden and Smokey Joe’s Coffee. Davron has also appeared with the Boston Landmarks Orchestra (Lost in the stars – a celebration of the 50e Anniversary of the “I have a dream” speech, and The Jubilee of the Chariot), Coro Allegro, Convergence Ensemble, Brevard Music Center, Orlando Opera’s Heinz Rehfuss Singing Actor Awards Finalist, Disney Entertainment’s Voices of Liberty, South Florida Symphony, Houston Ebony Opera Guild, the New England Spiritual Ensemble and d other organizations in the Greater Boston Area. Davron was the first recipient of the Bob Jolly Award for Emerging Local Actors.

Kenny Lee – Pepin

Kenny is thrilled to be part of his first production at the Reagle Music Theatre! This fall will mark Kenny’s second year as a musical theater major at the Boston Conservatory in Berklee. Earlier this year he was Daniel in SpeakEasy Stage Company’s production of Once on this island.

Hailing from Stoneham, MA, St. George has appeared in most local theaters. Broadway: fiddler on the roof (Tony Award, directed by Jerome Robbins); Off-Broadway: I love you, you are perfect, now change. Kathy has received the Elliot Norton Award and two IRNE Awards. www.KathyStGeorge.com

Damon is a Boston-based actor/writer/director. He is a proud member of the Actors’ Equity Association and lives in Cambridge with his wife Laurie (also an actress and playwright), whose love and support is invaluable.

Punyanuch (Spirit) Pornsakulpaisal – Catherine

Mind graduated from the Boston Conservatory at Berklee MFA ’21. The Thai performer and vocal coach is excited to return to perform in the Boston area. Credits include: Summer: The Donna Summer National Tour (Michael/Maid/Together), The sleepy chaperone (Janet van DeGraff), elephant and pig, We are in a room (Pig), and ladies at sea (Jeanne). Eng: @mindyppmind

Past RMT shows include Ruth in wonderful cityNellie Forbush in South PacificCassie in A chorus lineLiz in Chicagoand Prudy/gym teacher at hair spray. www.katieanneclark.org

The entire cast includes: Kenny Lee as Pippin; Davron Monroe* as main player; Damon Singletary* as Charles; Katie Anne Clark as Fastrada; Kathy St. George* as Berthe; Ian Prime as Theo; Punyanuch (Mind) Pornsakulpaisal as Catherine and Joel Douglas* as Lewis (dance captain). Lauryn Whitnell, Dierdre Roberts, Brian Pereira, Joy Clark* (battle captain), Annaliese Wilbur, Micheline Wu, Ezra Noel, Aimée Coleman, Brendan Sheehan, Andy Edelman and Michael Di Leo complete the ensemble. Swings: Ella Amarante and Rachel Madson. Pippin watches Max Selig.

Production Biographies:

Rachel Bertone, artistic director; Director & Choreographer

Bertone brings nearly 20 years of experience as a theater and dance professional to her position. Over the past decade, she has directed more than 50 musicals, including Cabaret (IRNE Prize: Best Direction, Best Choreography, Best Musical), Carousel (IRNE: Best Choreography), In the heights (IRNE: Best Musical, Elliot Norton: Best Ensemble), The Wild Party (IRNE: Best Musical), Gypsy, Little Shop of Horrors, Kiss of the Spider Woman, Billy Elliot, Barnum, Show Boat, HAIR, Les Misérables, Joseph…Dreamcoat, among others. She has also directed and/or choreographed a number of prominent Broadway performers including Lisa Yuen, Michel Bell, Ciarán Sheehan, Brent Barrett, Rick Hilsabeck, Sarah Pfisterer and De’Lon Grant. A teacher of theater and dance based in both Greater Boston and New York, Bertone has taught at renowned institutions including the Boston Conservatory at Berklee, the American Repertory Theater Institute at Harvard University, Emerson College and Long Island University. www.rachelbertone.com

Calabrese joined the Reagle Music Theater in May 2022. Most recently, she served as associate director of community engagement at Florida State University, leading the theater school’s outreach and engagement efforts. She created alternative outreach opportunities and events during the COVID-19 pandemic and implemented a new client renewal approach that increased donor retention and maintained memberships and annual revenue. She has also established new partnerships with Best Buddies and Southern Shakespeare to create sensory performances and create more opportunities for younger, non-neurotypical members of the community to access the arts. Prior to her time at Florida State University, she was director of development for five years at the Synchronicity Theater in Atlanta. While there, Calabrese also co-founded and led a new arts incubator project at Synchronicity called Stripped Bare, which helps diverse young professionals produce new and innovative work.

Dan has been Reagle’s resident music director for 11 years, with recent favorites like La Cage Aux Folles, Mame and The Most Happy Fella. Dan’s other credits in the field include work with the Lyric Stage Company (The Last Five Years, Little Shop of Horrors), Front Porch Arts Collective (Ain’t Misbehavin’), Huntington Theater Company (Sunday in the Park with George, A Little Night Music), Wheelock Family Theater (Make Way for DucklingsIn the Heights), American Repertory Theater (The Lily’s Revenge, The Blue Flower), New Repertory Theater (Hair), Moonbox Productions (Caroline or Change, Cabaret) and many other theaters as well as work at the Boston Conservatory, Emerson, Brandeis and other schools . His work has earned him five IRNE awards for best musical direction.

The rest of the production team includes:

Cameron McEachern (Scenic Designer), Frank Meissner Jr (Lighting Design), Chelsea Kerl (Costume Designer), Robby Davis (Sound Design), Lauren Corcuera (Props Supervisor), Emily White (Dramaturge), JT Turner (Fight Choreographer), Sophie Pratt (assistant director), Alyssa Weathersby (assistant choreographer), Mindy Cimini (associate musical director) and Brian Robillard (production manager).

Tickets for Pippin:

Single adult tickets cost between $38 and $68; discounts apply for seniors and youth. To buy, visit www.reaglemusictheatre.orgcall 781-891-5600, or visit the theater box office at 617 Lexington St, Waltham, MA, 02452. Hours of operation are Wednesdays 2-5 p.m.; Friday 11am-2pm; Saturday 11 a.m. to 2 p.m. Groups over 20 must contact the ticket office or send an e-mail [email protected].

‘Ali & Ava’: love blossoms for two immensely sympathetic lonely hearts



(3 stars)

She’s a bit country and he’s a bit rock and roll, and those musical tastes aren’t the only things that separate the main characters of “Ali & Ava.” British screenwriter-director Clio Barnard’s unromantic romantic drama observes the tentative relationship of two people who have little in common except loneliness and their hometown: Bradford, the ethnically diverse West Yorkshire town where Barnard shot all his films.

Of South Asian descent, Ali (Adeel Akhtar) is a former DJ with vague musical ambitions and a day job managing the modest houses his family rents. Born in Britain to Irish parents, Ava (Claire Rushbrook) is a cash-strapped school assistant who has four children and five grandchildren. The two meet when Ali brings Sofia (Ariana Bodorova), the daughter of two of his tenants, to the school where Ava works. They bond over their common affection for the little girl, a member of the large Slovak community in Bradford.

Ali and Ava are more or less single. Ali shares a house with his ex-wife, Runa (Ellora Torchia), but she plans to move. Ava’s physically abusive husband is dead, although she has a house full of children and grandchildren. Her son Callum (Shaun Thomas, who appeared in Barnard’s 2013 “The Selfish Giant”) is a major obstacle to a potential romance. He was first seen dancing to Bollywood music on an exercise TV show, but reacts furiously when he finds his mother with Ali.

Ali and Ava are based on real people Barnard met while making previous films, and their characters were developed in conjunction with the actors. The drama’s documentary-style cinematography is equally naturalistic. Ole Bratt Birkeland shot the film with a handheld camera in available light, giving it an impromptu feel (and lots of scenes that are literally very dark).

The film’s soundtrack also feels like a documentary, with everyday ambient sounds unsweetened by a score. Still, there’s plenty of music, most of it illuminating the main characters. Ali is featured as he dances atop his car to Sylvan Esso’s electro-pop”Radiowhich recurs throughout the film. Later, Ava and her daughter go to a karaoke bar to sing “dirty old town», a folk tune associated with pogue. The two songs are very different in style, but Ali and Ava’s musical tastes sometimes converge: they both feast when the Buzzcocks”Boredom“rings from a car radio, and Ali learns Bob Dylan’s” himselfMom, you were on my mind.”

For all its concern with authenticity, “Ali & Ava” shares something with glibber and more glamorous cinematic romances: it takes the attraction between the two lovers for granted and never really establishes why they are so attracted to one. towards the other. What’s most satisfying about the movie is getting to know Ali and Ava separately. They’re blessed with warmth, depth, and credibility by Akhtar and Rushbrook, veteran supporting actors who are rarely cast in lead roles. Ali and Ava may not be entirely compelling as lovers, but they’re both exceptionally likable as individuals.

Not rated. In the theaters of the region; available August 23 on Amazon and Apple TV Plus. Contains foul language, threats of violence and sexual innuendo. 94 minutes.

Beyoncé’s ‘Renaissance’ breaks new Spotify record


Photo credit: Franklin Heijnen / CC by 2.0

Hail the Queen! by Beyoncé Renaissance breaks new Spotify records and brings rave reviews.

Beyonce’s highly anticipated seventh album Renaissance, the superstar’s first solo studio release since 2016, made waves around the world in its early days. Spotify announced on Friday that the album had become the most-streamed album in a single day by a female artist in 2022.

The album is already credited with being “the most exit we are talking about of the Year”, which is not surprising given Queen Bee’s dominant presence in the music world. The album and its song titles populated Twitter trends in the days leading up to its release — largely due to it leaking less than two days before its scheduled debut. It’s safe to say fans have been craving more since 2016 Lemonade, and advice for Renaissance reflect that.

“It’s feel-good music in the sense that it’s music for everything,” Chris Richards of The Washington Post writing of its disco and house atmospheres. “She speaks to the extraordinary breadth of American black dance music at large.”

Renaissance was already at the top of Apple Music’s Top Album Chart on Friday, with several of its tracks on the Top Songs Chart. Later that day, “Summer Renaissance” was number one on Spotify Today’s Top Hits Playlist.

Despite (or perhaps thanks to) its immense success, the album has already sparked some controversy. Kelis, the singer best known for her 2003 single, “Milkshake,” called out Beyonce for not asking her permission before sampling her music on the album.

Interestingly, many songs on the album seem to be generating more buzz among fans than its lead single, “Break My Soul,” which hit number seven on the Billboard Hot 100 chart. It remains to be seen which tracks, if any. applicable, will receive a higher ranking.

Dierks Bentley sets the stage for 10th album with new single “Gold”


Dierks Bentley has been a mainstay on the country charts since releasing his debut single “What Was I Thinkin'” nearly 20 years ago. The song became the first of Bentley’s 21 No. 1 hits. The latest single “Gold”, from his upcoming tenth studio album, ushers in a new era for the singer.

Bentley, who was instrumental in both writing and producing “Gold,” is involved in all aspects of her career. In addition to writing, producing and touring, the singer founded the Seven Peaks Music Festival, launched his Dierks Bentley’s Whiskey Row bar and restaurant franchise in four locations and unveiled the Flag & Anthem Desert Son clothing line. . Although he’s a natural performer, the singer admits the business side of things “always bothered him”.

“I don’t want to be in business, I just want to be a country singer,” he tells me. “That’s enough for me. I think one of my strengths is knowing my weaknesses.

MORE FORBESHow a writer at Ronnie Dunn’s publishing house inspired his new album

Bentley admits that every business venture happened organically. He says he never wanted to be involved in a country bar, but he grew up at the Rockin’ Horse Saloon in Scottsdale, AZ, which burned down in 1996.

“It was the initial little dream that just grew up,” he says of his bar. “The Flag & Anthem thing was based on the clothes that I wear, and I met these guys who liked the same things that I liked. So it grew.

“I think one of my goals is really…and I think ‘Gold’ kinda talks about that, it’s just to be there and be excited about it all,” he continues. “That’s where my life is right now. It’s pretty crazy and it’s all happening at once. You can’t put it off. … So trying to lean into it and not have a defensive posture is something I always tell myself when it comes to all of this.

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Bentley says he’s also learned to say no to certain business opportunities that don’t make sense for him or his career. Although he’s had several TV offers over the years, he says he turned them down because they weren’t the right fit.

“I’m busy with a small film offer at the moment,” he says. “I am not an actor. I mean, I can fake it pretty well for three minutes in a video but I’m not much of an actor. It’s a little disrespectful to this whole profession to think that you can be. It’s a big commitment. So you want to make sure that if you get involved in something, you’re going to be all in. I guess that would be my advice.

Bentley took his own advice when making his tenth album. He says he went to the studio three times with different producers for the project. “Gold” was written towards the end of the process with frequent collaborators Ross Copperman, Luke Dick and Ashley Gorley. The song was inspired by Bentley’s time in Colorado during Covid-19 with his family as well as their recent return to Nashville.

“I got a little rust on my Chevy but it’s ready to roll/ Got a rhinestone sky and a song in my soul/ It’s not a smooth ride, life is a winding road / Yeah it might be gravel but I feel gold,” Bentley sings on the chorus of the song.

“I needed a break from all of this,” he says of his departure from Music City. “I came back thrilled to be back in Nashville and with more gratitude than ever for the city and all it has given me. The song is a lot about being present in the moment. You recognize that the grass isn’t always greener – even though the mountains are higher in Colorado – but it’s pretty good where you are. That’s a message for me as much as anyone else. .

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Bentley says his tenth album will include his bluegrass and “old school country” influences as well as the big bass drums, guitars and sounds for the arenas and amphitheaters he plays.

“There’s a little mix of everything that made me who I am on this record,” he says.

“Gold” is available now.

Pianist Stephenson to play, Buehling to play banjo at 1874 Courthouse at Washington’s Music in the Park – SWARK Today



by curator Josh Williams

(WASHINGTON, Ark.) – Washington State Historic Park announces the annual Music in the Park Summer Concert Series themed “The Music That Binds Us Together.” An additional free concert will take place the afternoon of Saturday August 20 in addition to the evening performance in front of the 1874 courthouse.

To 3 p.m., Dr. Kristin Stephenson will perform piano pieces from 19th century salons in Washington Presbyterian Church. The music performed will include compositions by Mozart and Beethoven. Dr. Stephenson graduated from the Julliard School in New York and performed at the John F. Kennedy Center for Performing Arts in Washington, DC More information can be found online at www.kristinstephensonpiano.com.

To 7:30 p.m., Clark Buhling will perform vintage banjo tunes on the lawn of the Courthouse from 1874. Clarke Buehling is widely recognized for his interpretations of the late 19th century finger banjo. Clarke is also at the forefront of the recent resurgence of interest in Ante-bellum minstrel banjo style and songs. Learn more at https://www.facebook.com/clarke.buehling.

Music has been a favorite pastime that unites families and communities. Washington Residents at 19e century enjoyed playing and listening to all types of music as a form of entertainment and camaraderie with each other. Come enjoy evenings of great music that bring us together as a community at Historic Washington State Park.

Customers are encouraged to bring lawn chairs or a blanket to sit on. Concerts begin at 7:30 p.m. The gift shop will be open for refreshments and Williams’ Tavern restaurant will be open from 11 a.m. to 7 p.m. for dinner.

The Music in the Park series is sponsored by: Tyson Foods, Farmers Bank and Trust, McDonalds of Hope, Lagrone Williams Hardware of Hope, Washington Grace Cottage and the Pioneer Washington Restoration Foundation.

About Washington State Historic Park

Washington Historic State Park, located in Washington, Ark., is open daily from 8 a.m. to 5 p.m., except Mondays. The park is a restoration village interpreting historic Arkansas in the 19th century. Daily tours are offered to more than 15 historic sites and museums, such as the BW Edwards Weapons Museum and the Blacksmith’s Shop.

Relax and enjoy your stay at the Historic Washington Jailhouse Bed & Breakfast and enjoy a Southern cooked meal for lunch at Williams’ Tavern Restaurant. The 1914 school dormitory for group rentals is also available on-site, as well as the historic 1860 Brunson House and 1940 WPA Gymnasium for weddings and meeting space for groups of all sizes.

To learn more about upcoming historic tours, events, rent a facility, or book a room at Jailhouse Bed & Breakfast, visit HistoricWashingtonStatePark.com or call 870-983-2684. The park is located on US Highway 278 nine miles north of Hope and can be reached by taking Exit 30 off Interstate 30.

About Arkansas State Parks

Arkansas State Parks is a division of the Arkansas Department of Parks, Heritage and Tourism. Arkansas State Parks and Museums cover 54,400 acres of forests, wetlands, fish and wildlife habitats, outdoor recreation facilities, and unique historical and cultural resources. The system includes 1,100 buildings (including 183 historic structures), six National Historic Landmarks, one National Natural Landmark, 16 sites on the National Register of Historic Places, and War Memorial Stadium.

State parks have 1,800 campsites, 1,050 picnic sites, 208 cabins, five lodges, and 415 miles of trails. Eight million visitors come each year from all regions of the country. Park staff deliver more than 42,000 educational programs, activities and special events to more than 700,000 participants each year.

Established in 1923, Arkansas State Parks preserve special places for future generations, provide quality recreation and educational opportunities, enhance the state’s economy through tourism, and provide leadership in resource conservation. Connect with us on Facebook, Instagram, Twitter and visit ArkansasStateParks.com and ArkansasStateParks.com/media to learn more about all we have to offer.

Paper Girls Season 1 Soundtrack


When the time period in which a show or movie takes place is one of the most vital things about it, getting the details right is important. In a recent interview with Harper’s Bazaar, David Harbor revealed that Stranger Things’ The secret weapon on some of these niceties was actually fellow star, Winona Ryder. “She was like, ‘This song actually came out in ’85, and you got it in ’83″” he said. “She knew all these tiny details that they didn’t even know, and they had to change things in the script based on that.” A little surprising that it’s come so far that the star of the series had to make these corrections, but good changes to make nonetheless!

As strange things, Amazon Prime Video’s new sci-fi series paper girls– based on the acclaimed comic book series by writer Brian K. Vaughan and artist Cliff Chiang – features characters from the 80s. But where stranger things remains stationary and linear throughout the decade ghost hunters and Kate Bush, paper girls doesn’t spin its wheels too much before traveling to the recent past of 2019. And that means a bunch of confused characters who love Danzig end up with other confused characters who love Dave Matthews Band.

The music of paper girls is essential not only to establish a subtext to who these new characters are and what kind of music they feel expressing themselves, but also a good way to show how much the worlds around them have also changed. Even “trendy” music can go from New Order’s synth to the (newer!) LCD Soundsystem’s synth. It’s the same thing…but different—a common theme running through almost everything in Paper girls.

Without further ado, here’s why you came here: Amazon Prime Video’s Complete Time Travel Soundtrack Paper girls. You can jam in the period you prefer.

Episode 1

“Age of Consent” – New Order

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“Work It (Soulwax Remix) – Marie Davidson

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“If I Could Turn Back Time”

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“Hazy Shade Of Winter” – Bracelets

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Episode 2

“Chicks Don’t” – The Darknesses

“Rough N Tough” – loosely tight


“Someone Good” – LCD Sound System

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“I thought the future would be cooler” – YACHT

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“The Proudest Monkey” – Dave Matthews Band

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“Wiggy” – K-Lab featuring Sam Ross

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“Move” – ​​​​Mobius VanChoPaille

“Cosmic Dancer” – T. Rex

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“Out of the Blue” – Debbie Gibson

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“Prim and Proper” – Goldo

“Down Like This” – Emma Sameth & BearFar

Episode 3

“Mother” – Danzig

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“In Your Life” – Moonbeam

“Blue Monday” – New Order

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Episode 4

“School’s Out” – Alice Cooper

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“Cruel Summer” – Bananarama

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“Space Song” – Beach House

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Episode 5

“Kokomo” – Beach Boys

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“Mambo n°5 (a bit of…) – Lou Bega

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“Daddy Loves Mambo” – Perry Como

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“ABC of Love (Home Edition)” – Shinequa

“Could It Be Love” – Pente

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“The Cutter” – Echo and the Rabbits

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Episode 6

“Are You Ready (Phone Calls Mix)” – Doug Laurent

“Eternal Fire (Doug Laurent Edit) – Doug Laurente

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“Dirty” – The Roast Beef

“Spit on a Stranger” – Cobblestone

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“The Blue Danube” – Berliner Philharmonkier, Herbert von Karajan

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“Global Warning” – Terminalhead

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“No Conflict” – Terminalhead

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“Ligeti: 2. Kyrie [Requiem (1963/65)]- Bayerischen Rundfunks Symphony Orchestra, Francis Travis

“ethio remix 6” – Jan Weissenfeldt

“Arch Angel” – Antiqua Sub Via

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“Parallel Universe” – Red Hot Chili Peppers

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Episode 7

“Living Thing” – Q-Tip

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“I Only Want You” – Chewie Marble

“Circle Around You” – Jackie Bristow

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“The Real World 8: Hawaii Theme Song”

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“Shining Eyes” – Eric V. Hachikian

“Television” – Eric V. Hachikian

“It’s not right, but it’s okay” – Whitney Houston

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Episode 8

“Bad Medicine” – Bon Jovi

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“The Golden Age” – David Bowie

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DOJ investigates FinTech over PPP loans | Sheppard Mullin Richter & Hampton LLP


On June 3, a filing in federal court in the Southern District of Florida by an Atlanta-based FinTech company revealed that the small business lender was under investigation by the DOJ for alleged practices of approval of PPP loans. According to the FinTech, as of August 2020, it had processed more than $7 billion in PPP loans to at least 300,000 small businesses.

