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Music Review: ASO Jubilation – InDaily


When the composer Mahler said that “the symphony is the world, it must contain everything”, he was of course selfishly proclaiming how his own creations for large orchestra could tell the complete compendium of life’s experiences – all of its trials and tribulations. .

The fear when approaching his most epic works, such as the powerful Symphony No. 5 in C sharp minor, is that even the prophetic Gustav Mahler cannot tell us anything 120 years from now about the fate of the world.

There wasn’t much to cringe about in the first half of the Adelaide Symphony Orchestra program Jubilation concert, and maybe that was good news. Mozart at his most exuberant, thanks to his openness to Figaro’s weddingthen the remarkable Piano Concerto by Clara Wieck-Schumann, both lifted our spirits.

Facing the ASO for the second time, Norwegian conductor Eivind Aadland, and his Mozart is excellent – ​​simply among the best. Choosing a sustained tempo and opting for contained energy and tension, here is a performance that immediately put a smile on your face. Aadland has an unusually broad vocabulary of gesture, meaning he hops and dives considerably in front of the orchestra, but he firmly implants his image of music in the musicians and shapes their sound with discipline.

Invite him to play more Mozart, please. It’s just a shame he’s already signed up with the Tasmanian Symphony Orchestra as their new Principal Conductor.

Wieck-Schumann has collected plenty of champions lately, including Anna Goldsworthy here in Adelaide. We had in this concert another, the pianist born in Sydney Andrea Lam. At first, her playing in the concerto seemed too romantic, too Lisztian, for a work that the composer began to write, extraordinarily, at the age of 13 and completed at 15. Lam applied a liberal rubato and great eloquence that made the work ring. much more modern than it really was. In truth, it predates all the great piano concertos by Liszt, Robert Schumann and Brahms. But it worked, because this exciting and original work can withstand many different interpretations.

The really special moment of this performance happened in the romance middle movement, where the solo cello joins the piano in an intimate duet. Simon Cobcroft, the ASO’s principal cellist, performed here with a ravishing expression. It really sounded more like a cello concerto with piano accompaniment at this point.

After a cheerfully fiery finale, Lam offered another work by Wieck-Schumann, his Romance in A minor, as an encore. Composed in 1853 as her husband, Robert Schumann, began his descent into mental illness, its melodies were awash with melancholy. One couldn’t help but notice, too, how his warm, finely voiced piano style sounded so much like Brahms; except that it was he, 20 years old at the time and at the start of his career, who was influenced by her.

The ASO performs Jubilation before a grateful audience at Adelaide City Hall.

Then it was Mahler. So much has to go right in the interpretation in order to capture the apocalyptic vision of his Fifth Symphony. The ASO played it so rarely that one felt nerves of apprehension – but not half as much as the musicians, of course, for whom it represents some of the most difficult orchestral music ever written.

And did it contain everything in the world? From the darkest depths to the most ecstatic heights, yes. The game was pretty darn wonderful too. The imperfections were minor compared to the strength and commitment of this performance.

Only Mahler could begin a symphony with a funeral march, and follow it with a storm to be played “with the greatest vehemence” – as he indicates in the score. As a rule, this funeral march, announced by trumpet, is played with hesitant ceremonial gravity. But Aadland chose to be different, giving him bursts of compressed energy and a real threat. The effect was startling. The only problem was that the soulful, slowly emerging cello theme felt slower than it perhaps should, and the momentum sometimes seemed to be a bit lacking in other quieter moments of the symphony.

Nonetheless, the contrasts were electrifying. The cry of the horns, the breath of the brass and the cry of the violins in the movement of the storm sent shivers down the spine.

In addition to the praise due to Aadland, credit goes to principal horn player Adrian Uren, who so skillfully and perfectly interpreted the crucial role of the solo horn in the Scherzo – walking nonchalantly to the front of the stage like a concerto soloist for this third movement. It’s fair to say, however, that all of the players rose to the occasion magnificently. It was great to see them let loose, and their fearless play was inspiring.

For me, it was the best therapy I could imagine in these days of crippling uncertainty. Looking at the audience, many of whom were cheering loudly at the end, I think they all felt the same way.

Mahler is a composer who stands on the edge of the precipice and dares to look over the other side. Yeah, we could probably use his vision more right now.

Jubilation was presented at Adelaide Town Hall on Friday and Saturday. The next concert of the Adelaide Symphony Orchestra Symphony Series will take place Affirmationperforming at the Hôtel de Ville on 13 and 14 May.

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This article is supported by the Judith Neilson Institute for Journalism and Ideas.

Finger Lakes GrassRoots Festival of Music & Dance shares its 30th annual lineup of artists


Finger Lakes GrassRoots Festival of Music & Dance shares its 30th annual lineup of artists

Finger Lakes GrassRoots Festival of Music & Dance shared its 30th annual lineup of artists for the beloved four-day event in Trumansburg, NY, July 21-24.

Festival founders Donna The Buffalo will host The Infamous Stringdusters, Galactic with Anjelika ‘Jelly’ Joseph, Cory Henry, Marty Stuart & His Famous Superlatives, John Brown’s Body, Dobet Gnahore, DakhaBrakha, Peter Rowan’s Free Mexican Airforce with Los Texmaniacs, Willie Matson, Keith Frank & Soileau Zydeco, plus over 70 other musical guests.

Attendees can anticipate family-friendly activities, including arts and crafts, face painting, and more. In addition, the festival site will have several beer and wine gardens. And will also offer restorative healing workshops, yoga and other activities.

Four days before the Finger Lakes GrassRoots Festival of Music & Dance, July 17-20, Culture Camp will host a long list of musicians to teach instrumental techniques and dance and movement workshops. For more information and to register, visit the festival website online ticketing.

Tickets are on sale now.

See the festival’s official Instagram announcement below.

Sean Ardoin features LSU Tiger Band on his upcoming album


BATON ROUGE, La. (WAFB) — Musician Sean Ardoin thinks a Grammy Award could be in the Golden Band of Tigerland in the future.

Three-time Grammy-nominated Ardoin is teaming up with the band to record their entire next album, something he says no other artist has done in history.

Musician Sean Ardoin thinks a Grammy Award could be in Tiger Land’s Golden Band of the future.(WAFB)

“Fleetwood Mac did a song with a band. A few other artists did a song with a band. No one ever recorded an entire song [album] with a band. This is historic,” Ardoin said.