In a motion to quash the government’s subpoena in an unrelated PPP loan fraud scheme, the FinTech said “the US Attorney’s Office in Boston has investigated [the FinTech] under the False Claims Act, on the theory that [the Fintech] improperly approved PPP loans that were blatantly fraudulent or did not comply with Small Business Administration (“SBA”) parameters”. Because of this ongoing investigation, the FinTech argued that “the subpoena presents an undue — and, equally importantly, unnecessary — burden and undermines the FinTech’s ability to defend itself. The court dismissed the FinTech’s request.

put into practice: This rare disclosure of a pre-charge DOJ investigation warns that the government continues to focus its enforcement efforts on the FinTechs that administered the PPP loans. This leaked investigation adds to the ongoing fallout for the FinTechs that administered the PPP loans. The government and media have often accused FinTechs of being gateways for PPP fraud due to their less robust anti-fraud controls compared to traditional financial institutions. As detailed in a previous blog post, in June 2021, the House Select Subcommittee on the Coronavirus Crisis opened investigations into the role of four FinTechs (including the FinTech cited here) in issuing allegedly fraudulent PPP loans.

Most of the DOJ’s enforcement efforts have focused on applicants who fraudulently obtained CARES Act funds, but this investigation shows the government is also directing enforcement efforts at FinTechs who have administered CARES Act funds. CARES law. These enforcement efforts could have extreme consequences for lenders under the FCA, including treble damages and civil penalties for any fraudulent claims submitted to the government. Here, the government is likely to file a complaint with the FCA over the theory that fintechs caused misrepresentations to the SBA by failing to adequately screen fraudulent PPP applications. The FCA also allows private whistleblowers to sue on behalf of the government, meaning any employee of a FinTech or financial institution (or even an unaffiliated person) could sue under a similar liability theory.



CLICK HERE TO DOWNLOAD/STREAM/BUY: https://empire.ffm.to/whathappenedtoatlanta
DOWNLOAD THE WORK: https://drive.google.com/file/d/1aiP9_fYBwoLXgecf9P7oYRKYhF5UEnNn/view?usp=sharing

ATLANTE, July 29, 2022 /PRNewswire/ — Atlanta is and has always been an influence on culture; from music to sound via the vernacular and Book Yung shows that with the release of his new single “What Happened to Atlanta“with a friend Atlanta rapper Skooly. “What happened to Atlanta” is an ode to what Atlanta used to be and remember all the good things that made Atlanta a place that everyone loves today. Book Yung expresses his love for the town he was born and raised in as Skooly reminisces about those incredible times while asking the question “What happened to Atlanta“?. Book Yung says: “I wrote this song because of space Atlanta is right now and sees a change in the city over the years. I represent “The Real Atlanta” and being one of the sound creators in Atlanta, me and Skooly are the perfect two to talk about. The message is to bring back and show people what “The Real Atlanta” really is. Atlanta” is now available on all DSPs.




Atlanta has become one of the most influential cities and mecca of urban culture and music in the South, housing and giving birth to undeniable talent, including hip hop artists Book Yung. Continuing the tradition of displaying a dynamic and avant-garde style, Book Yung captivated a strong fanbase from its Southwest Atlanta education. More recently, Book Yung signed to Blackground Records 2.0 which was founded by a music industry icon and legend Barry Hankerson. Book Yung is not new to the entertainment industry as he has previously been signed to T.I.’s Grand Hustle label, released singles and mixtapes under his own imprint (with manager Jamin) UNOS Entertainment, and made guest appearances. on popular mixtapes from DJ Scream, Hustle Gang, and platinum producer Zaytoven.

With ears on the street and eyes on the prize, Booke is becoming his own and ready to take on the world by showcasing his lyrical ingenuity and irrefutable talent. Booke is preparing to release his new single “What Happened to Atlantawith fellow rapper Skooly and even more music featuring some of your favorite artists. Stay tuned Book Yung is here to stay.


Founded by Barry Hankerson Originally and launched in 1993, Blackground Records became a household name in music and pop culture in the 1990s and early 2000s with Hankerson’s expert ear for developing artists who would go on to careers prolific for the aforementioned artists. Over the years, Blackground Records – featuring artists such as the late Aaliyah, Timbaland, Tank and JoJo – has sold millions of records, had ten Top 10 Billboard 200 albums and won countless awards. Now as Blackground Records 2.0, Hankerson plans to continue his undeniable impact on pop culture.

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David sentenced for fraudulently obtaining loans


Harlan County man David Christopher Lewis sentenced to 33 months for fraudulently obtaining COVID relief loans

A Harlan, Ky., man, David Christopher Lewis49, was sentenced to 33 months in federal prison on Thursday by U.S. District Judge Robert E. Wier, after pleading guilty to wire fraud, for obtaining Paycheck Protection Program loans under false pretences.

According to his plea agreement, in May 2020, Lewis submitted two fraudulent applications for Paycheck Protection Program (PPP) loans on behalf of Bubba Fest, LLC and Elite Artists Agency, LLC. The two ventures were tied to a “comic con” style event called Bubba Fest that Lewis had hosted in previous years. The Paycheck Protection Program was created as part of the CARES Act, legislation passed in March 2020 in response to the COVID-19 pandemic.

Paycheck Protection Program loans were designed to incentivize small businesses to keep workers on their payroll during the pandemic; these loans would be canceled by the US Small Business Administration, if the borrower determined that the loan proceeds were being used for payroll, rent, or other approved business expenses. The amount of the loan depended on the company’s payroll.

As part of his fraudulent PPP loan applications, Lewis provided the bank, First State Bank of the Southeast, with false tax documents and payroll records misrepresenting the company’s employee count and salary expenses. As a result, he obtained a fraudulent PPP loan for each company totaling $370,000.

Evidence admitted at Lewis’s sentencing hearing established that between May 26 and August 28, 2020, Lewis paid himself or his wife more than $100,000 of the PPP loan. In his plea agreement, Lewis also admitted to obstructing the FBI’s investigation of his crime by providing a sworn affidavit that lied about the existence and location of the companies’ employment and payroll records.

Under federal law, Lewis must serve at least 85% of his prison sentence. Upon his release from prison, he will be placed under the supervision of the US Probation Office for three years. In addition to the jail sentence, Lewis was ordered to pay $370,000 in restitution to the First State Bank of the Southeast.

Carlton S. Shier, IV, United States Attorney for the Eastern District of Kentucky, and Jodi Cohen, Special Agent in Charge, Federal Bureau of Investigation, Louisville Field Office, jointly announced the sentencing. The investigation was led by the FBI. The United States was represented by Assistant United States Attorney Paul McCaffrey.

On May 17, 2021, the Attorney General established the COVID-19 Fraud Enforcement Task Force to mobilize Department of Justice resources in partnership with government agencies to scale up enforcement and prevention efforts. pandemic-related fraud. The task force strengthens efforts to investigate and prosecute the most culpable domestic and international criminal actors and assists agencies administering relief programs to prevent fraud, among other methods, by increasing and integrating coordination mechanisms existing ones, identifying resources and techniques to uncover fraudulent actors and their agendas, and sharing and leveraging information and knowledge gained from previous enforcement efforts.


Live with Billboard Latin – Billboard


A week after releasing his first album Portals (Warner Music Latina/Grand Move Records), Tiago PZK is gearing up for two consecutive sold-out concerts at the Movistar Arena in Argentina. “After manifesting it for so long, this is my dream show,” he said. Billboard during an Instagram Live Thursday, July 28. “It’s an amazing show and I’m very proud of myself.”



See the latest videos, graphics and news

See the latest videos, graphics and news

During his tour, which includes 35 dates in more than 10 countries, Tiago will perform songs from his first-year studio album, which took him about two years to create.

He named him portals, or Portals, due to the experimental nature of the 15-track set. “I wanted to get out of the artist’s classification of ‘you’re a reggaetonero’, ‘you’re a trap artist’, and break away from that a bit,” he explains. “I wanted to do what I loved, that’s why the album is very varied and each song is a new portal.”

On set, the Argentinian singer-songwriter navigates between catchy reggaeton (“Salimo de Noche”), driving punk rock (“Noche de Soledad”), soulful R&B (“Entre Nosotros”) and even funk. Brazilian (“Electrica”), to name a few.

“It was tough, but that’s the best part about making an experimental album,” he says. “I wanted to play with something that I had never done before. Each genre has its own essence and style.

The single “Sex & Love” in collaboration with Jamaican producer RVSSIAN is proof of this. “It was difficult at first because I didn’t speak English. I felt pressured because I was meeting him for the first time and I’m shy,” he notes. “Nobody in the studio spoke Spanish, but he ended up being a very cool guy. It’s one of my favorite songs of my career and I chose it as the main track because I thought it was a hit.

As for what he hopes to accomplish with his career and his new album, he wants to motivate dreamers like himself.

“I will always push the dreamers who have no motivation or opportunities presented to them,” he said. “They have to encourage themselves and work a lot for themselves because they are the masters of their future.”

To listen Portals and watch the entire IG Live with Billboard Latin below:

Court Filing Reveals DOJ Investigating Administration of PPP Loans by Fintech | Sheppard Mullin Richter & Hampton LLP


A filing in federal court by a fintech company revealed that it was under investigation by the Department of Justice (“DOJ”) regarding its Check Protection Program loan approval practices. payroll (“PPP”) for over a year. This rare disclosure of a pre-charge DOJ investigation warns that the government is refocusing its enforcement efforts on the fintechs and financial institutions that administered the PPP loans.

The fintech under investigation is an online lending services company that lends to small businesses and has processed more than $7 billion in PPP loans to at least 300,000 businesses. The fintech has revealed it is under investigation by the DOJ as it responds to a subpoena in an unrelated Southern District of Florida case where a person was accused of submitting fintech fraudulent PPP loan applications. Seemingly unaware of the ongoing fintech investigation, the government in the criminal case sought testimony about how the fintech administered PPP loans and loan applications.

The fintech filed a motion to quash the subpoena in June, saying the DOJ was already investigating its conduct under the False Claims Act (“FCA”) in a separate case over the theory that it improperly approved claims. PPP loans that were obviously fraudulent or not. in the Small Business Association (“SBA”) settings. According to the same filing, the DOJ is also investigating the adequacy of fintech fraud and anti-money laundering controls. The fintech argued that it should not be forced to testify as a non-party when it was under investigation for the same conduct for which it was subpoenaed to testify, but the court rejected the motion shortly after it is filed.

This leaked investigation adds to the ongoing fallout for the fintechs that administered the PPP loans. The government and media have often accused fintechs of being gateways for PPP fraud due to their less robust anti-fraud controls compared to traditional financial institutions. As previously detailed here, in June 2021, the House Select Subcommittee on the Coronavirus Crisis opened investigations into the role of four fintechs (including the fintech cited here) in issuing allegedly fraudulent PPP loans.

Most of the DOJ’s enforcement efforts have focused on applicants who fraudulently obtained CARES Act funds, but this investigation shows the government is also directing enforcement efforts at fintechs who have administered CARES Act funds. CARES law. These enforcement efforts could have extreme consequences for lenders under the FCA, including treble damages and civil penalties for any fraudulent claims submitted to the government. Here, the government could bring claims to the FCA on the theory that financial institutions caused misrepresentations to the SBA by failing to adequately screen fraudulent PPP applications. The FCA also allows private whistleblowers to sue on behalf of the government, meaning any employee of a fintech or financial institution (or even an unaffiliated person) could sue under of a similar theory of liability.

put into practice: Lenders who have administered PPP loans would be advised to review their loan administration protocols to ensure they have complied with their anti-fraud and anti-money laundering responsibilities.

Watch theater artists bring life-size puppets (bigger than) to life in the new 101 Dalmatians musical



Watch theater artists bring life-size puppets (larger than) to life 101 Dalmatians Musical

Kate Fleetwood is Cruella de Vil in the Limited Engagement at Regent’s Park Open Air Theatre.

The Regent’s Park Open Air Theater production of 101 Dalmatians officially opened in London on July 22 after previews that began on July 12. Starring Olivier and Tony contestant Kate Fleetwood as Cruella de Vil, performances continue until August 28.

In the video above, puppet designer and maker Toby Olié, who also helped develop the jaw-dropping puppets for Tony’s winner Battle horsediscusses his process for bringing the title canines of this new musical to life.

“I think the kind of different shapes that we have in the show keep that sense of playfulness and fun about the dogs and their relationship with their owners,” says Olié.

Timothy Sheader directs 101 Dalmatians with choreography and movement direction by Liam Steel and musical supervision and orchestrations by Sarah Travis. Read the reviews here.

Fleetwood is joined by Stuart Angell as Captain (Head), George Bukhari as Jasper, Sonya Cullingford, Karen Fishwick as Danielle, Tom Peters as Captain (voice), Eric Stroud as Dominic, Jonny Weldon as Casper and Grace Wylde as Madame Gifted.

The set includes Jamil Abbasi, Sonya Cullingford, Joseph Fletcher, CJ Johnson (who will play Cruella on August 10 and matinees on August 18 and 25), Kody Mortimer and Courtney George with swings Jade Davies, Taofique Folarin, Tash Holway (also the dancing captain), and Simon Oskarsson.

Dalmatians Pongo and Perdi are performed by Danny Collins (Pongo Voice), Emma Lucia (Perdi Voice), Yana Penrose (Perdi Head) and Ben Thompson (Pongo Head). Young company alternating as Dalmatian puppies includes Rebecca Bennett, Charlie Man-Evans and Harmony Cover-Allicock for Button; Darcey Fryer-Bovill, Rhiya Rasalingam and Paul Sarte for Lucky; Oscar Cox, Charlie McGonagle and Albie Salter for Patch; and George Clarke, Hadlee Snow and Howard Webb for Spud.

Musicians include Ollie Boorman, Sam Edgington, Tom Harrison and Liam Spencer-Smith, alongside Susanah van den Berg, Helena Gullan, Mischa Jardine, Liz Kitchen, Sam Morgan Grahame, Sioned Saunders who also feature in the ensemble.

The newly commissioned musical, based on the book by Dodie Smith, features music and lyrics by Douglas Hodge and book by Johnny McKnight from the stage adaptation by Zinnie Harris. This new adaptation is distinct from both the 1961 Disney animated film and an earlier musical adaptation by BT McNicholl and Dennis DeYoung which toured the United States in 2009 starring Rachel York as Cruella.

The creative team also includes casting assistant Shanaé Chisholm, associate director Josie Daxter, casting director Jill Green, associate choreographer Tash Holway, associate voice and text and season director Barbara Houseman, lighting designer Howard Hudson, assistant puppet director Maia Kirkman-Richards, sound designer Nick Lidster for Autograph, costume designer Katrina Lindsay, season associate/intimacy support Ingrid Mackinnon, music director Tarek Merchant, children’s casting directors Verity Naughton and Nick Hockaday for Verity Naughton Casting, puppet designer and director Olié, set designer Colin Richmond, sound designer Ella Wahlström and creative associate Nic Wass.

Visit OpenAirTheatre.com.


Check out production photos from London’s 101 Dalmatians musical

Lampo Folio – The Brooklyn Railroad


Folio lamp
Edited by Andrew Fenchel and Andrew Lampert
(Lampo, 2021)

The event score, a format born out of the Fluxus band in the 1960s, is typically a “recipe for one- or two-line action,” as artist Alison Knowles describes it. The ten contributors to Folio Lamp, released by the Chicago-based Experimental Arts Association of the same name, expands these parameters to incorporate visuals, lengthy text, and the instructional document itself, resulting in highly sensitive scores and imagination. Edited by Lampo director Andrew Fenchel and artist, critic and archivist Andrew Lampert, Folio is housed in a slim container in the palest shade of mint green. It consists of an introduction and ten scores, each relayed on a large loose sheet of paper folded in half. Ordered during the pandemic, these scores »[create] new steps in domestic spaces, and [are] a way to think about the social conditions of performance, especially at a time when family life and shared experiences have been disrupted,” write Fenchel and Lampert.

The event score works according to the logic of musical notation and text; even if the viewer does not literally carry out their instructions, simply reading the notation allows a series of visualizations to unfold. It has coiled potential, transforming as it is iterated over time and space. Fenchel and Lampert cite Knowles, George Brecht, Yoko Ono, La Monte Young and other members of the Fluxus group as pioneers of the form, but they note that the contributors to Folio were encouraged to push the score of the event beyond the “short texts and simple gestures” that characterize its most famous examples.

One method of complicating the score of the event was to imagine that the actors in the scores were performing simultaneously, though they were invisible to each other in their isolated spaces. Accordingly, each contributor was asked to choose a time of day when their piece should be performed. This request resulted in the choice of wittily subjective times, such as “after dinner (but before dessert)” and “when the shadows are long enough, giving all objects at least twenty percent extra length”. The promise of competing experiences, however imaginary or personalized, imbues the scores with an optimistic sense of collectivity.

The materiality of folded paper also plays a key role in the complexity of Folio, in direct opposition to the idle viewing dynamic created by streaming performances, a common (and necessary) form during the pandemic. Freed from the passive position of spectator, the reader/interpreter is invited to bend, turn over and, in certain cases, modify the scores themselves. Nikita Gale Producer asks performers to manipulate shapes by rotating, halving and joining sections of the sheet in a puzzle-like challenge. by Jessie Marino whorl requires the actors to trace shapes with a pointed instrument, forming raised patterns which are then “played” with the actor’s fingers. If they do not ask the performers to transform the sheet, the works of Sergei Tcherepnin Release the Beluga Night and Sarah Hennies work for the heat provide carefully sequenced instructions for producing sounds with homemade instruments, while Nour Mobarak Private socket uses silence as a key element of the composition, inviting the actors to recite a hallucinatory poem while wearing earplugs. As the performer turns the pages, new intricate layers of these scores are revealed.

In other works, ratings have been produced based on chance and the results of external systems. by Lampert Intraday shows ninety-two charts documenting Spotify’s stock price fluctuation between noon and 1 p.m. on May 13, 2021. Performers are expected to play their chosen instruments using the charts, price or variations percentage as indications of increase or decrease in pitch; the artist warns them that “like the stock market, this music is unpredictable and can be volatile”. Inspired by her past as a “broken student” reading reviews of records she couldn’t afford to buy, Jennifer Walshe’s A BOILING MAELSTROM OF WOODS REVERBERATION used an AI trained on album reviews to generate textual scores that unfold like scrambled, wizarding poems. Piling similes (“like the soundtrack of a movie about death”, “like a heaving field of crop circles of pent-up emotion”) alongside repetitive invocations of “dark” and “buzzy” basses, the stuck phrases reach their own strange rhythms.

I found scores that revolved around imaginations and absences to be the most powerful, evoking situations and temporalities just out of reach. To stage Bonnie Jones Tetraphobia: a ritual for now, the performers must evoke a sound from childhood, contemplate it and then attempt to play it in front of an audience. Inside the fold of the sheet is a photocopy of what are presumably Jones’ adoption papers from South Korea, in a gesture of sharing his own past. by Elliot Reed UNITED SUPER DETERGE PER HOUSTON 91-01-27 asks the performer to sit in the bathroom, with the shower on and a lit candle, listening to Whitney Houston’s 1991 Super Bowl performance of “The Star-Spangled Banner.” The actor has to imagine the United States cleaning up as the song plays. The instructions view this act of sonic and psychic cleansing with mute hope: “After Whitney’s final grade, the United States will most likely be clean. The interpreter of the same drollery of Gala Porras-Kim A score for exercises in chronesthesiavisualized as graph paper with a circle “sinking” below the horizon as the pages are turned, should begin their work at sundown, thinking intently of someone else who might also be following the score. The piece is made “when a connection is made through thought”, an event so intense that “blindness can occur”. This warning, however ironic, symbolizes the mixture of deadpan and possibility that best characterizes the score of the event. What worlds could the interpreter unlock, if he really tried?

Finding the perfect tone in music, art and theater



Exam questions:

This question is based on an excerpt from Musical Offering, BWV 1079: 4b. Canon 2 a 2 violins in unison by Johann Sebastian Bach on the album Bach, JS: Musical Offering; Harpsichord Sonata No. 2, etc.. (Archive production 2000).

The score for this extract is below.


Explain how height is used in this excerpt. In your answer, make specific reference to the score.

Student response:

This excerpt is in B minor, established by the initial ascending tonic arpeggio (B minor) in basso continuo. This key is further accentuated when violin I plays dominant → tonic in the two starting notes. In b.2, violin I plays a descending B minor scale with an A# (chromatic interest). It lands on the tonic on the trill. From b.3, the continuo part plays a chromatically descending bassline to b.7, dropping almost an octave. Violins use all their strings, so have a wide tessitura (register), the continuous bass part is in the low register. When violin II repeats the part of violin I (canon), it is in the same pitch.

Marker comments:

The response contains accurate score references. It explains a variety of pitch elements, for example, tonality and sequence. It also includes details about the structure of the land.

General Comments:


visual arts

Exam questions:

Refer to plates 5, 6 and 7 of the booklet of plates to answer question 3.

Analyze the relationships between the audience, the work and the world in Adnate’s work.




Student response:

Adnate’s work, as seen in plates 5, 6, and 7, explores the relationships between the audience, the artwork, and the world through his depictions of characters and individuals who relate to the location of the work, as well as their large size and impact on the public.

Plate 5 is an image from Adnate’s 2015 exhibition titled In the sun, and contains several paintings of Aboriginal and Torres Strait Islander people with bright, vivid orange color detailing. The gallery in which these works were exhibited is the NandaHobbs Gallery, and the exhibit referenced Adnate’s own interest in his heritage and the importance of heritage to identity and place. The title of this work alludes to the harsh climate of Australia, particularly in remote communities, but it also refers to the search for purpose in life and the connection to identity. All of the faces of the characters in Adnate’s artwork are painted with traditional designs that symbolize a connection to the culture and importance of the sun and climate of the regions of Australia to the identity of the Aboriginal and Strait Islander peoples of Torres. The artist wishes to showcase the beauty and significance of Aboriginal and Torres Strait Islander cultures by creating a bold and engaging exhibition for Sydney audiences.

In Plate 6, Adnate’s work in 2016 The Sheep Hills Silo is depicted, which is a very large-scale public work that uses spray paint and acrylic paint to depict individuals from the area in which the silo is positioned. The artwork is part of the Silo Art Trail series, which is over 200 kilometers long and aims to provide insight into the spirit and culture of the Wimmera Mallee in Country Victoria. The artwork depicts close-up views of people in the community against the backdrop of a countryside landscape, with stars in the sky and a sunset. This work was created by Adnate to highlight the connection between landscape, place and identity, and how this is particularly relevant to Indigenous peoples and their sense of culture. The large-scale, lifelike depiction of the work aims to impress audiences and encourage them to recognize the importance of place to identity and culture.

Similarly, in Plate 7, Adnate’s work in 2018 Wellington Street Tower, the artist depicts images of individuals who have a connection with the place in which he resides. This work is another public artwork, using bold, large-scale colors to amplify the portraits of four people who live in the building the artwork was painted on. The 20-story mural uses acrylic and spray paint to show that Australians can come from many different places around the world, choosing subjects from three different continents. The artist also wants to show the beauty and individuality of those who live in these forgotten buildings and thus create a strong impact on the public. He hopes that the public will be forced to see the importance of this place for the identity of these individuals, and the hope it gives them for the future.

These three works by Adnate explore how the audience, the artwork and the world are connected through their exploration of identity and space.

Marker comments:

This answer reveals a comprehensive understanding of the interrelationships of art world agencies. It identifies that place, identity and culture are linked through the use of symbolism, site and scale. The answer also demonstrates shrewd insight when interpreting the source material. Investigations into works of art are layered and incorporate multiple understandings of how the public interacts with works of art.


Drama: Individual Performance Tips

Students must:

Katie Alice Greer: Priests Singer on New Solo Album “Barbarism”


In the midst of a pandemic, in a small room in Los Angeles, Katie Alice Greer thought of Bruce Springsteen. Not the anthemic wrestler of “Badlands” or the poet of the “4th of July, Asbury Park” walk; the Bruce she had in mind was that of Nebraska, the dark solo album he had recorded nearly 40 years earlier in another small room across the country. “I was thinking what it looked like to him,” she said. “It takes a certain amount of faith or trust to get into a dark, lonely headspace and do something.”

Barbarism, the album she emerged with after 18 months alone in this room, is full of surreal language, distorted noise and disorienting melody. It looks like nothing Nebraska — but it feels like the existential crossroads Greer faced when she did it.

At the beginning of 2020, when she started making Barbarism, she was reeling from the recent disbandment of Priests, the band she had led for eight years in Washington, D.C. With Greer as their incandescent vocalist, Priests had been one of the most essential rock bands of the 2010s, playing unforgettable shows. which rocked thrillingly to the brink of chaos in crowded basements and clubs that have since closed. Through their proudly independent, artist-run label Sister Polygon Records, they had helped bring artists like Snail Mail, Downtown Boys and Sneaks to a wider audience; on their own records, such as the 2014 EP Body and control and money and power and their debut in 2017 PL, Nothing seems naturalthey had gone from caustic punk tirades to something more complex and challenging.

Upon the release of their second full album, 2019’s The seduction of Kansas, the bonds that united the priests were fraying. In interviews from that time, they spoke of the tensions that had resulted from their relentless work ethic and their upward career trajectory pushing them into group therapy in an attempt to save the band. Even now, three years later, as she talks on Zoom from a sun-drenched West Coast living room, it’s not easy for Greer to revisit that part of her life. “I haven’t talked about it much,” she said. “It was devastating. The band meant everything to me.

His spirit dates back to the spring of 2019, when Priests played a show in Bloomington, Indiana. The next day, she was so dehydrated and ill that she had to rush to the hospital – a reality check that left her wondering if she had put the welfare of the group before her own. That fall, she went to rural Tennessee to stay with her parents for a few weeks and settle her thoughts. “I half-jokely tell people that I must have had a nervous breakdown, but that’s no joke,” she says. “I was really not doing well. I wanted so badly to keep the band together and make it work. I hadn’t imagined a future where I wouldn’t be involved in this band.

Feeling she had reached a breaking point, she returned to DC and made a deal with her bandmates to put the priests on indefinite hiatus. On December 31, 2019, they played one last show in Brooklyn, giving their fans a bittersweet moment of closure. “I’ve never been married, I don’t know what divorce is, but I have to assume it was kind of like that,” Greer says. “I was so ready for the fighting and the sadness to be over.”

At the start of 2020, she was preparing to build a new life in Los Angeles after spending 14 years of training immersed in the DC music scene. “I love DC so much, but in some ways it just felt too heartbreaking to stay,” she says. The end of Priests had caused her to rethink her whole way of life there, and to reconsider the choices that had left her exhausted: “I, very naively in my early twenties, said to myself: ‘If I throw myself and all my passion into this little world that means so much to me, it will give me what I need in return. But if you don’t literally think about your own health, it’s just not sustainable.

Two weeks after moving into her first apartment in California, the pandemic forced her to take a break. “It made this situation even more emotionally intense for me,” Greer recalled. “On some level, I needed to close this chapter of my life – but I probably also needed to process a lot of my grief. Being locked up was like, ‘No, you have to sit here with all your terrible feelings and uncertainty and just deal with it.’ It was a very, very difficult first year here, but it was necessary.

Working in “a very small bedroom at the back of the apartment, the smallest room possible to record”, she settled into a daily creative routine, creating songs from scratch using Voice Memos. , a vintage Alesis HR-16 drum machine, an old acoustic guitar her parents bought her at Costco when she was growing up in Michigan, a few keyboards, and everyday sounds like car alarms and eggs that smash in a mixing bowl. “It was endless,” she says. “There were times when I wondered, ‘Am I losing my mind? Is this going to be a Bright something where at some point I realize I’m just typing, “All work, no play makes Jack a boring boy?”

Instead, she ended up with distorted pop songs like “Fake Nostalgia”, where she starts talking about The twilight zone and ends up repeating “I want out” like a prayer, and “Captivated”, which eerily revolves around a single repetitive piano note. On “Flag Wave Pt. 2,” her voice ripples and warps over waves of warm synths as she reaches a moment of acceptance: “You don’t want to be ruled, and I don’t blame you.” Other songs fall through trapdoors into a haunted-sounding space or an ambient guitar hum. It’s trippy, radical, strangely alive music like nothing Greer has ever done.

she went out Barbarism on Four Four Records, the new venture of DFA Records co-founder (and longtime Priests fan) Jonathan Galkin. “I’ve been trying to sign Katie Alice Greer since Priests released her first 7 inch single in 2012,” Galkin said. “I was fascinated by this group and their talent from the start. They had tremendous power. After their controversial split from DFA in 2020, the pieces finally aligned for them to work together.” Katie was in that moment of reinvention,” Galkin continues. “I, too, was in a moment of reflection. I like to think that we decided to take risks for each other.

As we speak, Greer seems excited and happy about the latest twist in her career — though she’s still adjusting to the idea of ​​sharing her solo pandemic project with the world. “I made this record totally by myself, and I was trying to feel comfortable being as weird as possible,” she says. “I love how weird this turned out. But as the album got closer to release, I suddenly felt nervous – almost that way where you dream that you forgot to put clothes. I just feel very exposed.

She is working on plans to perform Barbarism live, including next month’s dates at the Lodge Room in LA (August 16) and the Knockdown Center in Queens, New York (August 21). “I want to perform,” she says. “I miss it a lot.” And she is already thinking about her next project. “This record is probably unique, because of the circumstances in which I made it,” she adds. “I have a feeling that whatever I start recording next will sound totally different.”

Ticket July 27, 2022


Kwanglim Arts Center, BBCH Hall

“Seopyeonje,” featuring pansori singer Lee Jaram, left, chronicles the lifelong journey of pansori, or traditional Korean narrative singing, singers in post-1953 Korea. The musical will be held at the Kwanglim Arts Center in southern Seoul on August 12. [JOONGANG ILBO]

August 12 – October 23: Based on the story of famous novelist Lee Cheong-jun, “Seopyeonje” chronicles the lifelong journey of singers from Pansorior traditional Korean narrative song, in the post-Korean War era (1950-53).

The musical adds elements of contemporary pop to the original pansori numbers. The main role Song-hwa will be alternated by pansori singer Lee Jaram, musical actors Cha Ji-yeon and Yuria, singers Hong Ja, Yang Ji-eun and Hong Ji-yun.

The show starts at 7:30 p.m. on weekdays, 3 p.m. and 7:30 p.m. on Saturdays and 2 p.m. and 6:30 p.m. on Sundays and public holidays. There are no shows on Mondays.

Tickets range from 60,000 won ($45.70) to 130,000 won.

Apgujeong Station, Line No. 3, Exit 4

Jangchung Arena

August 13 and 14: Singer Kang Daniel, who recently released his new album “The Story” in May, is preparing to hold a two-day concert in August. This is his first solo concert since going solo three years ago. The title of the concert, “Parade”, is also the main track of the new album. Kang premiered “Parade” last month on “The Kelly Clarkson Show.” Kang said he was “delighted to hold his first solo concert.”

Kang debuted in 2017 after winning first place on Mnet’s hit idol audition show “Produce 101.” He and 10 other finalists formed project boy band Wanna One, which disbanded in early 2019. He made his debut as a soloist in July 2019.

Tickets cost 132,000 won.

The concert starts at 6 p.m. on Saturday and 5 p.m. on Sunday. Both concerts will be broadcast live.

Dongguk University Station, Line No. 3, Exit 5

Charlotte Theater

Until August 15: Set in Paris in 1917, a beautiful dancer named Mata Hari enchants all of Europe with her mysterious dance. She helps people forget the pain of war, eventually becoming a celebrity in high society. However, her life changes when she meets Captain Ladoux of the French Intelligence Bureau, who blackmails her into becoming a spy.

The Korean production of the musical is back with Ock Joo-hyun and Solar alternating the role of Mata Hari.
The performance starts at 7:30 p.m. on Tuesdays and Thursdays, 2:30 p.m. and 7:30 p.m. on Wednesdays; 2 p.m. and 7 p.m. on Fridays, Saturdays and public holidays and at 3 p.m. on Sundays.

There are no shows on Mondays.

Tickets range from 70,000 won to 150,000 won.

Jamsil station, line n°2, exit 3

Sejong Center for the Performing Arts, Grand Theater

Until August 22: Directed by American director Robert Johanson, this musical is based on Victor Hugo’s 1869 novel of the same name. The musical has been praised for its set design, put together by designer Oh Pil-young. The story is set in 17th century England, where there was a huge gap between rich and poor.

The story revolves around the life of main character Gwynplaine and the unfair treatment he suffers from society.
For the upcoming production, singer Park Hyo-shin and musical actors Park Eun-tae and Park Kang-kyun are alternating the role of Gwynplaine.

The musical begins at 7:30 p.m. on Tuesdays and Thursdays, at 2:30 p.m. and 7:30 p.m. on Wednesdays, Fridays, Saturdays and public holidays and at 4 p.m. on Sundays. There are no shows on Mondays.

Ticket prices range from 60,000 to 150,000 won.

Gwanghwamun Station, Line No. 5, Exit 8

Seoul Arts Center, Concert Hall

August 31 : Violinist Ray Chen and pianist Sunwoo Yekwon will collaborate on stage for Mast Media’s Super Duo series. Mast Media is Sunwoo’s Korean label. They will perform the “Violin Sonata No. 2 in G major, op. 13” by Grieg, the “Violin Sonata, FP 119” by Poulenc and the “Violin Sonata in A major” by Franck.

Sunwoo was the first Korean pianist to win the gold medal at the prestigious Van Cliburn International Competition in 2017. His latest album was “Mozart”, released in early 2020. Chen is a Taiwanese-Australian violinist. He won the 2009 Queen Elisabeth Competition.

Tickets range from 50,000 won to 120,000 won.

The concert starts at 7:30 p.m.

Jamsil station, line n°2, exit 1 or 2

National Theater of Korea, Haeoreum Grand Theater

The National Changgeuk Company presents

The National Changgeuk Company presents “Rabbit’s Eight Sufferings”, a traditional Korean opera that tells the famous pansori tale (Korean traditional narrative song) of “Sugung-ga”. [NATIONAL THEATER OF KOREA]

August 31 – September 4: “The Eight Rabbit Sufferings” is a changgeukor Korean traditional opera performance, telling the famous Pansori (Korean traditional narrative song) tale of “Sugung-ga”. It was written by famous playwright Koh Sun-woong for the National Changgeuk Company. When it premiered last year, it received acclaim from critics and audience members alike.

The show starts at 7:30 p.m. on weekdays and 3 p.m. on weekends.

Tickets range from 20,000 won to 80,000 won.

Dongguk University Station, Line No. 3, Exit 6

Seoul Arts Center, Concert Hall

Maestro Chung Myung-hun during his piano recital last year at the Seoul Arts Center [CREDIA]

Maestro Chung Myung-hun during his piano recital last year at the Seoul Arts Center [CREDIA]

September 15: Maestro Chung Myung-whun will perform a chamber music concert with young Korean musicians at the Seoul Arts Center in southern Seoul. He will also conduct and play piano for one of the numbers.

The artists who will perform under Chung’s direction are cellist Song Young-hoon, double bassist Sung Min-je, violinist Kim Su-yeon and violist Kim Sarah. They will perform the “Piano Quartet No. 3 in C Minor, Op. 60” and Schubert’s “Piano Quintet in A major, D. 667”.

Tickets range from 50,000 won to 130,000 won.

The concert starts at 7:30 p.m.

Nambu Bus Station, Line No. 3, Exit 5

Lotte Concert Hall

September 29: Korean cellist Sungwon Yang and Italian pianist Enrico Pace will hold a duo recital, featuring pieces from Beethoven’s Cello Sonata.

“This will be a concert that allows spectators to truly appreciate Beethoven’s music,” said the Lotte Cultural Foundation, the concert organizer. The two performed together on several occasions, performing pieces by Beethoven. The program includes the Cello Sonata “No. 1 in F major, op. 5, No. 1”, “No. 2 in G minor, op. 5, no. 2”, “No. 3 in A major, Op. 69”, “No. 4 in C major, op. 102, no. 1” and “no. 5 in D major, op. 102, No. 2.

Tickets range from 40,000 won to 80,000 won.

The concert starts at 7:30 p.m.

Jamsil station, line n°2, exit 1 or 2

Lotte Concert Hall

October 14: Maestro Simon Rattle and the London Symphony Orchestra visit Lotte Concert Hall for the first time in four years. Korean star pianist Cho Seong-jin will accompany them. The next concert could be the London Symphony’s last concert under Rattle’s direction in Korea, as the maestro will be leaving the orchestra after the 2023-24 season.

They will perform “La valse-poème chorégraphique pour orchester” by Maurice Ravel, “Symphony No. 7” by Bruckner and “Rhapsody on a Theme of Paganini” by Rachmaninoff.

Tickets range from 100,000 won to 400,000 won. The ticket office will open from July 28 at 2 p.m.

The concert starts at 8 p.m.

Jamsil station, line n°2, exit 1 or 2

Chungmu Art Center, Grand Theater

Until October 23: Charlie Price takes over the family business from his father and begins to run a shoe factory, but he soon realizes that he is on the verge of bankruptcy. In a bid to find a breakthrough, the businessman reluctantly teams up with a drag performer named Lola to produce a line of high-heeled boots for other drag queens called “kinky boots”.

Through the relationship between the unlikely couple, the musical sheds light on how people from different backgrounds can come to understand each other.

For the upcoming Korean production, Lee Seok-hoon of K-pop trio SG Wannabe, Kim Sung-kyu of K-pop boy band Infinite and musical actor Shin Jae-bum will alternate the role of Charlie. As for the role of Lola, three musical actors – Choi Jae-lim Kang Hong-seok and Seo Kyung-soo – will alternate.

The musical begins at 7:30 p.m. Tuesday to Friday, 2 p.m. and 7 p.m. on weekends and public holidays. There are no shows on Mondays.

Ticket prices range from 70,000 won to 150,000 won.

Sindang station, line n°6, exit 9

*Most tickets are available at ticket.interpark.com/global or by calling 1544-1555.

BY YIM SEUNG-HYE [[email protected]]

The Lexington Theater Company is gearing up to bring Chicago and all its jazz to the stage


LEXINGTON, Ky. (WKYT) – The Lexington Theater Company is counting down to bringing Chicago to the stage.

The Broadway musical turned movie is the company’s next summer theatrical production.

“It’s been a busy month for sure,” said Lyndy Franklin Smith, co-founder and artistic director of The Lex.

Days after performances of Disney’s The Little Mermaid thrilled audiences, rehearsals began for Chicago.

“It’s remarkable how quickly we go through the material in this process,” Franklin Smith said. “From the first rehearsal to the first hearing, it’s two weeks. This team has been preparing for years to arrive at this show ready to move so fast. But when it’s all said and done, we’re in the rehearsal room from 10 a.m. until 6:30 p.m. And in the space of just a few days, we go from page to step.

After her own trip to Broadway and back, Lyndy and her husband Jeromy Smith are bringing Broadway here after founding The Lexington Theater Company which stages the musical August 4-7 at the Lexington Opera House.

Murder, mayhem and “All That Jazz” abound in the Broadway classic, with a jazzy score by John Kander and Fred Ebb and a book by Bob Fossé and Fred Ebb. Chicago is Broadway’s second longest-running show.

The adaptation of The Lex features direction and choreography by Patrick O’Neill (Associate Choreographer of Broadway’s School of Rock and Broadway-bound The Heart of Rock & Roll). The Lex Orchestra takes center stage in this production, led by Resident Music Director Brock Terry.

Chicago will also be led by a host of Broadway veterans, including J. Daughtry (Ain’t Too Proud, The Color Purple, Beautiful: The Carole King Musical) as Billy Flynn, Lexington’s Haley Fish (Kiss Me Kate, Hello Dolly, Cats) as Velma and Kristin Yancy (The Cher Show, Summer: The Donna Summer Musical) as Roxie. Altamiece Carolyn Cooper plays Mama Morton, a role she has played across the country in many regional theaters; Brance Cornelius returns for a second summer show to play Amos; and University of Kentucky alum and Drag Star Gilda Wabbit will play Mary Sunshine.

In addition to seasoned Broadway pros in lead roles, the cast includes rising stars and recent college graduates.

“That’s what’s really special about what we do,” Franklin Smith said. “It looks like Broadway, but it’s made here in Lexington for this community. And that’s why we’re so excited.

Evening performances for the musical will be at 7:30 p.m. on Thursday, August 4; Friday, August 5; and Saturday, August 6. Additionally, there will be matinees at 1 p.m. on Saturday, August 6 and Sunday, August 7. Tickets are available for purchase via Ticket master.

Copyright 2022 WKYT. All rights reserved.



“For nearly 300 years, excellence has been at the heart of Remy Martin, and through this partnership, we have reached an incredible milestone, where we see a brilliant breakthrough at the intersection of art, fine cognac and technology,” said Amaury Vinclet, Global Executive Director of Rémy Martin. “As Usher’s long-standing collaborating brand and sharing the same values, we are proud that he is launching the first limited edition bottle design for Remy Martin 1738 Accord Royal. This bottle is a first in the spirits industry. in the way the technology has been used and provides spirit lovers and Usher fans with a rare collectible they will cherish forever.”

Limited Edition Bottle “Usher x 1738 AI Powered” and NFT

When creating the limited edition “Usher x 1738 AI Powered”, Usher used his own musical vocabulary to describe his olfactory experience with the famous Rémy Martin 1738 Accord Royal, a smooth Cognac characterized by notes of toast, vanilla and brioche. Powered by AI technology known as Generative Adversarial Neural Networks and Contrastive Language-Image Pre-Training, the cutting-edge depiction of tasting notes transformed Usher’s words into a work of art that makes the invisible, visible. Redesigned in black and featuring a special seal that celebrates Usher’s 25th anniversary My paththe iconic 1738 Accord Royal bottle brings Usher’s “Taste of Passion” to life with a design that now aptly embodies the harmony of music, technology and art.

“I’m an artist at heart, so turning an abstract sensory experience like taste into something visual really spoke to my creative process,” Usher says. “I looked at the copy Remy Martin 1738 Accord Royal that came across to me and I’m so impressed with the visuals that came out of the AI ​​process – they really represent the blend of tasting notes captured in the flavor. is gratifying to see these words translate to real-world works of art that my fans can engage with while bringing taste to the fore.”

A total of 50 limited-edition bottles have been created as part of this latest collaboration. 25 Usher x 1738: AI Powered Limited Edition Bottles will be available for purchase exclusively on BlockBar.com, the first direct-to-consumer NFT marketplace for luxury wines and spirits. The drop will go live at 10:00 a.m. EST on friday july 29 on a first-come, first-served basis. At the price of $500*, each NFT is available for purchase with ETH or credit card. To 10am, the first users to reserve the bottle will then have 10 minutes to checkout. Users who successfully pay will receive an NFT proving ownership of the physical bottle, which is stored with BlockBar until the bottle owner is ready to trade it. The remaining 25 bottles will be gifted to Usher and his team to celebrate the 25the birthday My path.

Each NFT is uniquely branded, and each purchase provides the option to keep the NFT, resell it on BlockBar.com’s marketplace, gift it, or trade it for the physical bottle from October 2022.

“We are very excited to be part of such a big moment for Remy Martin as they enter the world of NFTs and release a new limited edition bottle that will be our first ever musical collaboration to drop on BlockBar.com,” said Dov Falic, co-founder and CEO of BlockBar. “As a brand globally recognized for craftsmanship and excellence, we are honored to have the opportunity to offer a rare collectible that was created by one of the world’s most celebrated artists, Usher .”

A foretaste of passion

The Usher x Rémy Martin 1738: A Taste of Passion partnership will go beyond the bottle to present a world of opportunity and excitement at the intersection of music, technology, art and cognac, which will come to life with the launch of “A Taste of the Passion Experience” in Vegas. Harnessing AI technology to visually articulate the taste of the Usher x 1738 Accord Royal AI Powered offering, “A Taste of Passion Experience”, bailiff into minds and music lovers, where the brand will offer a multi-sensory experience while giving a nod to Usher’s illustrious career. To extend the splendor of the evening, attendees will savor a range of Rémy Martin 1738 Accord Royal cocktails specially selected by Rémy Martin and Usher, including The Rémy Roller, brimming with an effervescent blend of Rémy Martin 1738 Accord Royal, aromatic notes ginger ale and angostura bitters, and finished with a garnish of lemon wedge.