The LSU alum and former Tiger Band tenor drummer noted that the collaboration is part of a series of significant events he’s been through recently.

Ardoin, a Lake Charles native, recently completed a two-year repair job at his home. He says he suffered damage from Hurricanes Laura and Delta and described a difficult road to recovery.

More recently, Ardoin celebrated a Grammy nomination for his album Live in New Orleans!

It competed in the Best Regional Roots Music Album category, but the award ultimately went to another artist. He says the partnership with LSU gave him something to look forward to and made the outcome of his Grammy bid a little more manageable.

“Coming here the week after the Grammys, after not getting the result I wanted at the Grammys, it means a lot to come here and be with these kids at my alma mater. It gave me a boost , and I’m sure when it comes out, it’s going to bring a lot of joy to everyone who listens to it,” Ardoin said. all the time. I can see it in their eyes.

Ardoin said the partnership came about after hearing the band perform at a football game last season.

Louisiana State University Tiger Marching Band
Louisiana State University Tiger Marching Band(Source: Josh Auzenne (custom credit) | Source: WAFB)

He connected with college leaders and other alumni who found success in the music industry, like Dee-1, a former Baker Middle School teacher, to collect material for a session. recording.

“It’s a total Louisiana project. The music, the band, the university, the artists, it’s all in Louisiana,” Ardoin said. “Wherever I go, I go from the bottom of the ‘boot’ straight to the top. It’s just a continuation of what I love to do, keep Louisiana first.

The Ardoin team is still determining the name of the album and has not set a release date. However, he hopes he will be ready in time for the next LSU football season.

Jon Batiste, winner of the award for best American roots performance for "Weep," best american...
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How do you identify your loans?


I know a guy in Billerica who, like most people, got tired of making the monthly mortgage payments on his house for decades.

But last week he emailed me some really good news, which might make his life easier.

“My home loan decided to identify as a student loan,” he said. “Do you know what that means? I won’t have to pay it again – ever!

This is wonderful news, and I predict that “transitioning” all debt into student loans will be the next big thing in the equity racket.

I mean, if a guy can suddenly “identify” as a woman, then why can’t an overdue invoice identify itself in a category where it never has to be paid?

Personally, after studying my recent rather large credit card statements, I’m starting to “prepare” my Visa bill to become a student loan – so I can claim “forbearance” and not experience any “accumulation” of student loan payments. interests.

Hey, what’s good for a Queer Studies major should also be good for a taxpayer with two jobs, right? Certainly, the equal protection clause of the 14th Amendment extends to debtors.

All bad payers are equal under bankruptcy law.

If these losers who owe over a trillion dollars in unpaid student loans don’t have to pay back the money they owe, why can’t an electrician tired of making payments on his F-150 just” transfer” the payment on his pickup into a… student loan?

What he would then never have to repay.

Property taxes, lines of credit, condo fees, alimony, child support, library fines, anything – why can’t normal people request “bill reassignment surgery” and live big on arm, like an illegal alien or a Democrat?

In case you missed it, maybe because you worked 70 hours a week to pay your bills, last week Dementia Joe Biden again extended the so-called moratorium on federal student loan debt.

For those of you keeping score at home, this is the sixth time since March 2020 that deadbeats have taken advantage of this ongoing scam – twice under Trump and now four times under Brandon.

Such an agreement – no one is required to repay the principal of their loan and no interest accrues. The only ones who don’t benefit from Uncle Sam’s largesse are those roughly 300 million Americans who either didn’t go to college or paid their own way.

Incidentally, no one forced the academics concerned to assume these obligations. They could have joined the army, learned a trade or found a real job. Or just paid what they owed.

But no, they wanted to study… sustainability, third world slamming or wind power for dummies.

One thing we know for sure is that none of these college kids learned Latin, because otherwise they might have learned the meaning of that ancient phrase – Caveat emptor.

Buyer beware.

Taxpayer tab for student loan scam estimated at $100 billion so far. This latest document, which runs through August, will cost an additional $15-20 billion.

But it’s necessary for what the AOC calls “families de travail,” which in English stands for “non-working non-families.”

God knows they need that extra $400 a month they pocket on average – it at least pays for some of the tattoos, bling, weed and fortified wine they’ve been bingeing over for the last two years.

This latest welfare scam comes at a time when the unemployment rate for bachelor’s degree holders is 2%. Many of these deadbeats took advantage of all the other new handouts that proliferated during the panic — like eviction bans, PPPs, PUAs, bonus food stamps, extra child benefits, “unemployment” checks. » more generous, etc.

The fact is, for tens of millions of people in the slacker community, panic has been their finest hour.

They ended up living at home in their free time – and were paid more than they ever earned when they had to work for a living.

And now this – allowing society’s most pampered and privileged vomit to skip over $1.4 trillion they voluntarily contracted for their worthless degrees.

This scam must sound terrible to Democrats. But the midterms are already looking so bleak that Dementia Joe’s carers may think the only way to avoid a full blowout is to give one last gift to the party’s ultimate electorate – deadbeats.

Every time I bring up this topic on my radio show, the phone lines go crazy. Some listeners are demanding restitution. I prefer the word “reparations” for its awakened resonance.

Democrats are already working against smaller downsides, like pardons for those in “public service,” i.e. hacks. As if being a “community advocate” for MS-13 gangbangers and fentanyl pushers is somehow more dignified than being a plumber or an Uber driver.

Some of my listeners tell me that they skipped, say, vacations or renovations so they could pay off their own student loans or make sure their kids wouldn’t be saddled with thousands of dollars in debt when they got their diploma.

So, will the authorities now pay for this European vacation they missed? Providing a down payment for the lakeside cabin they couldn’t afford because they behaved like responsible adults?

On a financial website, a reader asked the obvious question, “Can I get a refund if I’ve already paid off my loans?”

Why not? It would only seem… right. Oddly, however, the same Democrats who still complain about fairness and you paying your “fair share” are now oddly silent.

The same people outraged by “Don’t Say Gay” have no problem with “Don’t Say Pay”.

Hey, how about this as a possible solution – since the racketeering company known as Higher Education skimmed this scam for billions of dollars, why don’t they throw away their endowments to repay all the loans in suffering of the hippies.

Harvard alone has an endowment of $53.2 billion. Do you know what I call that?

A good start… on equity.

THE CAROLE KING MUSIC at the Paramount Theater

Sara Shepherd as “Carole King” in
Magnificent: Carole King’s Musical at Paramount.
Photo credit: Joan Marcus

Jukebox musicals are a mainstay of American musical theatre. They have built-in recognizable hit songs and instant fan appeal. But they’re hard to get right, requiring a good book to incorporate the songs into a cohesive story. Even more challenging is the bio-musical jukebox where they try to tell the artist’s life story with their own songs. There are so many, “Tina”, “MJ”, “Motown”, “Jersey Boys” to name a few. And their pitfall is usually twofold and both require the series to have a good editor. First, the book is not strong or interesting enough. And second, and most importantly, they try to cram too many songs from the artist’s songbook into the show, to the point that there’s no time for full numbers, just snippets of the songs. If we came to see the show, chances are we’re already fans of the music, so we want to hear the songs. The whole song. But in these cases, once they get you excited to hear a certain song, they’ve already moved on to another. Then came “Beautiful: The Carole King Musical”, which is currently playing for a short time at the Paramount Theater. It’s that rare unicorn of a show that manages to get it right on every count, leaving audiences not only more aware of the life of their favorite performer, but also having been happily treated to the compendium of songs of said performer, in this case, the legendary Carole King (played with great heart by Sara Shepherd).

If you think you don’t know King’s songs, you’re probably wrong. Even before she emerged as an incredible performer and recording artist, she was quite a prolific successful songwriter, churning out hit after hit with her husband and songwriting partner, Gerry Goffin (played by voice velvet James D. Gish), for artists like The Shirelles, The Drifters and Janelle Woods with hits like “Will You Love Me Tomorrow”, “Up on the Roof” and “One Fine Day”. Starting to sell her songs at just 16, she and Goffin quickly proved to be a force to be reckoned with. And their drive was largely due to their rivalry with best friends and fellow songwriters Cynthia Weil and Barry Mann (played by the lovable Sara King and Ryan Farnsworth) who penned hits such as “On Broadway” and “You ‘ve Lost this love felling’. And it’s this rivalry and friendship, along with King’s rocky marriage and superstar career that makes this story so gripping.

Magnificent: Carole King's Musical
Torrey Linder, Edwin Bates, Ben Toomer,
and Isaiah Bailey as “The Drifters” in
Magnificent: Carole King’s Musical at Paramount.
Photo credit: Joan Marcus.

With Doug McGrath’s exceptional book, we not only manage to hit the high points of King’s life and stay on perfect beat under the direction of Marc Bruni, but they manage to incorporate the songs in such a way that they are more than a list. Unlike other bio-musicals that rely on the trope of “and then we sang this song, then we sang this song”, “Beautiful” manages to connect each song to a pivotal moment in their lives and to create a (pardon the obvious pun) beautiful touchstone of the emotion behind the lyrics relating to the events surrounding its creation. It’s certainly not an easy feat, but McGrath and Bruni seem to pull it off with ease.

Another thing for the show is the variety of voices inside. Most bio-musicals are stuck with one band or performer singing the majority of the hits, but here, since we’re dealing with songwriters, we also get some amazing performances from others playing those other legendary bands. Torrey Linder, Jacquez Linder-Long, Julian Malone and Ben Toomer make wonderful Drifters with their signature voices and moves well represented. Likewise, Rosharra Francis, Jamary A. Gil, Danielle Herbert and Nazarria Workman deliver fantastic numbers as Shirelles with Francis later returning as Janelle Woods for “One Fine Day”. But my personal favorite moment would have to go to Nick Moulton and Paul Scanlan giving an amazing rendition of “You’ve Lost That Lovin’ Feeling” as the Righteous Brothers. Congratulations to both of you, but especially to Scanlan whose deep, sultry voice gave me shivers as soon as he opened his mouth.

Magnificent: Carole King's Musical
Matt Loehr, James D. Gish, Sara Shepherd,
Ryan Farnsworth and Sara King in
Magnificent: Carole King’s Musical at Paramount.
Photo credit: Joan Marcus

But this show is about King and his life and Sheperd is absolutely up to the task of carrying us through. Her presence makes her instantly likeable and relatable, and she gives us a fabulous arc as we watch the ups and downs of King’s world. Plus, her voice is absolutely on point, making each number a giveaway that builds on the last. So, at the end of the show, we are completely in the palm of his hand. Gish, as a wandering husband, manages to convey this troubled man with sympathy and heart, and once again his voice will make you swoon. King and Farnsworth couldn’t be more adorable as rival songwriters with their on-again, off-again relationship and Mann’s “We Gotta Get Out of This Place” was a total spectacle. And I have to mention Rachel Coloff as the mother of King Genie Klein and Matt Loehr as the band’s producer Don Kirshner who provided a ton of wonderful comic relief without ever being overdone or assaulted.

“Beautiful” is simply a rocking good time from start to finish and one of the few bio-musicals that nails it perfectly. And so, with my three-letter rating system, I give “Beautiful: The Carole King Musical” at Paramount a Beautiful YAY+. And with the show only here for a few more performances, you should rush to catch it.

“Beautiful: The Carole King Musical” performs at Paramount through April 9. For tickets or information, visit the Seattle Theater Group online at www.stgpresents.org.

Live Covid-19 Updates: FAA, Covid Cases and Latest News

Credit…Agence France-Presse — Getty Images

BEIJING — China’s growing Covid-19 restrictions are creating further disruptions to global supply chains for consumer electronics, auto parts and other goods.

A growing number of Chinese cities are requiring truck drivers to take daily Covid PCR tests before allowing them to cross municipal borders or are quarantining drivers deemed to be at risk of infection. The measures have limited how quickly drivers can move components between factories and goods from factories to ports.

Shanghai and other major Chinese cities have imposed long and strict lockdowns in an attempt to control Covid outbreaks. Previous disruptions in the supply of goods from Chinese factories to buyers around the world mainly involved the temporary closure of shipping ports, including Shenzhen in southeast China in May and June last year, then near Shanghai last summer.