Teaming up for excellence

The longstanding partnership between Rémy Martin and Usher, who share a quest for excellence and innovation, began more than a decade ago when Rémy Martin became an official partner of the OMG World Tour. This latest collaboration not only celebrates excellence in music, technology and artistry, but also the 25e birthday My path, Usher’s breakthrough album that catapulted him to stardom. The celebration of excellence goes back centuries for Rémy Martin and Rémy Martin 1738 Accord Royal, which is a unique blend of eaux-de-vie that commemorates the award of excellence bestowed upon Rémy Martin by King Louis XV of France in 1738. Remy Martin Cellar Master Baptiste Loiseau inherited the House’s know-how from previous generations of cellar masters, and through this transmission of knowledge, Rémy Martin 1738 Accord Royal continues to encompass the spirit of celebrating depth of character and the excitement of indulging in moments of collective success.

On July 29, the limited-edition Usher x 1738: AI Powered bottle will be sold exclusively on BlockBar.com. The immersive experience “A Taste of Passion” takes place on certain evenings of From July 15 to October 29in collaboration with Usher’s My path Las Vegas Residency, with tickets available for purchase HERE.

For more information, please see HERE and follow us on social media at:

instagram @RemyMartinUS | Twitter @RemyMartinUS | Facebook RémyMartinUnited States

#TeamUpForExcellence #ATasteOfPassion


Since 1724, Maison Rémy Martin has been producing high-end spirits that constantly seduce the most demanding connoisseurs in the world. A deep love of the land, continuity of family ownership and a passionate commitment to excellence have sustained Rémy Martin for nearly three centuries. The result of masterful production and generations of tradition in Cognac, Maison Rémy Martin today produces Fine Champagne Cognacs, including Rémy Martin® XO, Remy Martin® Tercet®Remy Martin® 1738 Accord Royal and Remy Martin® VSOP For more information visit www.RemyMartin.com


Born from the cask and named after a royal endorsement, Rémy Martin 1738 Accord Royal is a truly distinctive cognac. Its exceptional smoothness and round woodiness begin as soon as the barrels are heated, even before the eaux–de–vie begin to ripen. This unique aromatic profile is then revealed through a rigorous selection of eaux-de-vie. Recognized for its exceptional quality year after year in international competitions, Rémy Martin 1738 Accord Royal celebrates true depth of character and the pleasure of sharing good times.


Usher has changed music, culture and countless lives. Beyond selling more than 80 million records worldwide and collecting dozens of awards, he simultaneously lit up NBC’s small screen. The voice and the big screen in blockbusters such as Hustlers. He also tirelessly distinguished himself as a dedicated humanitarian, raising tens of millions of dollars for various causes and uplifting youth through his New Look Foundation since 1999. A true aberration, he was as comfortable on the stage of his successful residency in Las Vegas in 2021 as he was on a government cultural mission in 2016 for Cuba under the chairman by Barack Obama Presidential Committee for Arts and Humanities. Multiple GRAMMYs® Award-winning international diamond-selling megastar, actor, dancer, entrepreneur, philanthropist and proud Atlanta resident is once again inspiring change in 2022 and beyond.

So far he has collected eight GRAMMYs® Awards and emerged as Billboard’s “#1 Hot 100 artist of the 2000s”, “#2 most successful artist of the 2000s” and “one of the best-selling artists in music history. American,” according to the RIAA. It catapulted four consecutive albums to No. 1 on the Billboard Top 200, starting with the famous certified diamond confession in 2004. He continued to push the boundaries with a series of singles and shows, including Bailiff – My path the las vegas residence before setting the stage for his ninth feature film in 2022.

More importantly, Usher gives back at every turn. Under his leadership, the New Look Foundation provides opportunities for young people in underserved communities, empowering them to thrive and achieve seemingly impossible dreams. He has contributed to many philanthropic causes and historical advances. He wrote a moving essay in The Washington Post, pushing for recognition of JUNEETEENTH as a 2020 statutory holiday. Fostering national and eventual congressional conversation, he witnessed the signing of the bill making JUNEETEENTH a federal holiday when it passes through 2021. He got recognition and various honors from the Boys & Girls Club of America, the Trumpet Foundations and Do Something. The NAACP selected him as a 2010 Ford Freedom Award Fellow, and Morehouse College honored him with the prestigious 2014 “candle price.” In 2022, he also took the stage at The Beloved Benefit, which exists to strengthen and transform Atlanta communities.


Founded in October 2021, BlockBar is the world’s first NFT DTC marketplace that connects consumers and collectors with luxury wine and spirits brand owners by providing the ability to redeem NFTs for unique products. Having been in the spirits industry for many years, the co-founders Dov and Sam Falic noticed the issues consumers and brands were facing in the world of wine and spirits, so launched BlockBar to provide transparency, authenticity, quality assurance and storage. BlockBar’s proprietary platform allows consumers to purchase asset-backed NFTs directly from the brand owners themselves. BlockBar’s proprietary smart contracts verify authenticity, and its partnership with top cybersecurity and cryptosecurity firms ensures that transactions are fully protected and transparent. Consumers can transact directly with brands and no longer have to worry about authenticity or storage. Physical bottles are stored in a secure facility at Singapore with 24/7 security, motion sensors and temperature control. Buyers can pay for products by credit card or Ethereum and have the option to burn the NFT to redeem the physical product or resell the product through the BlockBar.com marketplace.

* Suggested retail price.

SOURCERémy Martin

Nicki Minaj Teases New ‘Epic’ Album


Nicki Minaj promises the masses an album they won’t forget.

It’s been four years since the Rap royal released their last LP, “Queen,” and fans have been hot on their heels for news of their next offering.

2022 saw the femcee follow with its generous stream of fresh material – like the top 10 hit ‘Do we have a problem?’ and ‘Business’.

Earlier this week, Onika premiered their new single “Freaky Girl” – for which she confirmed an August release.

And now she’s also talking about her next album.

Full story below…

talking about her Freshly relocated Queen Radio show, which now lives on Amazon amp platform, the superstar said of the record:

“The album is going to be a fucking epic. I was listening to the songs yesterday and falling more and more in love with how everything is going right now. In relation to the music and my fans.

She continued:

“I think at some point I probably thought and waited too much and yada yada, but I realized that it’s so important to have fun with life and like I always say: be in it. moment. Try to be in the moment. And do your best.

I don’t really care anymore. I used to. But now I realize that I just have to give my fans music to fuck with, give them the reason why they started fucking with me in the first place. And I’ll build on that. I won’t rely on anything else. I don’t have fucking stuff. I do not have it. I’m gimmicked, bitch.

Are you excited for Ms. Minaj’s new album?

Listen to the full segment:

‘Frida. The Musical’ will take the painter’s life story to Broadway



Mexican painter Frida Kahlo has been the focus of so much attention – films, immersive experiences, countless T-shirts and tote bags – that it’s surprising there is still Kahlo content to be created. But Fridamania knows no end: On Thursday, it was announced that Kahlo’s life story would be turned into a musical.

The production, which is slated to open on Broadway in 2024, after regional tryouts next year, will follow Kahlo’s life from Mexico City to Paris, New York and back to the famous “Blue House” where she was born and died in 1954. Currently titled “Frida, the Musical”, the show will include music by Jaime Lozano, lyrics by playwright Neena Beber and will be produced by Valentina Berger.

Much has already been said about Frida Kahlo, but the creators of the musical hope the series will offer a fresh look at Kahlo’s life, bringing to light previously unknown details and personal stories about the beloved entertainer. . It will be based in part on the book “Intimate Frida” by her niece Isolda P. Kahlo and informed by conversations with Kahlo’s family in Mexico. Although there have been other attempts to turn Kahlo’s life story into a musical, this is the only one that her family has officially approved.

“In all the stories I heard when I was little, our family remembered Aunt Frida as a very cheerful woman,” Mara Romeo Kahlo, universal heiress to the Frida Kahlo inheritance, said in a statement. statement to the Washington Post. “She was passionate about Mexican music, arts and culture. “Frida, The Musical” pays homage to everything she was: a real woman who fought for her dreams, loved like everyone else and always lived ahead of her time. »

While Kahlo merchandise sometimes portrays the artist as a bubbly feminist icon, art historians tend to focus on her physique and emotions. suffering – portrayed so vividly in his work – the musical’s creators say they want to capture something more three-dimensional. “We really want to see Frida through a broader perspective,Lozano said in a phone interview.

Producer Valentina Berger agrees: “Everyone knows a colder Frida, a suffering Frida, but she loved life,” Berger said. “She was really, really fun. That’s what we want to portray. I used to have a sad vision of Frida, like – ‘Oh, poor woman.’ Now knowing how much she was so intelligent and intelligent, I admire her.

Beber, the playwright, is thrilled to capture Kahlo’s fun side, which she says is often overlooked. “I really connected with his humor,” she said. “I don’t think I knew how funny she was – that she had this wry, dry sense of humor. She was truly one of the people.

The musical is just the latest of many forays into Frida’s life. The 2002 biopic “Frida” (starring Salma Hayek as Kahlo and Alfred Molina as her painter husband Diego Rivera) received mixed reviews. More recently, the artist has nurtured immersive experiences, including “Mexican Geniuses”. Her estate also recently announced that they are developing a television series based on her life and work.

For Beber, the seemingly endless content doesn’t mean that Frida’s life is already over. “Why do people still do Shakespeare? ” she says. “Why do people still find ways to make ‘Hamlet’ exciting? How many self-portraits did Frida make? Not bad. I think there is room for several Fridas. We want to bring our own passions, love, interests, pain to her story. Let there be several Fridas.

You might think you know Frida Kahlo, but you’ll never understand her pain

Frida’s personal story certainly has a dramatic quality. The artist had an affair with the Russian-Ukrainian revolutionary Leon Trotsky during his unstable marriage to Rivera. A streetcar accident when she was 18 damaged her spine and pelvis, leaving her with chronic, debilitating pain. Throughout her life she often painted from her bed and depicted her own body as fragmented, bleeding, split in two – as if trying to make sense of its decomposition. She died at age 47.

But there is also a lighter side to Kahlo, according to Berger, who visited the Kahlo family in Mexico last week, and likens Kahlo and her three sisters to the “Kardashians of Mexico.” Berger says she learned that before Kahlo went on a trip, she was telling her sisters to give her husband Diego a bath. “I mean, how close do you have to be to your sisters to suggest something like that?” Berger said.

There’s love and irony in Frida Kahlo’s painting of herself with her husband

Throughout Berger’s journey, she’s had other glimpses into Kahlo’s life that she hopes will inform the musical. She visited the basement of Kahlo’s mother’s house where Kahlo hid when Rivera got violent. She heard Kahlo’s family play the songs Frida used to sing. She listened to first-hand accounts from Frida: how she was always laughing and telling crazy stories.

Lozano also visited the Kahlo family, who asked him to write the music for the production. The composer, who immigrated to the United States from Mexico in 2007, has spent much of his career telling Latinx stories and says it relates to Kahlo, who was, like him, a Mexican immigrant to New York at some point in his life.

“She is such an inspiration not only as an artist but also as a warrior,” he said. “With everything she’s been through, she’s kept fighting, creating her own art, telling her own story. As a Mexican, telling that story and bringing that authenticity to the show, I feel really honored. .

Ten songs have been written for the musical so far, including two Lozano premiering during the American Songbook Series at Lincoln Center in April. One song, “Wings,” captures Kahlo’s persistence — and even joy — in the midst of suffering. It is based on a famous quote from Kahlo, related to her chronic pain, which often kept her bedridden: “The feet”, she said, “Why do I need you, when I have wings to steal ?”

Pakistan cabinet approves order to sell government assets to repay loans


On July 21, in what is seen as a desperate move, Pakistan’s cabinet under Prime Minister Shehbaz Sharif approved an order titled Governmental Commercial Transactions Ordinance 2022 to circumvent all procedures for selling government assets to foreign countries. The measure was taken to prevent the country from defaulting on its loans. Pakistani President Arif Alvi has yet to sign the order.

Reports suggest that the ordinance would also allow the government to ignore regulatory controls including six relevant statutes named Companies Act, 2017, Privatization Commission Ordinance, 2000, Public Procurement Regulatory Authority Ordinance, 2002, Public-Private Partnership Authority Act, 2017, Securities and Exchange Commission of Pakistan Act, 1997, Securities Act, 2015 or any other law to approve the sale.

The Express Tribune reported that with this order, the government could sell the land for the two LNG power plants to a foreign country. Machines installed in factories will be included in the sale. Through this ordinance, the government will be empowered to issue binding instructions to provincial governments for the acquisition of land. The order also barred the courts from considering any claims against the sale of government assets, including land, companies, etc., to foreign countries.

The government plans to sell stakes in oil and gas companies as well as government-owned power plants in the United Arab Emirates. This will help Pakistan raise between $2 billion and $2.5 billion. Notably, in May, the United Arab Emirates refused to provide cash deposits to Islamabad because the country had failed to repay previous loans. Instead, Pakistan asked the UAE to establish its companies for investment.

In addition, the International Monetary Fund (IMF) has also imposed on the neighboring country the condition that its case will only be taken over by the board of directors if Pakistan manages to raise 4 dollars from friendly countries. Meanwhile, the value of the Pakistani rupee is falling at a stagnant rate. Last week it fell 8.3%, the biggest drop since November 1998.

The Express Tribune further added that a Cabinet Committee on Intergovernmental Business Transactions would be formed once the order is passed. With the ordinance, the government will have immense power to control land anywhere in the country and sell it to a foreign state. Neither the court nor any investigative body will be able to challenge the sale. However, according to Pakistani experts, the court will not accept such clauses.

According to reports, these conditions and the price discovery mechanism to be used in accordance with the order will cause controversy as there will be a lack of transparency.

Imran Khan opposed the order

Former Prime Minister Imran Khan has raised serious objections to the order. As reports of the order passed by Pakistan’s cabinet broke, the former prime minister took to Twitter and lashed out at the government.

Calling the current regime an “imported government”, he said: “How can an imported government be brought to power through an American conspiracy, led by the crime minister, who is related to (the PPP co-chairman Asif Ali) Zardari, having volumes written about their corruption, being entrusted with the sale of national assets (and) that too (bypassing) all procedural (and) legal checks.

He further accused the government of plundering Pakistan over the past 30 years and the current economic crisis. He said: “These thieves should never be allowed to sell our national assets in the underhanded way they are trying. The nation will never entrust our national assets to them.

Prime Minister Shehbaz alleged that Khan suffered memory loss and gave him some “reminders”. He said: “Firstly, according to the Transparency International report, corruption increased during his reign. Even transfers/postings were on sale in addition to big rip offs. Second, people are paying the price for how he mismanaged the economy. In the third point, he accused Khan of deeply damaging Pakistan’s global prestige and its relations with “friendly” countries.

He added: “Fourthly, he has lost his sense of balance in his lust for power, as evidenced by his habitual resort to lies, propaganda [and] gross distortion of the facts.

Why this summer marks the twilight of classic rock


Santana, who postponed six gigs “out of an abundance of caution” while recovering, is a legendary guitarist whose distinctive blend of rock chords and Latin beats has earned him 10 Grammys.

He too is 74 years old.

And of the rock icons on tour this year, he’s one of the youngest.

Bob Dylan is 81 years old and has been shooting almost non-stop since last fall. Paul McCartney turned 80 last month shortly after wrapping up the North American dates of his “Got Back” tour. Former Beach Boy Brian Wilson, 80, is on tour through September. The Rolling Stones – anchored by Mick Jagger and Keith Richards, both 78 – play stadiums across Europe. The Who, starring Pete Townshend, 77, and Roger Daltrey, 78, are on tour in November.

Also on the road this summer are Eric Clapton, 77, Rod Stewart, 77, Elton John, 75, and Roger Waters, 78, co-founder of Pink Floyd, who still fills arenas with his majestic songs and spirit. . bending scenography. The list continues.

In arenas and stadiums around the world, we are witnessing history. Never before has such a grizzled group of rock icons graced so many major stages at once.

This moment is something to celebrate. But it’s also a bit bittersweet, as it marks the twilight of an early generation of rock ‘n’ roll – the rockers who came right after such seminal artists as Chuck Berry, Elvis and Jerry Lee Lewis.

We can still feel a thrill listening to these performers live: the visceral punch of the opening guitar chords of “Start Me Up”, the sing-song piano intro of “Tiny Dancer”, the shimmering sonic burst of “Good Vibes”.

But let’s face it, on almost every level, these rock stars are old. And it forces those of us who grew up with their music to recognize that we are getting older too.

As critic Steven Hyden wrote in his 2019 book, “Twilight of the Gods: A Journey to the End of Classic Rock,” “You can’t talk about classic rock anymore without also thinking about death.”

“Better to disappear like an old soldier than to run out”

In 2019, Damon Linker wrote a widely shared essay for The Week, provocatively titled, “The impending death of almost every rock legend.”

In it he predicted that most aging rock icons would likely die within the next decade.

“Here are the killing fields before us,” he wrote, before listing 28 rock stars in or about to turn seventy: Dylan, McCartney, Wilson, Jagger, Richards, Daltrey, Townshend, Waters, Clapton, Stewart, Elton John. , Paul Simon, Art Garfunkel, Carole King, Joni Mitchell, Jimmy Page, Robert Plant, Ray Davies, David Gilmour, Debbie Harry, Neil Young, Van Morrison, Bryan Ferry, Don Henley, James Taylor, Jackson Browne, Billy Joel and Bruce Springsteen.

Three years later, all 28 are still alive. (As do Tina Turner, now 82, Ringo Starr, 81, Neil Diamond, 81, Sly Stone, 79, Bob Seger, 77, Stevie Nicks, 74, Ozzy Osbourne, 73, Bonnie Raitt , 71 and many more.)

Beach Boys founding member Brian Wilson performs at Kia Forum on June 9, 2022 in Inglewood, California.

Considering the impact of the rock ‘n’ roll lifestyle on the health of musicians and the fact that we have since been hammered by a global pandemic that is preying on the elderly and has killed over 6 million people, it just looks amazing.

Just like the fact that most of these artists are still on tour.

Should are they still on tour? That’s a whole other question.

“People always ask me, ‘How do you feel about writing, ‘I hope I die before I get old?'” Townshend tell the audience during an April show by The Who in Miami. “I feel really, really old.”
One of Neil Young’s Songs of the 1970s goes, “It’s better to burn out than to fade away,” a much-repeated lyric about the creative lifespan of rock musicians. The line, quoted by Kurt Cobain in his suicide note, suggests that rock stars would be better off dying out in a brief burst of creative glory than slowly sinking into obsolescence.
But John Lennon, when asked about Young’s song in an interview three days before his deathsaid he hated the lyrics.

“It’s better to fade away like an old soldier than to burn out,” Lennon said. I worship people who survive.”

“They are giants of music history who still walk the earth”

Linker is not so safe. In a follow-up piece for The Week last year, he argued that the quality of rock stars’ musical output invariably declines as they age, grow rich and lose the creative fire that sparked their earlier songs.

And live, many of them also appear physically diminished.

Linker says he and his wife recently attended the Genesis reunion tour and were appalled to see 71-year-old Phil Collins so limited by health issues that he couldn’t play drums and sing. sat.

“It was a good show – great lights and sound, and Phil Collins’ son Nic did a fabulous job with the drums. But Phil was clearly not up to it,” Linker told CNN . “It left us a bit depressed at the end of the evening. It can’t help but be a constant reminder that we’ve aged a lot too.”

Phil Collins sings during a Genesis reunion concert at U Arena on March 17, 2022 in Nanterre, France.

Linker feels the same way about other septuagenarian rock bands who continue to persevere despite the death of key members.

“I don’t mean to sound mean, but Roger Daltrey of The Who hasn’t been able to hit high notes in decades. The songs of The Who are really hard to sing! And he’s now 78. Still, they keep coming out. There’s something very sad — very needy — about that,” Linker said. “I feel the same way about The Rolling Stones: come on, you guys have had a great run, perhaps the best in rock history! It’s time to rest.”

For him, there’s something special about watching someone take a song you’ve loved for decades and bring it to life right before your eyes.

“They are living legends with catalogs to match, giants of music history who still walk the earth despite decades in a grueling industry. You can hear the years in Bob Dylan’s voice, perhaps. , but that’s never what made his music special in the first place,” he told CNN.

“Touring is a major burden on body and mind, so any artist still on the road in old age does so for more than just financial security,” Russell added, noting that the vast majority of professional musicians have to scratch and claw to make a living on tour.

“Any artist who gets to the top of this mountain has earned the right to stay there as long as they wish.”

A farewell tour for classic rock

These rock ‘n’ roll icons are all survivors. But time, one might say, is no longer on their side.

And their specific musical genre is also doomed.

“Classic Rock” was invented by radio programmers to describe guitar-driven music of a distinct era—roughly the mid-’60s through the grunge era, Linker and Russell point out.

“By definition, that’s a thing of the past,” Linker said.

Roger Daltrey, left, and Pete Townshend of The Who perform at TQL Stadium on May 15, 2022 in Cincinnati.

Of course, you still hear classic rock on mainstream radio, on your uncle’s Spotify playlists, and slammed by cover bands in bars around the world. His best songs remain timeless.

But as a contemporary cultural force, its relevance is fading. In an increasingly diverse global music scene, it’s a genre dominated by older white dudes.

“Is classic rock itself now a problematic relic of an era when white male musicians attracted disproportionate attention?” Hyden wondered in his 2018 book, “Does he deserve to fade?”

Rock has long ceased to be the dominant genre of popular music in the United States, being overtaken by hip-hop, country, rap, and dance-oriented pop. Outside of some college and community stations, it’s hard to find new rock music on the radio.

As more and more rock legends die in the years to come, the last remnants of an era will die with them.

Will a new generation of disciples take the flag?

There are plenty of contenders – Dave Grohl, Eddie Vedder, Thom Yorke, Trent Reznor and members of U2 and Metallica, to name a few – but they’re all over 50. It’s hard to think of many young rock artists who can fill stadiums like McCartney and Elton John.

And it’s good. There is no shortage of talented young musicians pushing the boundaries of rock in front of cheering crowds in theaters and clubs. Good music will always find an audience.

Bob Dylan performing in Hyde Park in London on July 12, 2019. Dylan, now 81, is touring again this year.

“Rock may never regain its place at the top of the pop music hierarchy, but neither will it ever leave. As one generation of rock musicians ages, there is always another rising” , said Paste’s Russell, citing such up-and-coming artists. like Bartees Strange, Turnstile and Wet Leg. “What’s old can always be made new.”

Rock ‘n’ roll “is a great formula for young people looking for a creative outlet, so I don’t think it’s dying out,” Linker agreed. “I mean, all the good old stuff is still there in our Spotify and Apple Music accounts to listen to and inspire new generations of disgruntled young people, where rock music came from.”

In the meantime, let’s enjoy these touring rock music legends while they’re still around.

Yeah, maybe Pete Townshend’s iconic windmills are getting a little creaky. Maybe Brian Wilson outsources its high notes to young singers. And many concerts of these artists are overpriced.

But they’re still out night after night doing what they love. They gave us so much. We are lucky to have had them for so long.

TexARTS’ The Full Monty: An Exuberant Musical About Stripping Steelworkers Gets a Less Than Sure Production


(lr) Quincy Kuykendall, Leslie R. Hethcox, Patrick Darab Hartigan, Nathan Daniel Ford and Stephen Mercantel in The full Monty (Photo by April Paine)

Professional dancers with dollar bills in their thongs will tell you that stripping is all about the teasing – the buildup of sexual tension and anticipation that leads to the long-awaited, oh-so-brief, dramatic reveal. It’s a kind of delayed gratification.

But in The full Monty – an Americanized musical adaptation of the 1997 British independent film – the strippers are six average, out-of-shape, blue-collar workers who can’t dance. And so, amid the first attempts at banging and grinding, the sexual tension is effectively exchanged for comic relief and the anticipation quickly turns into morbid curiosity. With a screenplay by Terrence McNally that features abundantly clever dialogue and a score by David Yazbek that beautifully captures moments and relationships without the added burden of pushing the script forward, this frothy musical is both fun and heartfelt.

It revolves around Buffalo, NY, lifers Jerry (Patrick Darab Hartigan), Dave (Stephen Mercantel), Harold (Huck Huckaby), Malcolm (Nathan Daniel Ford), Ethan (Leslie R. Hethcox), and “Horse” ( Quincy Kuykendall), who struggle with the weight of emasculation after being laid off at the local steel mill. Desperate times call for desperate measures, especially in musicals, so when Jerry notices the money being spent on touring hard-bodied Chippendale dancers by the women of the town, he hatches a plan to put on a strip-show. amateur tease at six for one night – only performances. Their attempt to save face by baring everything from the neck down is met with adversity and ridicule, making this absurd journey damn heroic.

And yet, gratification is a bit hard to find in this TexARTS production, starting with the disappointing opening. The five-piece orchestra (music director Susan Finnigan, Austin Kimble, Corey Finnigan, Kris Rogers and Chris Gordon) plays very well, but without the richness that a few horns would bring and that this music demands. As was the case with the lite version of this theater Sweeney Todd Last February, carving instruments was a good financial decision but not a great creative choice.

Hartigan’s rigid and constrained opening night performance also impacts gratification. The script features a petty hustler, a regretful divorcee, and the adoring father of young Nathan (James Schermerhorn), but the actor’s performance lacks conviction on all these fronts. It never musters the subtle humor that turns “Big-Ass Rock” – a hilarious song that lightens the mood surrounding Malcolm’s failed suicide by asking his buddies to offer to help him with the task – into a pitfall and keeps it from becoming horribly non-PC. While Hartigan isn’t the only guy on stage to find the high notes elusive, it’s most apparent in the many songs he’s assigned.

The actors playing Jerry’s Buddies keep the show afloat, and then some with clear characterizations, perfect comedic timing, and a genuine sense of camaraderie. And, under director Kasey RT Graham and choreographer Ian Liberto, all six are miraculously transformed into believable ecdysiasts by the final number, “Let It Go.”

Although the guys have the most time on stage, songs to sing, and smart business to execute, this production’s collection of wives (Mia Carter, Rachel Pallante, Michelle Cheney) and city girls (Megan Castleberry, Rebekah Freeland , Courtlin Parisher) refuses to be subjugated. They start the show with a particularly brassy and energetic “It’s a Woman’s World” and don’t let go. When given the opportunity to take center stage with a solo or duet, they make the most of it.

Cheney is lovely in the comedic, calypso-beat “Life With Harold,” where her low-key, privileged persona goes wild while recounting the wonderful things her well-to-do husband gives her. She and a wonderful Pallante, who plays Dave’s wife, deliver a terrific, heartbreaking reprisal of “You Rule My World,” where they reassure their husbands of the depth of their love. Mary Agen Cox, as bawdy veteran nightclub piano accompanist Jeanette, is given one of the best comedic tunes in the musical theater canon – “Jeanette’s Showbiz Number” – which she nails.

The production values ​​are suitably simple in this staging. The performance space is surrounded by a fixed set designed by Donna Coughlin that consists of red brick warehouse walls and Rust Belt industrial windows. Every Buffalo location, established by a piece of furniture or two, includes this reminder of the city’s economic struggles.

Lighting and costume designers Lucinda Culver and Christopher Arthur also do a great job, which is especially evident during the titular moment at the end of the show, where their collective craftsmanship may be the only thing stopping this theater from being fined for indecent exposure. Which would undoubtedly result in sold-out houses — and the aforementioned delayed gratification.

TexARTS Theater The full Monty

2300 Lohmans Spur #160, Lakeway, 512/852-9079, tex-arts.org
Until August 7
Duration: 2h45.

Music at the Museum scheduled for July 23 at the David Owsley Museum of Art


On July 23, 2022, the David Owsley Museum of Art will host Music at the Museum with violinist Emma Andersen and pianist Bruno Theiss performing at 1:30 p.m.

This event is made possible by Andersen, a recent Ball State University graduate who worked at the museum as a student guard. Theiss is currently a doctoral student at Ball State.

Music at the Museum is free and open to the public, without prior registration. For more information/updates follow this Facebook event.

Biographies of the artists:

“As a performer, Emma Andersen has traveled across many states performing with the Ball State Symphony Orchestra on tour and at numerous music festivals including the Bowdoin International Music Festival. She has also performed as a soloist with several Midwestern orchestras. After springing from Ball State University, and soon moving on to her Masters in Music Performance at Northern Iowa University, Ms. Andersen looks back on her time here in the music program with fondness. having been concertmaster of the Autumn Opera twice and winning honorable mention in the second year of the undergraduate concerto competition. As a performer, working at the museum has been a wonderful experience, with some of her favorite days when director Robert G. La France played classical music throughout the museum on the loudspeakers.Since she started working at DOMA, she has wanted to have the opportu unity to perform live in its halls.”

“Bruno Theiss is a Brazilian pianist and music teacher based in Muncie, Indiana. He is currently one year away from completing Ball State University’s Doctor of Arts program. He has performed with the Ball State Symphonic Orchestra, the Ball State Wind Ensemble and the Ball State Opera, as well as regular appearances in solo and collaborative recitals at BSU and local churches.He earned his master’s degree at the University of Wyoming, where he collaborated with choirs and worked as the staff pianist for the University’s annual summer camp, attending the festival’s musical theater and choir productions, as well as collaborating with staff and students in recitals. His main interest is to raise awareness of different voices in music, especially those from Brazil, but also lesser-known artists (such as student composers at BSU) and repertoire that is not often performed on the piano. A secondary interest is to bring personal and modern relevance to well-known cos. composers such as Schubert, including a piano recital dedicated to the study of the composer’s output through the prism of the composer’s biographical facts. Other interests include music theory, music education, and music in contemporary media such as series and video games. For ‘Encanto’ fans: remember not to talk about Bruno.”

Get a First Listen to Beth Malone Singing “Share the Luck” from Molly Brown Cast’s Upcoming Album Unsinkable


Cast recordings and albums

Get a First Listen to Beth Malone Singing “Share the Luck” Coming Soon Unsinkable Molly Brown Cast album

The song is one of several trunk songs by Meredith Willson that were interpolated into the score by Resolutely modern Millie writer Dick Scanlan.

Beth Malone
Bruce Glikas/WireImage

As Broadway Records and Yellow Sound Label Prepare to Digitally Release Meredith Willson’s Off-Broadway Cast Album The unsinkable Molly Brown On July 22, we have a special look at star Beth Malone (fun house) while singing one of the tracks. Listen to Malone sing “Share the Luck/He’s My Friend (Reprise)” from the upcoming release below.

“Share the Luck” is one of many trunk songs from the music man the composer’s archive which was newly interpolated into the score of the 1960 musical by Dick Scanlan, who wrote the new book of the production and additional lyrics. This particular song was originally written by Willson for the Red Cross, with references to the non-profit organization changed by Scanlan to “good book”.

The musical tells the rags-to-riches story of Margaret “Molly” Brown – a turn-of-the-century heroine of the underdog, champion of women’s rights, fighter for labor rights, advocate for labor reform. immigration – and, most famously, Titanic survivor. A love story about a woman who has rejected the idea that it’s a man’s world, this new Molly Brown portrays Molly as she truly was – vibrant, progressive, modern.

Directed by Malone in the title role, the album features the cast of Transport Group’s 2020 production, including David Aron Damane, Whitney Bashor, Omar Lopez-Cepero, Alex Gibson, Paolo Montalban, Paula Leggett Chase, Lauryn Ciardullo, Karl Josef Co, Kaitlyn Davidson, Tyrone Davis, Jr., Gregg Goodbrod, Michael Halling, Nikka Graff Lanzarone, Keven Quillon and CoCo Smith.

The group, under the direction of Joey Chancey, includes Meg Zervoulis on acoustic piano and synth; Suzy Perelman on violin; Joe Wallace on double bass; Micah Burgess on arch top, steel strings, banjo and mandolin; John Skinner on alto saxophone, clarinet, flute and piccolo; Justin Vance on flute, clarinet, bass clarinet and tenor saxophone; Jami Dauber on trumpet and flugelhorn; Alex Jeun on tenor and bass trombone; and Barbara Merjan on percussion and drums.

The reworked revival opened Off-Broadway on February 26, 2020 at Transport Group after previous stints at Denver Center Theater Company and St. Louis Muny. Directed and choreographed by three-time Tony winner Kathleen Marshall (everything is fine, The pajama game), the production included stage design by Brett Banakis, costume design by Sky Switser, with dresses for Malone by Paul Tazewell, lighting design by Peter Kaczorowski, sound design by Walter Trarbach, musical direction by Joey Chancey and the cast by Nora Brennan.

Produced by Michael Croiter, Michael Rafter and Dick Scanlan, and recorded by Andy Manganello, the album will feature liner notes by Luis Miranda, orchestrations by Larry Hochman and additional orchestrations by Michael Starobin and Bruce Coughlin. Michael Rafter adapted the music and Joey Chancey is the music coordinator. The recording was mixed and edited by Croiter at Yellow Sound Lab and mastered by Michael Fossenkemper of Turtle Tone Mastering. The album was recorded on December 12, 2021 at Berklee’s Power Station in New York.

The award-winning musical “Oliver” returns to the Canyon Theater Guild


The Canyon Theater Guild is due to open this weekend for the 50th anniversary of Charles Dickens’ novel-turned-play Oliver Twist, this time with a steampunk take on the classic tale.

Every weekend from Saturday July 23 to Saturday August 27, the Canyon Theater Guild will host the award-winning play by Lionel Bart.

The play’s inaugural performance in Santa Clarita dates back to 1972, when Canyon High School’s theater department hosted the very first version of the play.

Since the play is celebrating its 50th anniversary, a stale and repetitive feeling might be experienced by fans of the play.

To breathe new life into this classic production, Eduardo Arteaga, the director of the play, decided to give this show another twist.

“The visual and creative design for this production is based on aesthetics and technology inspired by what Steampunk stands for,” Arteaga said.

Canyon Theater Guild The new set and costume designs are inspired by the works of early science fiction writers Jules Verne and HG Wells, as well as the birth of steampunk in the 1980s, Arteaga said.

“Creating Oliver’s costumes was a real labor of love. It was fun finding ways to bring out each character’s personality through their costumes, especially given the steampunk aesthetic the director was going for” , said Nicole Arteaga, the costume designer for the piece.

For ticket reservations, Click hereor call the Canyon Theater Guild box office at 661-799-2702!

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Spotify adds more artists to its Blend tool, lets fans buy products through the feature – TechCrunch


Spotify announcement today it is expanding its Blend playlist builder to include more artists and will now allow fans to purchase artist merchandise through this feature. The Blend tool allows two Spotify users to see where their musical tastes overlap by mixing their favorite songs to find the ones they have in common. This Mixed then updated daily with new songs based on everyone’s listening habits. A few months ago, Spotify rolled out the ability for users to create playlists with some of their favorite artists, including BTS, Charli XCX, Kacey Musgraves, Lauv, Megan Thee Stallion and more.

With this new update announced today, Blend includes even more artists, including The Chainsmokers, Lizzo, and Post Malone. To merge with any of these artists and buy their products, you can click on the link the artist shared to merge with them. You’ll then receive a card that displays your “taste match” score – a score calculated based on how similar or different your listening preferences are to the artist you merged with. You can share this card directly on Instagram, Facebook, Snapchat or Twitter.

After receiving their like score, users will now have the option to purchase the artist’s featured product through the artist’s Spotify Shopify page. Spotify notes that all merch tracks were selected by the artist themselves. Spotify launched its partnership with Shopify last year to allow artists on its service to connect their Spotify profiles to their Shopify stores, allowing them to market their wares directly to fans through the Spotify app. The new update combines one of Spotify’s custom playlist tools with its e-commerce efforts.

Spotify says it is committed to enabling creators to make a living from their work and that its partnership with Shopify helps artists develop additional revenue streams like merchandising.

The streaming service’s personalized playlists are a big selling factor for the streaming service, and one of the reasons Spotify continues to dominate the music streaming market despite not having the built-in advantage of competing music services – like Apple Music or Google’s YouTube Music, whose music apps come bundled with the tech giants’ own smartphones and mobile software.

Lollapalooza 2022: BTS’s J-Hope will make music history at the Chicago festival


According to Live National Entertainment.

J-Hope’s billing comes barely a month after the seven members of BTS (short for the Korean phrase Bangtan Sonyeondan, or “Bulletproof Boys”) said they were taking a break from musical projects as a group. to pursue solo projects.

Live Nation also announced that South Korean boy band Tomorrow X Together, also known as TXT, are set to perform at Lollapalooza on July 30, marking their US festival debut.

Welcoming the two artists to the “Lollapalooza family”, festival founder Perry Farrell said in a statement: “Their global audiences speak different languages ​​but have an intense passion for their music. … They are the superstars of the global phenomenon. K-Pop.”

J-Hope, a rapper, songwriter and dancer, was the third member to join BTS, also known as the Bangtan Boys, as a septet trainee, following RM and Suga.

His 2018 debut solo mixtape, “Hope World,” peaked at number 38 on the Billboard 200, making him the highest-ranking Korean solo artist on the U.S. album chart at the time, according to Wikipedia.

Yet his solo is nothing compared to the global smash hit of BTS, the best-selling act in South Korean history, with over 30 million albums sold, and one of the few bands since the Beatles in the 1960s to chart four United States. No. 1 album in less than two years.

Lollapalooza, which began as a traveling show in 1991, has since made Chicago’s Grant Park its annual venue and ranks as one of the premier events on the US festival circuit.

Lizzo’s music is really “special”


After conquering the world in a whirlwind of twerk and flute, singer and rapper Lizzo took three years to craft the sequel to her hit 2019 album, Because I love you. During that time, she wrote nearly 170 tracks and whittled them down to 12 songs: an exhaustive process, with sacred purpose. “I felt like it was not just what I needed to hear,” she explains in a voicemail on the Apple Music version of the new album, Special“but you needed to hear, and the whole world needs to hear.

“Need” may seem like too heavy a justification for the party music that contains the phrase nudes of fire. Do we ever really need more pop songs? Bold claims of significance usually come from famous artists who, it is suspected, are mostly interested in being even more revered. People like Madonna and Kanye West, for example, act as if they are personally integral to the cause of world peace. Still, Lizzo’s claims of importance are pretty believable. We never had a star like her, and the catchy, common Special should only deepen its influence.

Some of that influence is just in terms of the music. Hip-hop has always intertwined with pop, but a big story of the last decade has been the dissolution of all boundaries between singing and speaking in rhyme. In a fun way, and thanks in part to Lizzo, it turned pop into musical theatre. On radio and on TikTok today, the songs that thrive are both conversational and anthemic, harmonically simple yet informative. Lizzo knows how to mix these ingredients for the widest possible consumption. She loves a high, screaming chorus and a precise drumbeat. She also knows that jokes, callbacks, digressions, micro-inflections, onomatopoeias and WTFs make songs addictive for modern audiences.

On Special, it doubles the entertainment for everyone. The instrumentation aims for the kind of dutiful retro funk and disco that never seems to go out of style. Production and writing credits feature revered hitmakers including Max Martin, Ricky Reed, Omer Fedi and Benny Blanco. While previous Lizzo song lists have included awkward or overworked moments, the songs on Special a rapid passage, impressing words and melodies on the listener by subliminal magic. On the remarkable “2 Be Loved (Am I Ready),” jazzy keyboards and gospel exclamations are syncopated with explosive panache. Impressively serious, the song should earn the same smiles and sweat as a Richard Simmons workout.

Luckily, Lizzo didn’t test her personality in search of more success. Beneath its silky ’70s arrangement, hit single “About Damn Time” pulls off the same trick as a Donkey episode, elevating nonsense to art. “I’m not the girl I was or used to be,” she sings – a hilariously redundant line, delivered in such a languid tone your heart might ache twice. The album’s final song, “Coldplay,” interpolates the band from its title but ends up being one of the most original songs in Lizzo’s catalog. Telling a story from her past, she summons a late-night beachside vibe to convey the bittersweet way our happiest memories resonate into our future.

This track, like all tracks on Special, is a love song, but for Lizzo, a love song is another form of message song. She approaches making music much like writing an essay, with theses supported by colorful examples and compelling arguments. On “Break Up Twice,” a delicate, neo-soul ballad, Lizzo converts a personal tale into universally applicable advice: “True love takes time.” Other tracks contribute to his famous campaigns against body shaming, sexism and racism. When netizens get mad at her, she asks on “Special,” “Is it just because I’m black and heavy?” Didacticism can sometimes cringe, but in general Special manages to prioritize the song over the slogan.

Plus, Lizzo has reason to preach: By shattering the image of who not only becomes a famous performer but also sexy and confident, she truly represents an evolution for popular culture. His work celebrates his success and his confidence not only as a personal victory, but as a victory for nothing less than humanity. The question she faces at this point is one every rising, slightly messianic pop idol has to answer: how can she continue to tout her fabulousness without losing the relativity that made people love her? in the first place ?

Special offers a fairly effective answer to this question. Many songs exploit relationship insecurities to show the kind of vulnerability that has sustained the likes of Beyoncé and Taylor Swift: “I accept the things I can’t change about you / But I can’t accept the fact that I can’t change myself too,” she confesses in “If You Love Me.” Even more refreshingly, Lizzo often emphasizes the we rather than me. “Grrrls” and “Birthday Girl” shower her friend group — and by implication, her fan community — with gallons of affection. The title track’s chorus emulates a crisis hotline by addressing the listener directly: “You’re special, I’m so glad you’re still with us.”

The album’s most moving moment occurs on the opener, “The Sign,” an optimistic tale of getting back on our feet after relationship setbacks and self-doubt. Lizzo marvels that she”[keeps] writing these songs” and “my daughters keep singing” – then adds, in the last line of the song, almost launched, “I guess I’m not alone.” The thought of the artist and the audience forming a support system is charming and pleads for the need of artists who constantly work for the spotlight.

Truist (TFC) Second quarter earnings beat estimates as loans and rates rise


Financial truistTFC’s second-quarter 2022 adjusted earnings of $1.20 per share beat Zacks’ consensus estimate of $1.17. However, net income was down 22.6% from the prior year quarter.

Results were helped by average loan growth and higher rates, which boosted interest on net income (NII). However, lower non-interest income and higher provisions were the main headwinds.

Results for the reported quarter exclude BB&T-SunTrust Banks merger-related restructuring and charges, additional merger-related operating expenses and gain on early extinguishment of debt. After taking these items into account, net income available to common shareholders was $1.45 billion or $1.09 per share, compared to $1.56 billion or $1.16 per share in the quarter. ‘last year.

NII goes up, expenses go down

Total revenue was $5.66 billion, relatively flat year over year. The top line beat Zacks’ consensus estimate of $5.64 billion.

The tax equivalent NII increased by 4.9% to $3.44 billion. This increase is attributable to higher interest rates, growth in the securities portfolio and lower amortization of premiums. These were partially offset by lower purchase accounting accretion and lower fees on Payroll Protection Program (PPP) loans.

Net interest margin edged up 1 basis point (bps) year-over-year to 2.89%.

Non-interest revenue fell 6.5% to $2.25 billion. This was primarily due to lower investment banking and trading revenue and residential mortgage lending revenue, partially offset by higher insurance revenue.

Non-interest expense was $3.58 billion, down 10.7% from the prior year quarter. Adjusted expenses rose 1.8% to $3.24 billion.

The adjusted efficiency ratio was 57%, compared to 56.1% in the second quarter of 2021. A rise in the efficiency ratio indicates a deterioration in profitability.

As of June 30, 2022, total average deposits were $423.8 billion, up 2% sequentially. Average total loans and leases of $296.7 billion increased 2.8%.

Credit Quality: Mixed Bag

As of June 30, 2022, total non-performing assets (NPA) were $1.17 billion, down 1.6% year-over-year. As a percentage of total assets, NPAs were 0.22%, down 1bp.

The allowance for losses on loans and leases represented 1.38% of total loans and leases held for investment, which decreased by 41 basis points.