“The problem isn’t the ships, it’s that there’s no freight because there’s no trucks,” said Jarrod Ward, business development manager for Asia. East at the Shanghai office of Yusen Logistics, a large Japanese supply chain management company.

Truck driver testing has been suspended as some cities conduct mass testing of residents. Shanghai tested nearly all of the 25 million people within its borders in a single day on Monday and detected another 21,000 cases on Thursday.

Today, there is a severe shortage of truck drivers in Shanghai and neighboring cities like Kunshan, an electronics production hub. Many electronic component manufacturers are closing in Kunshan.

“Major electronics suppliers from Apple, Tesla, they’re all based there,” said Julie Gerdeman, chief executive of Everstream, a DHL-based supply chain risk management subsidiary. San Marcos, California.

Apple declined to comment, and Tesla did not immediately respond to questions.

Many factories have tried to stay open by asking workers to stay put instead of returning home. Employees have been sleeping on mats on the floor for four weeks in some cities in northeast China. Businesses have stored goods in nearby warehouses pending the resumption of normal truck traffic.

But as lockdowns spread in cities like Shanghai, Changchun and Shenyang, factories are running out of materials to assemble. Some are sending their workers home until further notice.

The manufacture of car seats, for example, requires different springs, bolts and other materials. Mr Ward said car seat makers were running out of components. Volkswagen said it closed a factory outside Shanghai.

As Shanghai’s cases rise, its main rival in electronics manufacturing, Shenzhen, has emerged from lockdown. This frees up workers and factories there to resume production at full speed.

Western retailers and manufacturers have tried to adapt to previous supply chain difficulties in China by switching from ships to air freight, but air freight rates have more than doubled from a year ago.

The near total suspension of passenger flights to and from Shanghai has roughly halved air cargo capacity there, said Zvi Schreiber, chief executive of Freightos, a cargo booking platform. The war in Ukraine has forced many airlines to schedule longer flights around Russia and Ukraine, meaning each plane can make fewer trips in a week and can often carry less weight on each flight. .

The war in Ukraine is also beginning to hurt the availability of Soviet-era Antonov freighters, Schreiber said. These workhorses of the air cargo industry have been maintained in recent years almost entirely by Ukrainian maintenance bases which are now closed.

For businesses, any further disruption to the global supply chain would come at a particularly difficult time, in addition to rising raw material and transportation prices, as well as extended delivery times and labor shortages. work.

10 great album covers, chosen by Tom Kenny of Ogilvy Canada


I don’t think it’s an exaggeration to say that in my teens and early twenties I was addicted to music. I still am, but at the time it was a problem. Every Tuesday I went to the local record store and, despite my meager income from posting posters in downtown Ottawa, I usually bought one to three albums.

What’s important to know, in the context of this list, is that at the time, most of these purchases required some leap of faith. Before the streaming era, I regularly found myself buying albums without having heard the music first. Maybe I had heard a single on the radio, or seen a video on Much Music (basically MTV, but with a lot more Tragically Hip and probably about the same amount of Alanis Morrissette), but usually it was almost everything.

With so little knowledge, these purchasing decisions were often made based on the scant amount of information available, and chief among these panels was the album cover. Over the years I’ve made countless purchases based on little more than a cool album cover that for some reason said it was an album I should own. Sure, sometimes it worked really well and sometimes I wasted $15, but those were the consequences of the high-stakes game of album roulette I had become addicted to.

The following are 10 records I needed to own album covers.

Views (2016)

Drew University Announces New Minor in Musical Theater


Tags: Arts, CLA, Homepage, Theater & Dance

Drew University Announces New Minor in Musical Theater

New minor completes Popular Theater Arts major and four other program minors

April 2022 – Drew University recently announced the addition of a Minor in Musical Theater.

The minor is an interdisciplinary program incorporating the study of acting, dance, movement, vocal arts, performance history and related musical subjects. The program offers students the opportunity to create original musicals as well as participate in immersive experiences.

“The minor is an interplay of theatre, music and dance,” said Lisa Brenner, president of theater and dance and teacher of theatrical arts.


Drew’s students star in a production of Heathers: The Musical, co-created by C’89 alum Kevin Murphy.

“Other programs offer the opportunity to study directing, but not as broadly as our program, which also covers choreography. Additionally, what makes our program distinctive is the ability to focus not only on performance in these areas, but also on songwriting and composition. Our program also has an applied learning aspect, including a studio course that emphasizes innovation and collaboration. »

The new musical theater minor joins a strong list of theater and dance program offerings, including a major in theater arts – with concentrations in performance; design and technology; dramaturgy and dramaturgy; staging and management; and Applied Performance and Community Engagement, as well as minors in Applied Performance, Arts Administration: Performing Arts, Dance and Theatre.

Brenner predicts great interest both inside and outside of the theater and dance program.

“We anticipate that just as our dance minors often major in non-arts areas, many others outside of the theater and dance department will want to minor in musical theater to fulfill their passions,” he said. she stated, frequently noting majors in economics, biology and psychology. choreograph departmental dance performances and perform in theater productions.

“We see a large number of prospective students learning about musical theater, both those considering majoring in theater and those looking to pair that interest with other majors at Drew,” Brenner said.

Drew’s theater and dance alumni include Emmy winners and classmates Kevin Murphy C’89 (Desperate Housewives, Heathers: The Musical) and Dan Studney It’89 (Jack the giant slayer), who shared a Primetime Emmy for Outstanding Music and Lyrics for Reefer Madness: The Musical from the Movieand worked together on Honey, I Shrunk the Kids: The TV Series; production property supervisor Buist Bickley C’07, who currently oversees props for Broadway shows like MJ, Moulin Rouge, Tina: The Musical of Tina Turner, Harry Potter and the Cursed Child, and Dear Evan Hansen; and casting director Patrick Goodwin C’06 (Tina: The Tina Turner Musical, The Dear Show, Waitress, Naughty boots, Spongebob: The Musical, Finding Neverland, Pippin apple, Chaplin, Anne).

The addition of the minor in musical theater follows two new minors in education, one in education and society and the other in teaching. Read more here.

Review: Exploring Nature and Nightlife at Martha Graham


Isn’t it sad that a show’s oldest dance has the most to say about the present? And more disconcerting when this dance seems to be the most recent?