Provision for credit losses was $171 million compared to a profit of $434 in the year-ago quarter. Net write-offs represented 0.22% of average loans and leases, up 2 basis points from the prior year quarter.

Robust profitability and capital ratios

At the end of the quarter under review, the return on average assets was 1.14%, compared to 1.28% in the prior year quarter. The average common equity return was 10.3%, up from 10.1% in the second quarter of 2021.

As of June 30, 2022, the Tier 1 risk-based capital ratio was 10.8%, compared to 12% recorded in the prior year quarter. The Common Equity Tier 1 ratio was 9.2% as of June 30, 2022, compared to 10.2% as of June 30, 2021.

Share buybacks

During the quarter, Truist Financial repurchased shares worth $250 million.

Our opinion

Truist Financial’s efforts to capitalize on the insurance business bode well and will support fee income growth. An increase in demand for loans, higher rates and decent economic growth will support financials. However, high spending and ambiguity over geopolitical and economic risks remain major concerns.

Truist Financial Corporation Price, Consensus, and EPS Surprise

Truist Financial Corporation price-consensus-eps-surprise-chart | Quote from Truist Financial Corporation

Truist Financial currently carries a Zacks rank #3 (Hold). You can see the full list of today’s Zacks #1 Rank (Strong Buy) stocks here.

Performance of other major banks

Higher reserve build and lower impacted investment banking (IB) fees JP MorganJPM’s second-quarter 2022 earnings of $2.76 per share, which missed Zacks’ consensus estimate of $2.85. Results for the reported quarter included a net build of credit reserves of $428 million.

Higher interest rates and a solid increase in loan balances supported JPM’s net interest income. Operating expenses increased year over year.

Bank of AmericaBAC’s second-quarter 2022 earnings of 73 cents per share were below Zacks’ consensus estimate of 77 cents. Net income compared unfavorably with $1.03 per share earned in the prior year quarter.

As expected, BAC’s IB business did not perform well. Also, the asset management business did not offer much support. However, driven by robust loan growth and rising interest rates, the company saw an improvement in the NII. Also, BAC’s business numbers were good.

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The views and opinions expressed herein are the views and opinions of the author and do not necessarily reflect those of Nasdaq, Inc.

Truist (TFC) Second Quarter Earnings Beat Estimates as Loans and Rates Rise – July 19, 2022


Financial truistit is (TFC Free Report) second-quarter 2022 adjusted earnings of $1.20 per share beat Zacks’ consensus estimate of $1.17. However, net income was down 22.6% from the prior year quarter.

Results were helped by average loan growth and higher rates, which boosted interest on net income (NII). However, lower non-interest income and higher provisions were the main headwinds.

Results for the reported quarter exclude restructuring and charges related to the BB&T-SunTrust Banks merger, additional merger-related operating expenses and gain on early extinguishment of debt. After taking these items into account, net income available to common shareholders was $1.45 billion or $1.09 per share, compared to $1.56 billion or $1.16 per share in the quarter. ‘last year.

NII goes up, expenses go down

Total revenue was $5.66 billion, relatively flat year over year. The top line beat Zacks’ consensus estimate of $5.64 billion.

The tax equivalent NII increased by 4.9% to $3.44 billion. This increase is attributable to higher interest rates, growth in the securities portfolio and lower amortization of premiums. These were partially offset by lower purchase accounting accretion and lower fees on Payroll Protection Program (PPP) loans.

Net interest margin edged up 1 basis point (bps) year-over-year to 2.89%.

Non-interest revenue fell 6.5% to $2.25 billion. This was primarily due to lower investment banking and trading revenue and residential mortgage lending revenue, partially offset by higher insurance revenue.

Non-interest expense was $3.58 billion, down 10.7% from the prior year quarter. Adjusted expenses rose 1.8% to $3.24 billion.

The adjusted efficiency ratio was 57%, compared to 56.1% in the second quarter of 2021. A rise in the efficiency ratio indicates a deterioration in profitability.

As of June 30, 2022, total average deposits were $423.8 billion, up 2% sequentially. Average total loans and leases of $296.7 billion increased 2.8%.

Credit Quality: Mixed Bag

As of June 30, 2022, total non-performing assets (NPA) were $1.17 billion, down 1.6% year-over-year. As a percentage of total assets, NPAs were 0.22%, down 1bp.

The allowance for losses on loans and leases represented 1.38% of total loans and leases held for investment, which decreased by 41 basis points.

Provision for credit losses was $171 million compared to a profit of $434 in the year-ago quarter. Net write-offs represented 0.22% of average loans and leases, up 2 basis points from the prior year quarter.

Robust profitability and capital ratios

At the end of the quarter under review, the return on average assets was 1.14%, compared to 1.28% in the prior year quarter. The average common equity return was 10.3%, up from 10.1% in the second quarter of 2021.

As of June 30, 2022, the Tier 1 risk-based capital ratio was 10.8%, compared to 12% recorded in the prior year quarter. The Common Equity Tier 1 ratio was 9.2% as of June 30, 2022, compared to 10.2% as of June 30, 2021.

Share buybacks

During the quarter, Truist Financial repurchased shares worth $250 million.

Our opinion

Truist Financial’s efforts to capitalize on the insurance business bode well and will support fee income growth. An increase in demand for loans, higher rates and decent economic growth will support financials. However, high spending and ambiguity over geopolitical and economic risks remain major concerns.

Truist Financial currently carries a Zacks rank #3 (Hold). You can see the full list of today’s Zacks #1 Rank (Strong Buy) stocks here.

Performance of other major banks

Higher reserve build and lower impacted investment banking (IB) fees JP Morganit is (JPM Free Report) second-quarter 2022 earnings of $2.76 per share, which missed Zacks’ consensus estimate of $2.85. Results for the reported quarter included a net build of credit reserves of $428 million.

Higher interest rates and a solid increase in loan balances supported JPM’s net interest income. Operating expenses increased year over year.

Bank of Americait is (BAC Free Report) second-quarter 2022 earnings of 73 cents per share were below Zacks’ consensus estimate of 77 cents. Net income compared unfavorably with $1.03 per share earned in the prior year quarter.

As expected, BAC’s IB business did not perform well. Also, the asset management business did not offer much support. However, driven by robust loan growth and rising interest rates, the company saw an improvement in the NII. Also, BAC’s business numbers were good.

In reset, Marcos drops Duterte’s Chinese loans


MANILA — Just weeks into Ferdinand Marcos Jr’s presidency, the Philippines is seriously recalibrating its once intimate relationship with China.

The Philippine Department of Transportation (DOTr) announced that it had effectively canceled three major rail projects with Chinese counterparts initiated under the previous administration of Rodrigo Duterte.

According to Undersecretary of Railways Cesar Chavez, Beijing has failed to respond to repeated requests for funding from the previous Duterte government, which relied heavily on support from China’s Belt and Road for its massive spending spree. infrastructure “Build Build Build”.

Negotiations for major Chinese infrastructure projects began in 2018 and were later approved by the National Economic and Development Authority (NEDA). Most of the financing for the projects was supposed to be based on official development assistance (ODA) loans from China, which promised up to $24 billion in investments during Duterte’s first visit to Beijing in 2016. .

Of 27 agreements signed between China and the Philippines during Duterte’s visit to Beijing in October 2016, China initially agreed to provide $9 billion in loans on favorable terms, including a $3 billion line of credit. with the Bank of China, with an additional $15 billion in direct investment. Chinese companies in railway, port, energy and mining projects. The agreement did not specify a timeline, according to reports at the time.

Incoming government Marcos Jr has expressed a commitment to reviving outdated projects worth 276 billion pesos ($5 billion) spanning the main Philippine islands, but raised concerns about the rates of interest perceived as exorbitant compared to other donors such as Japan. Earlier this year, the Philippines also suspended long-running negotiations with China over disputed energy resources in the South China Sea.

China has tried to play down the setbacks by insisting that bilateral relations are on a good trajectory and speaking of “a new era of Sino-Philippine friendship” under the new Philippine president.

The Asian powerhouse, however, has probably already realized that things won’t be business as usual under Marcos Jr, who has already taken a tougher stance on South China Sea disputes and pursued a much more balanced approach to disputes. great powers than its Beijing. – friendly predecessor.

Mere months before the presidential victory of Marcos Jr, China remained very optimistic about the new administration.

The new Filipino leader Ferdinand ‘Bongbong’ Marcos. Photo: Twitter/Rappler

After all, the Marcos, the lords of the northwestern province of Ilocos Norte, have enjoyed cordial and commercially successful diplomatic relations with China over the decades. Former Filipino strongman Ferdinand Marcos (1965-1986), the father of Marcos Jr, was also among the first American allies to establish formal diplomatic relations with Maoist China in the mid-1970s.

Earlier this year, Chinese Ambassador to Manila Huang Xilian poetically described the positive trajectory of bilateral relations in recent years, noting how “[bilateral] cooperation projects and investment projects from China to the Philippines [come] Ultimately, more opportunities and dividends will be generated for the benefit of the peoples of both countries and contribute to the economic recovery and livelihoods of the people in the Philippines.

In 2020, bilateral trade reached $61.2 billion, with China becoming the Philippines’ second largest export destination. China’s non-financial direct investment in the Philippines reached $140 million that year.

The Chinese ambassador spoke of several multi-billion dollar investments in the Philippine telecommunications, manufacturing and steel industry, which could elevate the bilateral relationship to new heights.

Following his election victory, Marcos Jr broadly shared Beijing’s optimism by describing China as the Philippines’ “strongest partner”, which will be crucial in maintaining “the stability of our economic recovery” amid the coronavirus pandemic. Covid-19.

Between 2023 and 2028, the Marcos administration aims to keep infrastructure spending as a percentage of gross domestic product (GDP) between 5 and 6 percent.

So far, the Department of Public Works and Highways (DPWH) has announced that the previous administration had only completed 12 of 119 Flagship Projects (IFPs) under its “Build Build Build” initiative, which n failed to meet its total price tag of $5.08 trillion. pesos ($100 billion).

But with debt levels reaching a 16-year high last year and a budget deficit expanding amid pandemic stimulus spending, the Marcos administration urgently needs external financing for its ambitious infrastructure program.

China Pawn Trap

The problem, however, is that China has so far proven to be a largely unreliable ally on this front.

While China’s flagship infrastructure investment projects under the government of Gloria Macapagal Arroyo (2001-2010) were mired in corruption scandals, the Duterte administration (2016-2022) largely failed to succeeded in attracting significant Chinese investment.

Instead of a “debt trap,” where countries are drowned in unsustainable debt, the Philippines found itself caught in China’s “pledge trap,” a series of empty promises that convinced the former Philippine president to slow down disputes in the South China Sea.

As current finance minister Benjamin Diokno, who previously served as budget secretary and central banker under Duterte, recently admitted, “there was a lot of promise but [not] a lot has been delivered.

Chinese President Xi Jinping shows then-Philippine President Rodrigo Duterte the way in a file photo. Photo: AFP

Today, new DOTr Undersecretary Cesar Chavez, who also served in the Duterte administration, also highlighted concerns about China’s previous empty promises.

The Marcos administration recently announced that China has effectively withdrawn from its involvement in three big-budget projects, namely the Subic-Clark railway project; the Philippine National Railways (PNR) Southern Long-Haul Project; and the Mindanao Railway Project (MRP).

The 142 billion peso ($2.5 billion) PNR South Long-Haul project – also known as PNR Bicol Express – was previously awarded to a joint venture of China Railway Group Ltd, China Railway No 3 Engineering Group Co Ltd and China Railway Engineering Consulting Group Co Ltd.

Meanwhile, the 83 billion peso Tagum-Davao-Digos segment of the MRP has also been awarded to Chinese counterparts. The 51 billion peso Subic-Clark railway project has been awarded to China Harbor Engineering Co.

Yet China has repeatedly failed to respond to funding requests for expensive projects, which relied heavily on Chinese engineering, equipment, labor and design.

“In short, China has backed off,” DOTr Undersecretary Chavez said in a recent public address. Nevertheless, the transport official underlined the commitment of the new government to reactivate the projects in the absence of other bidders.

“The policy discussion on the way forward for the above three Chinese ODA railway projects was also launched at the Cabinet meeting on July 12, during which [Marcos Jr] said that as a policy we should encourage more investment in rail and we should focus more on rail transport,” he said.

The Marcos administration has also raised concerns about China’s perceived high interest rates of up to 3%, which is well above Japan’s 0.01% for oil-based infrastructure projects. ODA. Even former finance secretary Sonny Dominguez publicly warned the new administration against taking out Chinese loans at high interest rates lest the country fall into a “debt trap”.

In response, the Chinese Embassy tried to play down the situation by citing the extraordinary circumstances caused by the Covid-19 pandemic.

“Over the past two years, Covid-19 has impacted the implementation of some projects, hampering site availability, causing supply delays, affecting the mobility of goods, etc. Despite these difficulties and challenges, our two sides have worked tirelessly to move projects forward and achieved rich results, ranging from anti-pandemic response, disaster relief to infrastructure, agriculture and development. ‘other areas,’ the embassy said.

China argued that “[o]Our two parties have negotiated technical issues and made positive progress in moving projects forward,” and that Beijing “is open to technical discussions on our G-to-G [government-to-government] projects and is ready to continue our cooperation in close communication with the new Philippine administration.

A Filipino road construction crew on the northern island of Luzon. Photo: Twitter

Armed with this track record, the Marcos administration is seeking alternative options, including investment from established partners such as Japan, as well as private funding. In particular, the new Philippine government is considering public-private partnership (PPP) programs for the $1 billion Subic-Clark Railway project and the Mindanao Railway Phase 1 projects.

“We will continue BBB (Build Build Build). We will therefore look at all possible sources of funding,” said NEDA Secretary Arsenio Balisacan, who also oversaw PPP projects under the Benigno Aquino III administration (2010-2016).

“Ideally, we would like the PPP to review the list of solicited public investment projects, and our immediate concern is to expand that list, update it, make it responsive to the private sector and to the needs of our country.

“But at the same time of course, [we are] open to unsolicited projects as long as it does not distort, the unsolicited project does not distort, for example, the infrastructure roadmap,” Balisacan added, pointing to a more calibrated approach to infrastructure investments based on a diversified funding pool under the new administration.

Follow Richard Javad Heydarian on Twitter at @richeydarian

Musical Theater West presents GREASE, July 22-24


This weekend, Musical Theater West’s summer production of Grease will shut down Rydell High with final performances Friday-Sunday July 22-24.

Experience the nostalgia of the classic Grease soundtrack with an exciting, updated version that audiences call “phenomenal”, “refreshing” and “SO fun!” Tickets for the final four performances of Grease are still available on musical.org, July 22-24, 2022 at the Carpenter Performing Arts Center.

Audiences on the first two weekends were blown away by the scorching summer production, featuring hits from the original production and the cult classic, thrilling and unexpected dance numbers and jaw-dropping solos across the entire lineup. ‘together. One opening weekend attendee raved, “I thought Grease was one of Musical Theater West’s best productions! I loved the diversity of performers and the cast was so talented. Hope to see more performances like this.”

Grease has hosted the biggest houses of the Musical Theater West season so far, with the second weekend continuing to receive standing ovations and rave reviews. The mayor of Long Beach, Robert Garcia, was even present Friday evening and took a photo with the protagonists after the show! Friday night’s screening also included a special performance performed by ASL – an offering that MTW proudly offers once during each production. Audience members continued to applaud the energetic and thrilling production over the second weekend, praising the cast of “mega-talented performers, singers, dancers and actors” as “astonishing and delightful in every way”. One attendee added, “Grease at the Musical Theater West is a rewarding feast of perfect ensemble entertainment.”

An unprecedented fat, contemporary cast and creative team brought together by Musical Theater West is a must see. With talent that reflects the Long Beach community, the production highlights advancements in theater and media since the first Grease hit Broadway 50 years ago. Audiences won’t want to miss the standing ovation-worthy cast, which includes RuPaul’s Drag Race star Jackie Cox in two jaw-dropping roles, Disney’s Aladdin National Tour frontman Jonah Ho’okano in as chief greaser, Danny, SoCal theater mainstay, Monika Peña. as good girl Sandy, Hamilton National Tour and Star Trek: Picard star Isa Briones as the sassy, ​​jaded Rizzo, and the rest of the outstanding ensemble that makes Grease’s iconic magic a stellar and remarkable production!

“We are so proud of the version of Grease that our talented crew and cast have put together. We love hearing our audience share how refreshing and fun it is to see a group of different backgrounds, ages and backgrounds. different experiences come together to put on such an iconic show,” said Paul Garman, Executive Director of Musical Theater West. “This is a show not to be missed. Your last chance to see Grease is only days away. Buy your tickets before it’s too late!”

Come see why “Grease is the word!” in Long Beach for its last race this weekend. Musical Theater West’s production of Grease runs for four more shows, Friday, July 22 through Sunday, July 24, 2022.

Tickets cost between $20 and $96 and are available by phone at 562-856-1999 or online at musical.org. $15 student rush tickets will be available at the door 1 hour before the start of the show, with ID. Charges may apply. More information, a full performance lineup and additional details can be found at https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2186497®id=9&articlelink=https%3A%2F%2Fmusical. org?utm_source=BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1.

Biopics of the highest-grossing musicians – Billboard


After less than four weeks in theaters, Baz Luhrmann Elvis grossed over $106 million in the United States and Canada, according to boxofficemojo.com. The film, starring Austin Butler as the king, Elvis Presley, is already the fourth highest-grossing musical biopic since the mid-1970s.

How high will it rise on the list of highest-grossing musical biopics? It’s a quick start, but it’s not even halfway to matching the leader’s “domestic” (i.e. US and Canada) revenue. (Can you guess what it is? All will be revealed.)

The 25 musician biopics on this list span a wide range of genres. Pop/rock artists are the focus of eight of the 25 films, followed by R&B (four); rap and traditional pop (three each); country, latin and classical (two each); and contemporary Christian (one).

Biographies of five of the 10 artists who made up the first class of induction into the Rock and Roll Hall of Fame dot this list. In addition to Elvis, there are biopics of James Brown, Ray Charles, Buddy Holly and Jerry Lee Lewis here.

Methodology: Boxofficemojo.com maintains top-grossing movie lists searchable by dozens of “genre keywords.” Below “music,” we manually extracted biopics, which we define as films in which actors play musicians. Four of the biopics listed here aren’t listed under music on boxofficemojo.com, so we’ve inserted them manually, using box office numbers found elsewhere on the site.

Boxofficemojo.com’s searches date back to the mid-1970s, so music biopics released before that, such as those from 1972 lady sings the blues (about Billie Holiday) and 1968 funny girl (about Fanny Brice) are not listed here. But a sequel to funny girlreleased in 1975, is present and accounted for.

Army soldier stole COVID relief and student loans in Georgia: Feds


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An Army soldier stationed at Fort Stewart in Georgia has pleaded guilty after being accused of stealing millions in COVID-19 relief money and student loans, prosecutors said.


A US Army soldier has admitted leading a ‘prolific’ plot in which more than $4.5 million in COVID-19 relief and student loans were stolen while stationed at a base in Georgia, federal prosecutors said.

As part of his fraudulent scheme, the soldier and his co-conspirators claimed to be permanently disabled veterans on more than a dozen bogus disability applications sent to the US Department of Education – allowing them to fly more $1 million in federal student loans, according to the court. documents.

Fort Stewart-based soldier Dara Buck, 39, pleaded guilty to a tip-off charging him with conspiracy to commit an offense against the United States, the U.S. Attorney’s Office for the Southern District of Georgia said. in a July 15 press release. . She’s from Ladson, South Carolina.

Buck also admitted to submitting more than 150 bogus Paycheck Protection Program applications under the Coronavirus Aid, Relief and Economic Security Act, “resulting in more than $3.5 million in fraudulent payments,” prosecutors said.

McClatchy News contacted Buck’s attorneys for comment on July 18 and was awaiting a response.

Buck, who is Chief Warrant Officer 2 with the Army, is still an active military member, a Fort Stewart spokesperson told McClatchy News. He declined to comment on the case amid the Justice Department investigation.

Its army status is a mid-level rank appointed by the Secretary of the Army.

“CW2 Buck has chosen to dishonor the United States military and defraud the American people whom it is sworn to protect and defend,” Special Agent in Charge Cynthia A. Bruce of the Southeast Field Office said in a statement. of the Defense Criminal Investigation Service.

Buck faces up to five years in federal prison following his guilty plea, the statement said.

The “prolific fraud system”

Between August 2017 and May 2021, Buck is accused of leading anonymous co-conspirators “to engage in multiple schemes to defraud” the US government, according to court documents.

After the CARES Act was enacted in 2020, more than $600 billion in loans were authorized to help eligible small businesses apply for support through the Paycheck Protection Program (PPP), prosecutors said.

Buck is accused of directly receiving PPP funds after submitting more than 100 bogus claims to the Small Business Administration, according to the news release. Additionally, prosecutors said she would be paid by co-conspirators for submitting false claims on their behalf.

These loans were submitted for “businesses she was supposed to own” and she got about $20,833 for each after lying about their gross income and monthly payroll, according to court documents.

The co-conspirators would pay Buck $500 to $1,000 in cash or via CashApp or Zelle for each bogus PPP loan application she submitted to them, prosecutors said.

Meanwhile, the federal student loan forgiveness was also targeted in Buck’s alleged fraud scheme, according to the news release.

Buck is accused of writing a number of forged letters from the US Department of Veterans Affairs to defraud more than $1 million in student loans, according to court documents.

The forged letters from the VA were “used to fraudulently pay off federal loans at taxpayer expense for someone who wasn’t even a veteran,” Special Agent in Charge David Spilker said in a statement.

Title IV of the Higher Education Act of 1965 allows “student borrowers who are totally and permanently disabled” to obtain discharge from certain loans, prosecutors noted.

Buck’s fake letters allegedly falsely claim an applicant was a 100% disabled veteran to accompany bogus TPD loan applications submitted to the Department of Education, according to court documents.

She is accused of charging $350 to $500 for each TPD loan submitted to others, prosecutors said.

Buck’s sentencing will take place after the completion of a pre-sentence investigation by the US Probation Office, the statement said.

Regarding the COVID-19 relief fraud, the US Secret Service estimated in late December that nearly $100 billion in COVID-19 relief funds had been stolen across the country, according to a press release.

Fort Stewart is about 240 miles southeast of Atlanta.

Julia Marnin is a McClatchy National Real-Time reporter covering the Southeast and Northeast while based in New York. She is a College of New Jersey alumnus and joined McClatchy in 2021. Previously, she has written for Newsweek, Modern Luxury, Gannett and more.

New Austin Music Census Launches to Amplify Local Artist Voices


Delayed from its scheduled June 20 release for final tweaks, the Greater Austin Area Music Census is now off to register the needs of local industry professionals. From July 15 to August 15, it will collect information anonymously, to establish new community data for the first time in seven years.

The census is conducted via an online form and is available to all self-declared music professionals in Travis and surrounding counties, including musicians, venue owners, non-profit organizations, members of government agencies and anyone playing a role “in any music-related product or service”. industry.” Fans are the only group to which the platform’s requests do not apply, with a friendly note of thanks. (The 2015 census removed nearly a third of the final responses, which it deemed ineligible or incomplete.)

The latest Music Census presented a 235-page analysis, with the majority of responses (60%) coming from musicians. As with many discussions even now about the experience of musicians in the live music capital, she largely focused on income and affordability. He confirmed that the majority of musicians earn below the average and median salaries of Austinites in general.

Yet most (60%) had lived in Austin for 11 years or more, prompting a growing question in Austin’s cultural media: what exactly keeps musicians here? Pause/Play – a local NPR podcast that solicits input from local music professionals and could be considered an unofficial census in its own right – has tackled this issue over the past year with episodes focusing on housing, extra income and public funds. Like the podcast, the census is more about tracking values ​​within the industry than identifying solutions at this point.

“Since no one had really done a census like this in 2015, we needed to establish a baseline understanding,” says Bobby Garza, vice president of programs and community outreach at Long Center, which helped organize the census. . “We know more than before, especially with the help of the first census and the ongoing conversations it sparked. We want to know some variations of these similar questions to see how much progress we have made and see which part still needs to be done.”

This announcement comes from Mayor Steve Adler’s office, co-parent station Pause/Play KUTX and non-profit EQ Austin. To help bring participants together, the polling organizations recruited more than 50 community partners, including the data collection organization, Sound Music Cities.

Other partners also include organizations commonly seen in these pro bono spaces, such as the Health Alliance for Austin Musicians, SIMS Foundation, Black Fret, the Long Center, and the Recording Academy Texas Chapter. Others are still much smaller organizations and the organizers are still accepting inquiries about new partnerships. Just as data collection was a community effort, no one organization is responsible for implementing solutions once the data has been analyzed.

“I hope this generates community conversations like last time,” Garza says. “It is incumbent on all of us to come [together] and think about the solutions… so that we can have some self-determination. I think that’s the best part. And then I think the hope is that the leaders will hear us…from an economic development perspective and from a city policy perspective.”

To complete the survey between July 15 and August 15, visit austinmusiccensus.org.

Man who fraudulently obtained nearly $200,000 in SBA loans pleads guilty


The list of convictions continues to grow among people who have tried to use federal pandemic loans as personal piggy banks.

An Oklahoma man who received $192,071 from the Small Business Administration after he fraudulently applied for an Economic Disaster Disaster Loan (EDIL) and a Paycheck Protection Program (PPP) loan has pleaded guilty in front of a federal court, US attorney Clint Johnson said.

Scott Wayne Jarman, 49, of Coweta, pleaded guilty to two counts of misrepresentation to the United States Small Business Administration.

Jarman faces a maximum statutory penalty of five years in prison and a maximum fine of $250,000. A federal judge will determine appropriate sentences and restitution amounts at the defendants’ sentencing hearing, which will be set by the court.

In his plea agreement, Jarman said he submitted false statements and documents in loan applications to the Small Business Administration on behalf of the company SKT Concessions, which he claimed to own and operate. He further stated that he knowingly certified all information in the applications and supporting documents to be true and correct when he knew the information to be incorrect.

On March 30, 2020, Jarman misrepresented SKT dealerships when applying for an economic injury disaster loan, to include when the business was operational, gross revenues, operating expenses, annual operating costs, cost of goods sold and number of employees. Jarman was able to secure a loan in the amount of $146,171 based on the information submitted.

On April 24, 2020, Jarman misrepresented the business when applying for a Paycheck Protection Program loan, to include gross sales, cost of goods sold, gross profit and expenses car and truck. Following the fraudulent information, he obtained a loan in the amount of $45,900.

To learn more about the Department of Justice’s COVID response and to report COVID-19 fraud, visit: https://www.justice.gov/coronavirus. For more information about the Criminal Division’s enforcement efforts on PPP fraud, including court documents from important cases, visit the following website: https://www.justice.gov/criminal-fraud/ ppp-fraud.

Tim McGraw gives an update on when he’s releasing new music


Tim McGraw fans could have new music on the horizon, with the country singer and songwriter revealing he’s already mixed eight songs “so far”. Still, the “Humble and Kind” singer says he’ll be recording “a little more” soon, hinting at his 16th studio album. Here’s what we know about this Grammy Award-winning musician.

Tim McGraw released his EP “Summer Sounds 2013-2021” in 2022

Tim McGraw performs at Keith Urban’s Fourth Annual We’re All For The Hall Benefit Concert | Frederick Breedon IV/Getty Images for the Country Music Hall of Fame and Museum

McGraw is one of country music’s biggest stars, earning recognition at the Grammy Awards and on the Billboard music charts. Some of his best-known songs include “Something Like That”, “Live Like You Were Dying”, “I Like It, I Love It” and “Humble and Kind”.

One of his latest songs is the 2021 single “The Cowboy in Me (Yellowstone Edition)”. Since its release, this track has generated over 3 million Spotify plays from McGraw fans and Yellowstone viewers alike.

Between touring and filming a TV series, McGraw has been working on new music, sharing that an album is officially in the works.

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Tim McGraw is “in the process” of creating his next album

McGraw fans have good news regarding new music – the country star’s 16th studio album is officially in the works.

“I’m in the middle,” McGraw said during an interview with CMT. “I probably shuffled eight [songs] so far and I will be recording more soon.

In the same interview, McGraw said he competes with himself, especially when writing and releasing new music.

“I’m still looking to beat what I did last time,” the songwriter said. “I’m sure we’ll have something from the new album here before too long. I don’t know when the album will be released.

As a result, fans do not know much about the contents of this collection. The release date is a mystery even to McGraw. However, there are many exciting projects carried out by this artist in recent years.

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Tim McGraw recently starred in the ‘Yellowstone’ spin-off – ‘1883’

McGraw divides his time between music and the lead role in the prequel to Yellowstoneentitled 1883. He did several stunts for this production, and although he and Faith Hill earned praise for their breakout roles, McGraw confirmed he would not be returning for the spin-off. 1923.

“Faith [Hill] and I want 1883 live in his own world. We thought it was such a special project, we don’t want to water it down,” he said, according to the same CMT article. “We want him to stay in this world. We were so proud of the show and so proud of the characters, we don’t want to take anything away from 1883.”

This songwriter also updates fans on his latest adventures through his social media accounts. McGraw posted a tour video on Instagram, highlighting his 2022 concert in North Dakota. McGraw’s music is available on most major streaming platforms.

RELATED: Faith Hill caught Tim McGraw filming ‘Yellowstone’ prequel ‘1883’: ‘I expected a slap but it was a paw in the jaw’

A CHRISTMAS STORY with Ian Eisendrath


It’s been a tough month, so we’re taking a Christmas vacation in July this week to discuss one of the few holiday musicals to be nominated for Best Musical at the Tony Awards: A CHRISTMAS STORY. Joining us for a conversation about this wild, nostalgic look at the Christmas season is a guest who was with this show from Version 1.0 on Broadway to the Live TV special and everything in between. It’s Grammy-nominated Music Director Ian Eisendrath!

Together, Jeff and Ian talk about presents, winter chaos and the joy of making children’s dreams come true. Hoping we all take a moment this week to bake cookies with someone we love.

Follow Ian on Instagram at @ianeisendrathmusic and check out his website at www.ianeisendrath.com

Be sure to share “A Musical Theater Podcast” with your friends! You can follow us on Instagram, Twitter, and TikTok for more quality content. For just $1 a month, you can subscribe to PATREON! and not only support the show, but receive bonus episodes. We have a TeePublic store with many designs, and the proceeds we receive will be donated to Broadway Cares/Equity Fights AIDS

Thank you so much for being part of our podcast community!

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C.Wavie paves a new path for upcoming artists


The internet has had such a positive impact on the music industry. For many, it has opened countless new doors and ways of life; it’s been wonderful especially for the rising artist C. Wavie! For him and many others around the world, creating, promoting and distributing music has become just another way of being able to market what we do to the world.

Without the Internet, the only people would see or hear about our family and friends in a neighborhood or community. C. Wavie actively uses all platforms to his advantage. With so many outlets and platforms, he thinks a lot of artists and creators need to try to get their name on the internet and give it their all.

C. Wavie should describe his music with one word, and that word is “Wavie”. Not in the conventional sense of his flowing music, for C. Wavie music is like a tidal wave. “Some songs will get your emotions so high you’ll want to scream, some will make you want to dance, and most of the time my music is relatable.”

When it comes to being able to grow as an artist and work on stage presence, C. Wavie regularly practices gratitude, both for the welcome and support they have received, on and off stage. As for favorite tracks to perform, the artist had this to say:

“My favorite song to perform is called ‘Fountain’ because I love the drop and hook of the song and the meaning behind it.”

“Who is the source of some of the best advice I have received? The best advice would be from my manager! He said: “It’s really uplifting to be informed by a supportive figure in your life; You are good enough. You’re better than anyone else in our town at doing it. You just have to believe in yourself.

“I didn’t think my business was good enough and I didn’t want to be seen as someone who was just copying what his family members were doing.”

When asked about upcoming projects, C. Wavie had this to say about the future: “I’m in album mode. I released a few singles and I have a few more that I will be releasing in the near future. Right now, I want to release this album. I worked so hard on this album! It’s almost time to unleash the wave. Stay tuned!”


Cook County Watchdog Says 4 Employees Fraudulently Collected Federal Pandemic Loans | Crime-and-courts


AD Quig Chicago Tribune

CHICAGO — Four Cook County employees committed “financial fraud directed against the federal government” by wrongly collecting about $120,000 in Payroll Protection Plan loans meant to help businesses survive the pandemic, according to a new county inspector general report.

The allegations stem from the first of several ongoing investigations “involving duplication and PPP loan applications taken by employees of all Cook County government offices,” said Patrick Blanchard, chief of the Inspector’s Office. independent general, in an email to the Tribune. .

Blanchard’s office recommended that all four employees be placed on the county’s “do not rehire” list and has been “in contact with federal and state officials regarding this line of OIIG investigations,” Blanchard said.

Employees are not named in the report. But he noted that three worked in offices under Cook County Council Chairman Toni Preckwinkle who handled sensitive financial matters, while a fourth worked at the County Board of Review.

The federal Paycheck Protection Program was plagued by fraud, with some experts estimating $80 billion in loans were stolen nationwide as the government rushed to secure financial aid for struggling businesses in the the height of the pandemic.

In March, a Justice Department crackdown led to the indictment of just 120 defendants of PPP fraud.

The county’s IG investigation looked at whether county employees who applied for PPP loans complied with county rules on outside employment or any other personnel rules.

They discovered that a Department of Revenue employee had received two PPP loans totaling nearly $39,000 saying she was “self-employed,” according to the report. This employee later admitted “that she falsely claimed to own a business that did not exist in order to obtain funds through a federal PPP loan” and “to have spent these funds inappropriately on personal expenses”, indicates The report.

The worker violated county staff rules regarding “unbecoming conduct” by employees, according to the report. She also violated the county’s technology use policy, admitting that she used the county’s printer and computers to “continue her PPP loan fraud activities,” according to the report.

Billy Corgan to perform charity show for 4th of July Parade victims

Two employees of the county comptroller’s office, which handles payroll and other financial matters, were named in the report.

One of the employees got a $20,832 PPP loan pretending to be the sole proprietor of an unnamed business. This employee admitted to misrepresenting information about her business and operations in her PPP application, including inflating her gross receipts “so she could qualify for a larger PPP loan,” the report said.

“Any numbers she floated about her business….were arbitrary numbers that did not represent any actual business she conducted in 2020,” according to the report.

The employee admitted to using the money “for personal family vacations … on several occasions,” the report said. She had also failed to notify the county that she had a second job, according to the report.

The second worker in the comptroller’s office, a payroll supervisor, ‘signed two loan applications falsely stating that she owned a business’ which paid her a salary of $107,000 in order to obtain $41,510 in loans PPP. The supervisor “has tax and financial experience” and knew it would be wrong for her to spend the loan money, the report said.

The review board employee admitted to making “misrepresentations” on a request for $18,750 in PPP loan funds, and “false information” in a second request when the first was denied. After being accepted, she spent the money “on a trip,” according to the report.

In an email, Preckwinkle spokesperson Nick Shields said: ‘We don’t normally discuss personnel matters. We have just received the report and are reviewing it accordingly. We will then assess how to move forward.

William O’Shields, a spokesman for the review board, said the employee in question “voluntarily” resigned in June without mentioning the investigation. The office will follow up with county human resources officials to place that employee on the “do not hire” list, he said.

Blanchard said the county has 45 days to act on the recommendations and has “been advised that disciplinary proceedings are ongoing.”

Roy Woods releases ‘Bad Bad’ music video and release date for new album


OVO Sound artist Roy Woods takes us on an emotional journey through soul-searching in the music video for his new single “Bad Bad.”

Infused with a vibrant mix of Caribbean backbeats and the soulful sound of R&B, Woods’ Guyanese roots shine through as his voice dances to a rich, layered production from DJ Charlie B, Jay On The Juice, Yung Swisher and Pitt Thakid.

Woods oscillates between passionate expressions and nonchalant narration, as he processes the ups and downs of his past relationship. The clip, directed by Zac Facts and Banks, shows Woods bewitched. Left in a daze, Woods plucks the guitar strings and stuns through the windows as his muse races through his thoughts.

“It’s a song about when I learned to feel love again but realized I wasn’t ready for what it entailed,” says the Brampton-born artist. “I fell in love with them and they fell in love with me, but we just couldn’t be.”

Image via Publicist

Roy Woods fans will be delighted to hear that after five years of waiting since his first project, say lessWoods has announced his highly anticipated second album, Mixed emotionswill be released on August 5. “Bad Bad” is the second single featured on the album, following the release of “Insecure”.

Stay tuned for the release of Mixed emotions. In the meantime, watch the music video for “Bad Bad” above.

Holmes Theater summer camp kids will perform “Music Man Jr.” July 21-23 – Detroit Lakes Tribune


DETROIT LAKES – It’s 1921 in River City, Iowa, and Harold Hill is about to take center stage.

It’s the familiar opener to “The Music Man,” one of America’s most iconic works of musical theatre. And while the “junior” version of the show won’t be as long as Meredith Willson’s original work, the core elements of the show, which runs at the Historic Holmes Theater July 21-23, will be the same.

“It’s a classic,” says Kendra Gilsdorf, who is directing her fourth summer musical for the Holmes Theater this year. “It’s been interpreted for generations, and it’s really cool to see how timeless (the story) is. It’s kind of like a warm hug.”

Ethan Hendrickson, who appears in his third summer musical at the Holmes, will play the aforementioned Harold Hill.

“Jenna (Deremer, who plays Marian Paroo, the female lead) told me I was going to do the summer musical this year,” he said with a laugh, but added that he didn’t. had no regrets. “It’s one of the best things I can do in my summer. I get to do all these fun things, with people who like to do the same things. It’s so awesome!”

Deremer, who is only appearing in her second summer musical at the Holmes, was equally enthusiastic about the experience. “I really enjoy connecting with actors and directors.”

She added that she “really loves” her character, Marian, because “she stands up for herself and doesn’t let the locals get into her head or change her way of thinking.”

Although there is less than a week until the show opens, choreographer Hope Hansen is more excited than nervous about the idea.

“It’s (the show) really moving forward,” she said, adding that she thinks the cast will be ready to put on an impressive production.

“It’s set in 1912,” Hansen said, adding that it was “really fun to explore another era,” with all of its customs, speech patterns, clothing and attitudes.

And while, with 35 children in attendance, the show is their biggest undertaking yet, Gilsdorf and Hansen, along with musical director Nick Larson, feel up to the challenge.

“We really have a cast of dedicated kids,” Gilsdorf said, adding that even with a five-day break over the July 4 holiday weekend, they continued to show up to rehearsals flawlessly, Monday through Friday from 1 p.m. to 5 p.m. , since they began on June 20.

“This is our fourth year doing this together, and we’ve learned a lot,” Hansen added. “And we can feel the love…the support between the actors and the directors.”

“The pieces are starting to fall into place, and it’s exciting to see,” Gilsdorf said. “No one will want to miss this show.”

What: “The Music Man Jr.”
Where: Historic Holmes Theater, 806 Summit Ave., Detroit Lakes
When: July 21 and 22, 7 p.m.; July 23, 2 p.m.
How: Tickets available online at dlccc.org/holmestheatre.html, by phone at 218-844-7469, or in person at the Holmes box office before the show. The cost is $10 for adults, $5 for students.

Coweta man who fraudulently obtained nearly $200,000 in Small Business Administration loans pleads guilty | USAO-NDOK


A Coweta man who received $192,071 from the Small Business Administration after he fraudulently applied for an Economic Disaster Disaster Loan (EDIL) and a Paycheck Protection Program (PPP) loan has pleaded guilty in federal court , announced US Attorney Clint Johnson.

Scott Wayne Jarman, 49, pleaded guilty to two counts of misrepresentation to the United States Small Business Administration.

Jarman faces a maximum statutory penalty of five years in prison and a maximum fine of $250,000. A federal judge will determine appropriate sentences and restitution amounts at the defendants’ sentencing hearing, which will be set by the court.

In his plea agreement, Jarman said he submitted false statements and documents in loan applications to the Small Business Administration on behalf of the company SKT Concessions, which he claimed to own and operate. He further stated that he knowingly certified all information in the applications and supporting documents to be true and correct when he knew the information to be incorrect.

On March 30, 2020, Jarman misrepresented SKT dealerships when applying for an economic injury disaster loan, to include when the business was operational, gross revenues, operating expenses, annual operating costs, cost of goods sold and number of employees. Jarman was able to secure a loan in the amount of $146,171 based on the information submitted.

On April 24, 2020, Jarman misrepresented the business when applying for a Paycheck Protection Program loan, to include gross sales, cost of goods sold, gross profit and expenses car and truck. Following the fraudulent information, he obtained a loan in the amount of $45,900.

The Board of Governors of the Federal Reserve System and the Office of Consumer Financial Protection Office of the Inspector General; The Office of the Inspector General of the Small Business Administration and the FBI conducted the investigation. Assistant U.S. Attorney Cymetra M. Williams is prosecuting the case.

To learn more about the Department of Justice’s COVID response and to report COVID-19 fraud, visit: https://www.justice.gov/coronavirus. For more information about the Criminal Division’s enforcement efforts on PPP fraud, including court documents from important cases, visit the following website: https://www.justice.gov/criminal-fraud/ ppp-fraud.

Shinedown Lands No. 1 on Best-Selling Albums Chart with “Planet Zero” – Billboard


Shinedown’s latest studio album, Planet Zeromakes his debut at the top Billboard‘s Top Album Sales chart (dated July 16), granting the group their first No. 1 on the list. The set begins with 43,000 copies sold in the United States in the week ending July 7, according to Luminate. Overall, it’s the group’s fifth top 10 and ninth charting effort overall.



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BillboardThe Top Album Sales chart ranks the top-selling albums of the week based solely on traditional album sales. The history of the chart dates back to May 25, 1991, the first week Billboard began compiling tables with information on electronically controlled room counts from SoundScan, now Luminate. Pure album sales were the only metric used by the Billboard 200 albums chart in the list dated December 6, 2014, after which that chart switched to a methodology that mixes album sales with equivalent album units of tracks and equivalent streaming album units.

For all charting news, follow @billboard and @billboardcharts on Twitter and Instagram.

Planet Zero also opens at No. 1 on Current Top Selling Albums, Top Rock & Alternative Albums, Top Rock Albums, Top Alternative Albums, and Top Hard Rock Albums.

Of the 43,000 copies sold of Planet Zerophysical format sales include 30,000 (24,000 on vinyl LP, 6,000 on CD and less than 500 on cassette) and digital album sales include 13,000. Planet ZeroSales of were supported by the availability of 15 different physical formats. All had the same audio content. Among them were an autographed CD, several color vinyl variants and two color cassettes.

Four previous number 1s are as follows in the best-selling albums: NAYEON’s IM NAYEON: 1st mini-album drops to No. 2 in its second week (15,000; down 71%), Tyler, the Creator Call me if you get lost goes up 4-3 (12,000; down 49%), Harry Styles Harry’s house bumps 7-4 (12,000; down 21%) and BTS’ Evidence is stable at No. 5 (10,000; down 41%).

Imagine Dragons’ Mercury – Act 1 returned to the top 10, re-entering the chart at No. 6, after the album was re-released on July 1 with additional songs. The set returns to the list with 9,000 sold (up 2,289%).

The awards of TOMORROW X TOGETHER Minisode 2: Thursday’s Child jumps from 15 to 7 with 7,000 sales (+1%), Conan Gray’s super evil falls 3-8 with 7,000 (down 75%), former SEVENTEEN leader SEVENTEEN 4th album: Facing the sun rebounds 17-9 with 6,000 (up 4%) and former No. 1 Olivia Rodrigo Acid increases from 16 to 10 with 6,000 (down 12%).

In the week ending July 7, 1.684 million albums were sold in the United States (down 8.9% from the previous week). Of that sum, physical albums (CDs, vinyl, cassettes, etc.) accounted for 1.302 million (down 9.9%) and digital albums accounted for 381,000 (down 5.3%).