Without forgetting the dance itself: the “Chronicle” of Martha Graham, from 1936, is more spellbinding and prescient than ever. Created in response to the rise of fascism in Europe after Graham turned down an invitation to perform at the Berlin Olympics, it has become increasingly relevant in recent years. It’s really distressing.

But the premieres performed by the Martha Graham Dance Company on its season opening night at Downtown Dance Festival tell a different story. There was “Canticle for Innocent Comedians,” a slow-paced series of vignettes by eight choreographers, directed by Sonya Tayeh, and “Cave,” a simple, raucous experiment in transforming the stage into a club by Hofesh Shechter.

When it comes to commissioning new work, the Graham Company typically goes in the opposite direction of its founding choreographer – in mystifying ways, as if the company, America’s oldest dance troupe, is vying for become the next random directory group. Moving forward isn’t just desirable, it’s necessary, but choosing new choreographers can be confusing beyond their brand names. These choreographers rarely show new sides of Graham’s dancers – technically assured, individual and, more than most, in tune with their inner emotions – so much as they imbue them with their style.

Even when the members of the company sell this choreography, what are they selling? The ability to be, like so many other dancers around the world, generically versatile? If the dynamic and powerful Leslie Andrea Williams stood out in “Cave”, it is because she had already conquered the stage in “Chronicle”. But by the end of the night, for several of the other dancers, it was hard to put faces to names.

This was evident in “Canticle for Innocent Comedians”, a new production inspired by Graham’s 1952 ode to nature, in which the dancers bring in the elements – sun, earth, water, etc. – to the dancing life. The work has been revived over the years, but it has never been recorded in its entirety. A single section, “Moon,” was filmed, for the documentary “A Dancer’s World.”

In the new “Canticle”, this segment retains Graham’s choreography, which alludes to what could have been. In a luminous and lyrical duet, So Young An and Jacob Larsen, bathed in cool moonlight, are continually drawn to each other. In a dramatic moment, she bends deep and he takes her from behind. Facing outward, she wraps her legs around his torso as he rocks her up and down, finally lowering her face first onto her shoulders. It’s a rush, just like “Wind,” danced by Laurel Dalley Smith and choreographed by Robert Cohan, was a poetic rendition of a fleet, lithe body caught in a breeze and pausing to show calm between gusts.

But redoing a dance with essentially just the structure intact is a tricky proposition, especially with something like “Canticle,” which by all accounts was jaw-dropping. As a Juilliard student, Paul Taylor watched it and was inspired to become a choreographer. As he wrote in “Private Domain,” his autobiography, “The whole dance was the most beautiful, awesome, magical thing I had ever seen.”

In the new version, many vignettes fade and lose their distinction, possibly due to the assortment of choreographers. It was hard to tell exactly what dancer Lorenzo Pagano was doing in “Sun,” which was created by Tayeh, who also presided over the opening and closing dances, as well as the interludes. Writhing from here to there with his chin lifted to a particular degree, he was a slippery sight, arching his back and rolling up and down the floor as if showing the effects of too much a lot sun: sticky, slow, lovingly gloomy.

Much of the choreography ignored the best part of this new production: its moving score commissioned by jazz composer and pianist Jason Moran, who performed live on Wednesday. By turns it was soft and tender, full of courage and power – the opposite of the sickening solos and duets that dominated “Canticle”. The music, as she kept waking up, been magical.

The other new work, “Cave”, also had a back story. the ballet dancer Daniil Simkin wondered something like: What if a rave was steeped in choreography? (This raises a question: why would you want it to be?)

Simkin, who returns to American Ballet Theater as a guest artist this spring, lived in Berlin and immersed himself in club culture. He also dances in the piece and is credited as its creative producer.

Shechter, a London-based Israeli choreographer, is adept at moving groups of dancers across a stage, a skill he uses in “Cave.” The dancers begin to spread out horizontally before converging into groups that hold their bodies low to the ground like boned strands of silk as their arms float above their heads. Simkin is a kind of aerial dancer; as much as he tried, he couldn’t match their earthly strength.

The brooding, heart-pounding ‘Cave’ is part bonding and part celebration, but as it follows its relentless beat, it’s clear it’s little more than a manufactured pleasure – reason for the crowd to cheer. music, credited to Soul and Shechter. Choreographically, “Cave” is little more than a series of flash mobs, in which the men have increasingly thrown themselves into the action – and the spotlight – to an almost embarrassing degree.

The most visceral section was the one featuring the women – bouncing, undulating and spinning, they transformed into a clan of spirits. Here they were Graham dancers again, though their movement was radically different. In addition to their abandon and speed, there was also something else at play: the contained fury and the feeling of “Chronicle”.

As a collective, eerily in tune with each other, they mirrored Graham’s first all-female transformative works in which a new way of moving, rooted in the pelvis, was born. They were distinct, primal; their dance had more than body and rhythm. It seemed unintentional, but “Cave”, in conversation with “Chronicle”, finally had something to say.

Martha Graham Dance Company

Through April 10 at New York City Center, Manhattan; nycitycenter.org.

Man accused of lying about PPP loans and advising others to do so


SALT LAKE CITY (ABC4) – Timothy Gibson, a Utah resident and dual operator of Creative Investment Group LLC and Polaris Investment Group LLC, faces three charges after he allegedly lied about PPP loans and advised his clients to do so also.

Currently, Gibson faces one count of bank fraud and two counts of making a false statement to a bank.

For those unaware, the SBA Paycheck Protection Program (PPP) was created after the enactment of the CARES Act in March 2020, which enacted several temporary programs and supported the expansion of others. programs to deal with the COVID-19 epidemic. . In short, PPP is a loan opportunity to help small businesses keep their employees on the payroll.

Gibson’s crimes date back to May 2020 when he hatched a scheme to defraud Mountain America Credit Union (MACU) through the PPP loan program. Additionally, Gibson allegedly informed 25 of its clients that they could apply for and obtain PPP loans using false information in order to “grow their business,” when growing a business was not a permitted use of funds. PPP loan.

On May 11, 2020, Gibson reportedly applied for a PPP loan from MACU for $166,600, falsely informing the organization that Creative Investment Group LLC had eight employees when it only had one, and that the company had an average monthly payroll of $66,666.67 when there was none. monthly wage bills in reality.