There were 595,000 CD albums sold in the week ending July 7 (down 12.9% week over week) and 697,000 million vinyl albums sold (down 7 .1%). Year-to-date CD album sales were 17.482 million (down 10.6% from the same period a year ago) and vinyl album sales year-to-date the year amounted to 20.1 million (up 1%).

Total album sales year-to-date were 48.628 million (down 8.4% from the same period year-to-date a year ago). Year-to-date, physical album sales totaled 37.846 million (down 4.6%) and digital album sales totaled 10.782 million (down 19.5%).

Disney World celebrates black music on its art walk – here’s how to experience it


A new artwork at Disney Springs pays homage to black music and its impact on the world.

The latest piece to be installed at Disney Springs Art Walk: A Canvas of Expression, is a beautiful musical piece by Everett Spruill. It’s the remnant of a New Orleans jazz club of the past, or for some of us, the Sunday morning church service.

Spruill says his latest piece is an ongoing celebration of his remarkable body of work that pays homage to black music.

“I am inspired by music. That’s what determines what I paint,” he told Travel Noire. “I want to document as many local musicians as international black artists as possible to help document history and culture.”

Partly to preserve the history of jazz music, Spruill has also made it his mission to ensure it is never forgotten.

RELATED: How a 3-Day Trip to Disney World Brought a Little Dark Joy to My Often Chaotic World

“Jazz is in decline,” he says. “I’m an old head trying to bring it back, and art is a way.”

Spruill says it’s important to keep jazz alive because it’s the root of the music we listen to today.

“American genres were built around jazz and blues. Everyone from The [Rolling] Stones to current hip hop artists samples jazz. It’s the root of all our music.

The Walt Disney World team launched the art walk in May 2022 and has already worked with seven artists. Spruill’s mural was featured in June during Black Music Month.

“Our wish with this is that hopefully it will spark conversations among families and friends visiting the property together,” says Darcy Clark, senior marketing strategist for Disney Springs. “We want that, especially for many families with young children.”

She adds, “[parents] may not take the time to take their kids to an art museum, but they do come to Disney Springs. It’s a great way to introduce them to art and what art can be like as a canvas for expression.

Celebrate with soul

Strolling Disney’s Art Walk is just one way for guests to celebrate Soulfully at the resort. Disney presented its moving celebrations in 2021 to celebrate black culture through food, music and art.

For moving experiences at Walt Dinsey World in Florida, Click here. If you are in California, find out more here.

RELATED: Meet the Husband and Wife Who Run Disney World’s First Black-Owned Food Truck

Federal Court confirms that schools accepting PPP loans must comply with Title IX | Fisher Phillips


As of April 5, 2020, we warned independent schools that accepting COVID stimulus money in the form of loans could require you to comply with several federal laws that you may not be aware of, including Title IX . A federal court in North Carolina recently upheld that theory in a June 17 ruling that should put independent schools across the country on notice. What should you know about the Karanik vs. Cape Fear Academy, Inc. case – and what should your school do if you have accepted Paycheck Protection Program (PPP) loans or Economic Disaster Disaster Loans (EIDLs) under the CARES Act?

Unusual pursuit for unusual times

Cape Fear Academy, based in Wilmington, North Carolina, has found itself facing a federal lawsuit for gender discrimination and retaliation after three students alleged they were harassed by multiple classmates over the course of the year. school year 2020-2021. What made this lawsuit unique, however, was that the students alleged violations of Title IX of the Education Amendments of 1972 – commonly known as Title IX – which prohibits discrimination on the basis of sex in any educational program or activity.

The school asked the court to drop the lawsuit, arguing that it did not accept federal financial aid and, therefore, was not subject to Title IX. And while the school did not accept such financial aid in the usual way, it applied for a $1.2 million PPP loan in April 2020 and received the money on May 4, 2020.

Decision depends on PPP loan status

For those unfamiliar, the first COVID stimulus passed by Congress in late March 2020 (the CARES Act) allowed small and medium-sized businesses to apply for federal loans — in many cases forgivable — to cover payrolls. and other expenses. An easy-to-miss provision on page 4 of the Small Business Association (SBA) application that some in the education community may have missed (or misunderstood) stated:

Civil Rights (13 CFR 112, 113, 117) – All companies receiving financial assistance from the SBA must agree not to discriminate in any business practice, including employment practices and service to the public based on the categories cited in 13 CFR Parts 112, 113 and 117 of the SBA Regulation. All borrowers must display the SBA-mandated “Equal Employment Opportunity Poster”.

While there’s no question the school took a PPP loan during the pandemic, she argued the loan didn’t trigger Title IX compliance — while students argued it put it squarely school on the hook. And that was the crux of the legal dispute.

The school argument

Cape Fear Academy argued that the PPP loan was ineligible for “federal financial assistance” because a private bank issued the loan funds to the school and in turn submitted an application to the SBA for a guarantee. of his loan.

Under the terms of the CARES Act, the SBA ultimately waived the school’s entire PPP loan and repaid the entire amount to the private bank on June 15, 2021. The school thus argued that the loan PPP fell under an exclusion in the definition of “federal financier”. assistance” because she believed that the loan was in fact a “contract of guarantee.

Justice slams the door of the school

U.S. District Court Judge James Dever for the Eastern District of North Carolina was not buying what the school was selling. He denied the school’s motion to dismiss the lawsuit and said the case should proceed due to the school’s receipt of the PPP loan.

He concluded that a PPP loan is definitely considered “federal financial assistance” that subjects a recipient to Title IX because it is a “federal financial assistance grant or loan.” He said there were no legal consequences that a private bank actually disbursed the PPP loan funds. Instead, the critical fact was that the SBA, acting under the CARES Act, both authorized and guaranteed the funds. “And because PPP borrowers are the intended recipients of Congress,” the judge said, “they are not simply economic beneficiaries of someone else’s receipt of federal financial assistance.”

In addition to the plain language of the request, the judge could also have cited the SBA’s FAQs to faith-based organizations which very clearly noted that acceptance of an SBA loan constituted receipt of federal financial assistance. Again, this does not seem like a surprising result given that under many federal laws beyond Title IX, accepting such assistance requires the borrower to comply with certain rights laws. civilians.

How long does it last?

The next key question to ask was how long Title IX coverage coverage would weigh on the school. In that case, the judge found that the school should be held subject to Title IX from May 4, 2020 – the date the school first received loan proceeds – until June 15, 2021 – the date to which the SBA forfeited the school’s loan and repaid the Private Bank. In this specific case, that meant the student sexual harassment case (based on behavior that allegedly took place during the 2020-2021 school year) could be dealt with under Title IX.

What should your school do?

While this decision only binds beneficiaries of North Carolina schools, it would not be surprising if this same decision were repeated by other federal courts across the country. Therefore, if you received federal PPP (or EIDL) loans under a pandemic relief program, you should assume that there is a good chance that you are also subject to the grip of the title IX.

A few things to consider:

  • As we noted in April 2020, simply applying for an SBA loan seems unlikely to make the applicant a recipient of federal financial assistance. If you simply applied for a loan but did not receive or accept any funds, you are probably not liable for that reason alone.
  • If other courts follow the reasoning of the North Carolina court, a school will only be liable for federal wrongdoing under Title IX and similar statutes for actions that occurred during the time the loan was in progress. This is true even if you have no outstanding obligations (i.e. once the loan has been paid off or cancelled).
  • If your PPP or EIDL loan remains unpaid or unforgiven on this date, the period for which you can remain subject to Title IX is likely ongoing – and will most likely remain in place until the loan is cleared from the books.

If you are learning for the first time that you may still be subject to the various laws involved in receiving federal financial assistance, you should seek the assistance of your education or employment attorney to determine the best way to comply with your obligations. This may include changing policies, procedures, postings and surveys. In addition to Title IX, your school may also have obligations under Section 504 of the Rehabilitation Act, the Education Rights and Family Privacy Act (FERPA), and other similar laws.

Hwasa Reveals His First Full Solo Album Is “Slightly On Hold”


Hwasa has shared an update regarding his upcoming solo album, revealing that it’s “slightly on hold.”

The MAMAMOO singer recently sat down for an interview with NME backstage at HallyuPopFest London 2022, where she discussed plans to work on her first-ever studio album following the release of her November 2021 single ‘Guilty Pleasure’.

Hwasa spoke about the difficulty she faced in recovering from the pandemic as an artist. “Even now I find it quite difficult,” she admitted. “I’m still in the phase of trying to find a balance and trying to feel alive.”

The K-pop idol also shared that this disconnect she’s been experiencing has led to dissatisfaction with much of the music she’s been making since “Guilty Pleasure.” “I was definitely not mentally ready for the pandemic. I feel like I’ve lost a lot of my bright side, so I’m still trying to adapt and adapt to that side of myself,” she said.

Her next album “isn’t going as well as I hoped, so it’s a bit on hold,” she continued, adding that she aims to make music that will fill a gap in her discography. : “After some thought, I realized that I don’t have a lot of very energetic and fun songs in my portfolio, so that’s what I’m going to work towards.

Elsewhere in the interview, Hwasa talked about her fondness for her song “Maria” and her gratitude to her bandmates MAMAMOO for helping to make her the artist she is today. Read it here.

In addition to ‘Guilty Pleasure’, Hwasa collaborated with Psy in May on the single ‘Now’, a cut from ‘Gangnam Style’ artist ‘Psy 9th’ recently released record. The track is a cover of a 1987 song of the same name by South Korean band Seoul Family, which was itself a remake of Jermaine Jackson and Pia Zadora’s 1984 single “When The Rain Begins To Fall”.

As for MAMAMOO, RBW Entertainment announced last month that the group was set to release a new album in the second half of 2022 “to commemorate the eighth anniversary of their debut.” The music label also added that MAMAMOO will also hold a concert, but further details about these plans have yet to be disclosed.

American Hebrew Academy Received COVID-19 Loans – Even After Closing | Local


GREENSBORO — The nonprofit American Hebrew Academy received nearly $1.5 million in loans from the COVID-19 Paycheck Protection Program, despite the fact that its school closed before the pandemic began.

US Small Business Administration records show the private nonprofit school received two loans of $743,059 each — one in May 2020 and another in February 2021. The loans were intended to maintain the school’s payroll. school, according to records.

William Scarborough, the academy’s business affairs manager, said in an email this week that the money was used to help maintain the school’s 100-acre campus.

“The school has had no income since early 2019,” Scarborough said in the email. “Maintenance costs on this campus are quite high – that’s one of the reasons the school closed.”

The campus reopens this month as a facility to house immigrant children pending reunification with family members or sponsors in the United States.

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The US Department of Health and Human Services is paying the American Hebrew Academy nearly $50 million to lease the Hobbs Road campus for five years. The academy will accommodate up to 800 unaccompanied minors who will live there, study and participate in recreational activities, according to the school’s website.

The American Hebrew Academy will also be contracted to provide educational programs. The children will learn reading, writing, mathematics, science and social studies, the Federal Office for the Resettlement of Refugees announced in June, and participate in recreational activities.

The Office of Refugee Resettlement is legally required to care for all unaccompanied children referred by the Department of Homeland Security until they are properly placed with an approved sponsor, the agency said.

Scarborough said the school will be called Greensboro Global Academy, although the Office of Refugee Resettlement calls the site “Greensboro Piedmont Academy for Influx Care Facility for UC (unaccompanied minors)”.

“It will involve around 60 teachers and assistants and a number of support staff,” Scarborough said in the email.

The academy’s press release announcing the lease said up to 800 people would be hired to staff the facility, including counsellors, medical professionals and other workers to meet the needs of unborn children. accompanied.

Scarborough would not comment on the nonprofit’s financial situation or how much it would be paid to provide educational services.

The release also says the federal government will contract out food services and security, though it’s unclear who will provide those services.

The US Department of Health and Human Services did not respond to several emails asking for more information about the facility, including how many children it would house or how much it would cost to provide services.

The announcement that Greensboro’s luxurious northwest campus will house immigrant children is just the latest in a series of plans for the spacious property.

The academy was founded in 2001 as a preparatory school for the International Jewish University, but closed unexpectedly in June 2019. The school, which was losing millions every year, closed for financial reasons, have officials said at the time.

Enrollment that year was 134 in a school originally built for 400.

In September 2019, the American Hebrew Academy announced plans to reopen in the 2020-2021 school year for ninth, tenth, and eleventh graders following a $26 million loan from Puxim Ltd. , a Chinese education society. The loan was secured by the school’s campus, which is valued at $25.8 million, according to Guilford County property appraisal records.

The school planned to start accepting non-Jewish students as well as local students. “By expanding our admissions to a wider population of students, we are confident the academy will thrive,” CEO Glenn Drew said in a 2019 interview with the News & Record.

However, the school did not reopen, and the nonprofit began doing business in November 2019 as AHA International School.

Eight of the association’s board members resigned or were removed from their positions at the time the loan was obtained.

Drew, who according to tax records was earning more than $647,000 and whose company, RSM Associates, received nearly $1.5 million to help with the transition, resigned in November of that year.

In May 2020, the academy announced that it would reopen again – this time as AHA International School. But those plans never materialized either.

The 2020 PPP loan, which was either repaid in full or canceled — the Small Business Administration did not confirm which was the case — was intended to save 50 jobs. The 2021 loan, still open, was intended to maintain 64 jobs.

The school had 159 employees in 2018 and paid nearly $6.7 million in salaries and benefits, according to academy tax filings. The Small Business Administration uses payroll information from the previous tax year to determine a business’s eligibility for a PPP loan.

With the latest federal contracts, the academy will likely enroll more students and employ more staff than at any time in its history.

Contact Kenwyn Caranna at 336-373-7082 and follow @kcaranna on Twitter.

Woodlawn Theater cast moves to former Santikos Bijou space in Wonderland of the Americas mall


The move will take place early next year.

“We’re kind of packed,” said Christopher Rodriguez, Woodlawn’s executive and creative director. “Even though we love this region and this space, we were able to talk to the wonderland of the Americas to see if we could work together. As soon as the Jewel freed up, we started having conversations, and we had felt like it was going to be perfect.

Santikos closed the Bijou in April.

The mission of community theater remains the same. He will continue to produce musical theatre. She will also continue her academy, which offers musical theater training for all ages. And its outreach program, which provides artist and educational opportunities to nonprofits in the city, will also continue.

“I always feel like everyone sees our shows, and that’s what we’re known for, but there’s so much more going on under the surface,” said Rodriguez, who has been with the association for a short time. soon after its launch in 2012.

The company will be renamed because it will no longer be at the Woodlawn, Rodriguez said.

The historic theater on Fredericksburg Road dates back to 1945.

Renovations will be needed to prepare the movie theater at six Wonderland of the Americas auditoriums for live shows and classes. To this end, a fundraising campaign will be announced shortly.

The opening date of the new space will depend on the speed of fundraising. Supply chain issues could also impact the project, Rodriguez said.

The remainder of the company’s 2022 season will go ahead as planned. The final shows on the main stage in the Woodlawn Theater building will be “A Chorus Line,” August 12 through September 12. 4; “The Color Purple”, September 30-Oct. 23; and “White Christmas”, from November 25 to December 25. 23.

There will also be events designed to give artists the chance to say goodbye to the old theatre.

“We know there will be challenges as we try to move everything we’ve accumulated over 10 years,” Rodriguez said, noting that her desk alone is full of props, wigs and a few sets. “Might be looking for a Woodlawn Flea Market.”

[email protected] | Twitter: @DeborahMartinFR

Music and Political Science Graduate Dominic Go ’10 Builds App to Feature and Pay Freelance Musicians | News | Department of Political Science


From an early age, Dominic Go was attracted to music. Living just a quarter mile from the University of Notre Dame campus, he could hear the Fighting Irish marching band playing on football game days. Although he didn’t play a tuba or any other brass instrument for that matter, he did sing. All. The time.

“I was number seven in a family of eight kids and I was always singing,” he said. “I was the annoying little brother.”

In sixth grade, Go’s music teacher encouraged his parents to enroll the crooner in voice and piano lessons. They followed the advice and soon Go was playing piano and guitar, singing and dreaming of being a professional musician.

When college came around, because his father worked in Notre Dame’s information technology office, Go qualified for tuition assistance. “It was hard to pass up, but so was a degree from Notre Dame,” he said.

While on campus, Go majored in music and political science. In addition to his formal musical training and performance, which relied heavily on opera and classical technique, he joined the Notre Dame Glee Club and The Undertones. While the all-male Glee Club performed traditional and barbershop quartet songs, The Undertones were an a capella male pop group whose on-campus concerts sold out. He also performed in the regional musical theater as a side gig.

He found more than his voice at Notre Dame, he found Colleen Huml. They have since married. “She was the manager of Harmonia, the all-female a capella group and I was the manager of The Undertones. We had our own Perfect something competitive is happening, but eventually we got together and started playing together.

A passion for the music industry

After graduating, Go was initially set to pursue a professional music career. “I had doubts. It’s a very binary industry. Either you’re incredibly rich or you live in poverty, there’s not much in between,” he said. “Even touring musicians do it out of passion. There just isn’t enough money in it.”

He finally decided to give it a shot. “I had devoted my time at Notre-Dame to music, putting aside my other interests. So I had to try,” he said.

Further roles in regional musical theater and performances in bars and clubs followed. And when Better World Books, a socially conscious online second-hand bookstore, offered him a job as a project manager with a flexible schedule, he accepted.

His day job was great and he had the opportunity to explore another interest – technology, especially data analysis and coding. For the next 16 months, Go worked on the technical side of Better World Books under its first boss, Paul Drake.

“He was amazing. He kind of saw potential in me, and so he gave me the autonomy to follow my interests,” Go said. “But I still had a passion for the music industry. the music. I just had to go from another direction.

Go formalized his technological background, moved to larger institutions, and eventually cultivated over 10 years of experience in the field. Throughout this period of professional growth in tech, the income disparity in the music industry – largely due to the fact that if an artist wanted to succeed, they had to go through a “kingmaker – bothered him.

“Technology could be the solution”

“In the beginning, talented musicians had to have a major record company behind them to pay for all the initial costs of recording, marketing, booking appearances, and managing distribution channels or subsequent records and CDs. When Pandora was founded in 2000 and Spotify in 2006, they solved the distribution problem by disrupting the music industry with live streaming. But there was still a big problem. Independent artists were still not making money,” Go said. “That was a problem for me. I thought technology might be the answer.

His “aha” moment on how to share the wealth with all musical artists came during a trip to Asheville, North Carolina. “I heard a busker singing on a street corner and I was floored. The guy nailed his song. but I had no money and there was no Venmo at the time. I felt really bad, but it got me thinking about a new way to pay artists.

The new way finally became the company of Go Drum, which he started building in 2015. In 2018, he completed the prototype and launched the platform and app. Tambr’s mission is to give all musicians a way to be heard while allowing them to monetize their music in new and fair ways. Fans then also had a way to find and support emerging talent and established local bands.

Tambr operates as a freemium model. Musicians who use the platform are free and they retain full ownership of their music. Users can listen for free but ads are part of their experience. Premium users who pay $7.99 per month hear no ads and can listen to music offline and support the artist of their choice. This directs $2 per month from their subscription to their favorite artist.

Go said some people are rolling their eyes at Tambr, being just another streaming service. But when they understand that 25% of the subscription goes directly to an artist, they are all in. “We are not trying to differentiate on price. We’re cheaper than Spotify and Pandora, but more expensive than a service like Ultimate Guitar Tabs. Pricing is really about trying to strike a balance in the market against our competitors. »

To gain traction, Go approached musician friends from his Notre Dame days as well as his professional career. Many gladly downloaded their music. Go, meanwhile, continued to iterate on the platform. In 2021, it added live streaming capabilities. Performers embraced it, with some doing more sets produced from a club or other venue, while other performers broadcast from home. Listeners can donate to artists with just one click. The Tambr app is available on Google Play and the App Store.

“Some musicians stream live performances every week. They’re really excited to have a new tool. It’s the most rewarding thing for me.”

Tambr scaling

In 2021, Go also earned an MBA from the University of Chicago. He laughed at how it happened. “My wife wanted to go to medical school and let me know that she would be spending a lot of time studying for MCA. I wanted to spend time with her, so I decided to study for the GMAT, the college preparatory test. I had no intention of going back to school. When I got a better score, I didn’t want to spoil it. I focused on economics and entrepreneurship and loved it.

His MBA came at the right time; he is now focused on scaling Tambr. At first, $200,000 from friends and family funded the business. Today is positive cash. Go is preparing to launch a $700,000 pre-seed funding round, with proceeds going towards user growth.

“To give new musicians a pathway to build their careers and thus have a real impact on the artist community, we need hundreds of thousands of users,” he said. “Fortunately, it’s very doable.”

Regional groups often have over 20,000 followers on social media platforms like Instagram. Converting them into premium Tambr subscribers can generate significant revenue. “If only 1,000 fans join Tambr as premium members and nominate the group, that’s $2,000 in predictable monthly income. There are other ways for musicians to make money on Tambr, such as direct donations and merchandise sales.

Fundraising has been Tambr’s biggest challenge; the space is filled with Spotify, TikTok, Apple and Amazon. Tambr isn’t after the masses, however. Its target audience is young audiences who enjoy finding new bands and solo musicians and appreciate the social mission of supporting emerging artists.

“When people say, ‘Do we need another music streaming service?’ my response is, “Do we need another shoe company? and then I point to Allbirds, which also has a social mission and is very successful. They have a good product as well. As a company of consumer products, we need to deliver every experience,” said Go.

It is gratifying for Go to see the joy of the participating artists. “Some musicians stream live performances every week. They’re really excited to have a new tool. It’s the most rewarding thing for me,” he said. music myself.”

His advice to others dreaming of starting a business: Be open to suggestions.

“I spent far too long not taking comments. He’s your baby and when you get feedback it feels like a personal attack. … Learn to discern useful and useless advice. Startups are a tough journey. We all need advice.

Originally posted by Melanie Lux at ideacenter.nd.edu on June 22, 2022.