On the same day, Gibson applied for another PPP loan of $208,300 after informing MACU that Polaris Development Group LLC had 10 employees when it had only one, and the administration had average monthly payroll expenses. of $83,333.33 when, again, the organization had no monthly salary. wage costs.

A few days later, on May 18, 2020, Gibson submitted a PPP loan through MACU on behalf of JW and his company 17 Paths LLC, although the application was unfunded.

As a result of his crimes, Gibson was ordered to forfeit all property obtained through proceeds he earned through false PPP loan claims.

Currently, a financial judgment equal to the value of any property that cannot be revoked is being worked out.

Musical, artistic and historical activities planned for the weekend – Shaw Local


1 – Jam into spring Friday night at Streator. Jammin’ at the Clock is hosting a Steppin’ Into Spring concert at the Silver Fox, 122 N. Park St., as part of a fundraiser for their summer concert series in downtown Streator. Noreen Stark, one of the star vocalists of last year’s Motown band, returns with a powerful voice and her bluesy, jazzy, rhythmic, bluesy sound. Stark has performed the songs of Etta James, Gladys Knight, Aretha Franklin and others at previous shows. The Silver Fox opens at 6 p.m. and the show starts at 7 p.m. Tickets are $20 and can be purchased at Grant Street Grocery, 402 W. Grant St, and Lori’s Mailboxes, 1215 N. Bloomington St.

2 – Discover local art Friday night in Peru. NCI ARTworks will host 30 local artists from the Ottawa Art League at a mega-opening reception from 6:30-8:30 p.m. at the Westclox Building, 408 Fifth St. It’s free and open to the public. The work of 30 local artists will be on display and available for purchase at the NCI ARTworks Gallery beginning Friday. Ranging from cabinet makers to watercolourists and fabric artists to metal, glass and ceramic sculptors, the work of Ottawa Art League artists from La Salle, Bureau and Putnam counties will be featured at the gallery.

3 – Shop for causes Saturday in Peru and Utica. Another day of sales has been added to Cops 4 Cancer UNFI’s record fundraiser for truck sales. The sale will continue from 9 a.m. to 3 p.m. Saturday, April 9 inside the former JC Penney store at the Peru Mall on Route 251. Additionally, Illinois Valley Animal Rescue will hold its 23rd annual fund auction construction and care from 4 p.m. to 9 p.m. Saturday, April 9, at the Grand Bear Resort, 2643 N. Route 178, Utica. Doors open at 4 p.m., followed by pre-auction and wine tasting activities from 4 p.m. to 7 p.m., silent auction tables will start closing at 5:30 p.m. and the live auction will begin at 7 p.m. .

4 – Learn more about Abraham Lincoln on Saturday in Ottawa. “Abraham Lincoln: From Obscurity to Greatness (Illinois and Lincoln, 1830 to 1861)” is scheduled from 10 a.m. to 11 a.m. at the Reddick Library, 1010 Canal St. The presentation consists of a first-person depiction of Abraham Lincoln in full regalia. era, speaking with the public about his years in Illinois from 1830 to 1861. Tickets are required for this free event and will be available on a first-come, first-served basis. Tickets must be picked up in person at the front checkout counter.

5 – Hunt eggs at various locations this weekend in La Salle, Bureau, Putnam and Marshall counties. A complete list is published. Egg hunts aren’t just for kids. An Easter egg hunt for adults is scheduled for Saturday at 7 p.m. at Sock’s Place, 111 E. Main St., sponsored by the Wyanet Community Club.

Composer Darius Holbert extends his creative range in a trio of albums for ALIBI Music


What do Wild West scores, Vegas crooners and West African polyrhythms have in common? They are all part of the new trio of albums from ALIBI Music composed by Darius Holbert, illustrating his incredible creative range. ALIBI turned to Holbert – one of the production music library’s longtime songwriting partners – knowing he had just the aptitude to meet such an eclectic set of demands.

“I love all music. I can say that now because I finally discovered late 90s dancehall,” Holbert explained with a laugh. “I spend most of my days jumping between multiple genres on many projects, recording my takes on revered masters of tiny subgenres, and loving every minute of it. Having to write in just one genre seems like a barely lived life, so I welcome all album requests, even (especially) if I don’t know much about it yet. It’s like traveling the world without having to pack your bags.

Hobert’s latest production music albums for ALIBI – “Vegas Crooner”, “Highlife” and “Classic Western 2” – are about as different from each other as they come, and the inspiration behind them reveals its artistic talent, passion and sense of humor:

western classic 2 (15 tracks, 525 audio files) Listen
Holbert: “My very first LP was given to me when I was 3: Alfred Newman’s ‘How the West Was Won’. My favorite composer is Aaron Copland, my favorite genre of music is western film, and I was born and raised in Texas. For this album, all I had to do was get out of bed and put my spurs on.
Description of the album: Galloping and heroic Western music to evoke the Wild West and the legends of the frontier. All the instrumentation you’d expect is here, from heart-rending horns and trumpets to acoustic guitar and playful flutes to rolling timpani and snare drums, galloping castanets and more.

Vegas Crooner (12 tracks, 437 audio files) Listen
Holbert: “I constantly listen to easy listening/pop/jazz music from the 40s to 70s when I’m not working, and especially when I’m cooking. I was thrilled to be able to write Basie-style charts for 50s pop tunes and give my best impression of Ol’ Blue Eyes and the fellers, so I pulled out the ruffled tuxedo and tried not to put on of marinara in my martini.
Description of the album: Silky smooth jazz songs inspired by the greats, such as Frank Sinatra, Tony Bennett, Bobby Darin and many more. Featuring full lyrical vocal performances, each of these tracks features sweeping drums, upright acoustic bass, and tasteful pianos mixed with string and brass arrangements.

high life (15 tracks, 480 audio files) Listen
Holbert: “I’m crazy about this kind of West African music; it’s a non-stop party! The polyrhythms are so complex that I even took a few lessons with a famous Ghanaian drummer some time ago. But most of the time I spent on this album, I just studied the greats and tried to emulate their genius even a little.
Description of the album: Contagious rhythms inspired by traditional Ghanaian and West African High Life music, driven by frenetic djembes, shakers and percussion, and topped with clear, courageous guitars and hypnotic bass lines.

ALIBI’s production music featuring composer Darius Holbert has been used in national commercials for recognized brands such as Wendy’s, TYLENOL and Tillamook, among many others.

Founded in 2011, ALIBI Music is a leading provider of licensed music and sound effects in advertising, trailers, promos, programming, video games and all other forms of multimedia content. The company’s carefully curated catalogs are produced and structured specifically for storytelling, with high-quality searchable tracks, alternate mixes and stems providing customers with robust versatility. For more information, visit www.alibimusic.com or connect via TwitterLinkedIn, Facebook or Instagram.

South Bay Musical Theater presents ON THE TOWN in May


The South Bay Musical Theater has announced the full cast and creative team for ON THE TOWN, the high-energy World War II musical featuring music by Leonard Bernstein with book and lyrics by Betty Comden and Adolph Green.

Based on an idea by Jerome Robbins, SBMT’s ON THE TOWN production will be directed and co-choreographed by Janie Scott, with co-choreography provided by Zendrex Llado and musical/vocal direction by Catherine Snider. ON THE TOWN runs from May 14 to June 4, 2022 at the Saratoga Civic Theater (13777 Fruitvale Ave, Saratoga, CA 95070), with a press opening Saturday, May 14, 2022 at 8:00 p.m. First nights are invited to stay for a champagne toast after the show. Evening shows start at 8 p.m. while matinees (Sunday and Saturday closed) start at 2:30 p.m.

Adult tickets cost between $24 and $54. There are $2 discounts for seniors 65 and over and $24 tickets for students and children. Tickets can be purchased online at www.SouthBayMT.com or by calling (408) 266-4734.

“Like a postcard from the past, ON THE TOWN is a joyful, exuberant journey through New York City in 1943,” says SBMT Executive Artistic Director Sara K. Dean. “We hope audiences will get away from it all in this timeless story of love and adventure. The show has it all: glorious music, upbeat dance segments, a taxi, a dinosaur, the subway, a trip to Coney Island and a crazy talented company.”

“If you like goofy musicals full of energy and feel good, you’ll love ON THE TOWN,” says director Janie Scott. “We’re blessed with an exuberant and dazzling cast, eye-catching sets and costumes, classic tunes like ‘New York, New York,’ and lots of laughs. Don’t miss it!”

“Jubilant…this joyous mating dance of a musical is as fresh as the first sun…Bernstein’s score belongs to both heaven and earth.”
-Ben Brantley, The New York Times

“Exuberant… dazzling… It’s just one hell of a show.”
-Mark Kennedy, Associated Press
“Magnificent…will leave you both exhilarated and haunted…great musical theatre.”
– Elysa Gardner, USA Today

Combine a soaring score by Leonard Bernstein, witty lyrics by Comden and Green, and a sweet story about Three Sailors taking 24 hours shore leave in New York before being deployed overseas, and you have a classic American renowned for its timeless exuberance. With brash, dramatic, slightly bittersweet abandon, ON THE TOWN is a tale about seizing the day and living life to its fullest. It features the seductive “I Can Cook, Too”; the beautiful melancholy ballad “Lonely Town”; and the most beloved of the catchy tunes, “New York, New York.”

The main cast of ON THE TOWN includes Lysander Abadia in “Gabey”, Michael Saenz in “Chip”, David J. Kautz in “Ozzie”, Francesca Cipponeri in “Ivy Smith”, Catherine Traceski in “Hildy”, Marie Finch in ” Claire”, Kayvon Kordestani as “Madame Dilly”, Mark Robinson as “Judge Pitkin” and Rhona McFadyen as “Lucy Schmeeler”.

The set of ON THE TOWN includes Kyle Arrouzet, Emery Ronan Bacon, Christine Baker, Peter Bullen, Gabriela Crolla, Chloe Diepenbrock, Lindsey Duran, Jessica Ellithorpe, Ethan Glasman, Ruth Godbey, Megan Griffin, Anthony Howard-Erevia, Glenn Howard- Erevia, Tim Huang, Edward Im, Kate Mathseon (“Claire Understudy”), David Mister, Jackson Paddock, Braden Taylor, Natalie To, David Truong and Jennifer Yuan.

In addition to Ms. Scott, Mr. Llado and Ms. Snider, ON THE TOWN’s creative and production team includes Philip Jacke (Stage Manager), Meghan Anderson (Co-Assistant Stage Manager), Anastasia Helfinstein (Co-Assistant Stage Manager), Patricia Billelo (co-costume designer and props designer), Sarah Cloward (costume designer), Courtney Kendall (associate costume designer), Christine Ormseth (hair and makeup designer), Michael G. Muñoz (costume designer Lighting), Chris Beer (Projection Coordinator), Heather Kenyon (Set Designer), Dan Singletary (Sound Designer & Dinosaur Wrangler), Laura Millar (Program Manager & Dramaturg), Kama Belloni (Development & Patron Manager), Jeffrey Henson (Facilities Director), Diane Hughes (House Manager & Box Office), Doug Hughes (Marketing & Social Media Director), Patti Reed (Producing Director), Kevin Davies (Technical Director) and Sara K. Dean (Executive Artistic Director).

ON THE TOWN runs for 2 hours and 40 minutes, including a brief intermission.

The 2022-2023 season will be announced at the annual meeting of group members on May 21. More information is available at www.SouthBayMT.com

Nike and USATF playing hard to get into fans’ ‘State of Track and Field’ documentary


In a hundred days, the greatest track and field athletes on the planet will gather in Eugene, Oregon for the 18th World Outdoor Athletics Championships – the first time on American soil.

The best of times for the American track?

Maybe not.

A 24-year-old track coach and Ohio State graduate asks tough questions with a documentary film that takes an ambitious look at the state of athletics in the United States. It is curious to know the “Achilles heel” of the governing bodies of sport, “their size and their bureaucracy”. And what needs to change.

But Alexandru “Alex” Andrei runs into obstacles.

Andrei, a 5-year-old Romanian immigrant with degrees in biology and exercise science, interviewed 65 people, mostly Olympic-class athletes and coaches. But the sport is supervised at the national level by United States of Athletics and funded primarily by Nike.

Ohio’s Alex Andrei self-finances his film project, which has taken him to 11 events. He interviewed 65 people. Photo courtesy of Andrei

And Andrey – who has been to Nike world headquarters near Beaverton, Oregon, and was presented last year by the USATF — hit a wall with the sportswear giant and the Indianapolis-based USATF.

“I was just smothered and not given the time I was trying to create these conversations,” he told The San Diego Times.

A month ago he released a 9-minute “Great Trailer” of his film (after a 2 minute trailer) in hopes of building excitement for the project’s summer release and opening up “some of those conversations with where the money is.”

USATF critics have a central voice.

“The most disorganized major sport I’ve ever seen,” Brooks Beasts head coach Danny Mackey says in the trailer.

Isaiah Harris, a middle-distance star, calls for restructuring the sport “from top to bottom…. Some people at the top make a lot of money, which doesn’t trickle down to the athletes very well.

Alex Andrei says he’s frozen by USATF and Nike officials. Photo courtesy of Andrei

And Sinclaire Johnson, NCAA 1,500-meter champion, notes a ban on wearing more than one sponsor logo.

“That rule needs to change,” she says, citing NASCAR drivers as a role model.

The USATF and Nike did not respond to requests for comment from The Times of San Diego. But Andrei still reaches out, hoping to land interviews on camera.

A concern can be a federal criminal investigation in the financial ties between the USATF and Nike, which in 2014 announced sponsorship from 2017 to 2040, an estimated value of $475 million over time.

Andrei doesn’t mention the District of Columbia investigation in his trailer, concluding with the theme, “I’m showing up for sports.”

(Athletes appearing in the trailer include Olympic medalists Galen Rupp, Shalane Flanagan, Clayton Murphy and Ryan Crouser as well as current stars Elle Purrier St. Pierre, Devon Allen, Cole Hocker and Cooper Teare.)

Andrei says the documentary, which “came into focus” in January 2021 amid the pandemic, is a bigger undertaking than he expected.

“I was really keeping a journal of where I see the sport and all the amazing things that were going to happen in…2021,” he said in a phone interview. “I realized that while they were [good-intentioned] individuals sharing stories, I haven’t really seen any collective stories being told about sports here in America.

He envisioned a short film that would debut before the Tokyo Olympics.

Alex Andrei facilitated a mini-workshop in Columbus, Ohio. Photo via Andrei

“But I like to say it got out of control in the best way possible,” he says. “The more and more people I talked to and the more I started to have these conversations with athletes and coaches, I realized it wouldn’t do the sport justice to end where I planned.”

So, on his own, he started flying out for meetings, “advocating for media credentials left and right.”

The goal is a “historical documentary in the making about the current state of sports here in America – what are the issues facing us as a community, as a sport.”

He hopes to reveal why the track is run as it is.

“Even the average fan, who will watch more than the Olympics, doesn’t understand how it works on an industry level,” he said. “My goal is to try to level the playing field in terms of information about how the sport works, about the nuances that make it difficult for athletes to succeed. Or for fans to watch the sport, even.

His fantasy: “Bring all these people you would never see in the same room…to sit at the same table and give their 2 cents”.

Who is this young filmmaker with great visions?

Alex Andrei hopes to reach track fans and non-fans alike. Photo via Andrei

Andrei describes himself as a jack-of-all-trades – with “a bit on the back burner” coaching.

He worked with middle and distance runners at Worthington Kilbourne High School in Columbus, Ohio, and a few athletes starting to “get to that national level in distance running.” And he has “freelance contracts” with different companies.

He works as a mental health specialist at a children’s hospital in Columbus.

Andrei came to the track after being banned from spring lacrosse following two concussions.

“I joined the track and field team my second year after having already raced cross country for four years. It came quite naturally to me,” he said. As a senior in 2016, four Dublin Coffman High School teammates from his won the 4×800 relay at the New Balance National Indoor Track and Field Championships in New York.

Andrei, a junior college “Captain of the Year,” ran a 6:45 p.m. 5K in high school and got his mile “at 5:20 a.m.”

“I’ve never been under-5,” he says. “It still haunts me.”

At Ohio State, he joined a running club that rivaled the big Big Ten clubs and the DII and DIII schools.

“I had a breakout season, getting PR in the 800 and the mile. Then the coronavirus hit,” he said. “Everything kind of fell apart after that.”

Always trying to stay fit, he was closing in on his 5K PR last season when a series of knee injuries hampered him – “bursitis in his left knee and a cortisone shot at 23”.

For his documentary, he attended 11 meetups and even visited Olympian Wheating in his Portland backyard.

“I know exactly where I want to go” with the film, he says. “I’ve been sitting on some of this content for over a year. .. I slowly start pulling it out. And now that it’s out, I’m really excited for people to talk about it. And talk about it. »

He didn’t see his self-financed film – whose musical score is performed by a “high school phenom” – as a “money grab by any stretch of the imagination”.

He imagines two audiences: track fans and the layman who says “Oh, I did track in college” but can’t name a track star besides Usain Bolt.

“My goal is also to make it digestible for someone who doesn’t know the inner workings of athletics at all,” says Andrei. “The thing is, an athletics fan… they’ll probably see it, and they’ll probably watch it. Whether they like it, love it, or hate it is a whole other conversation.

If his runway project isn’t dramatic enough, he can always turn to his family history.

Before the 1989 revolutionAndrei’s father was a Romanian freedom fighter.

He eventually tried to flee – hiding with his brother on a ship. But he was arrested and spent a year and a half in a communist prison.

“My father… escaped and went to Greece, and after six months a church in Pennsylvania sponsored him to… start a new life in America. (He now lives in Columbus.) He got off the plane with a bag of clothes and a pocket of change. I respect him enormously.

“He is the embodiment of the American dream.”

Baltimore man admits fraudulently obtaining Cares Act Paycheck Protection Plan loans while on probation and pretrial release and defrauding businesses of over $1,000,000 | USAO-MD


Baltimore, Maryland – Keon Ball, 45, of Baltimore, Maryland, pleaded guilty today to conspiracy to wire fraud and aggravated identity theft in connection with multiple identity theft schemes and fraud schemes, including schemes carried out while on probation after a previous conviction for state fraud and while on bail on state fraud charges. As part of his plea deal, Ball will be ordered to pay at least $715,504 in restitution.

The guilty plea was announced by United States Attorney for the District of Maryland Erek L. Barron; United States Secret Service Special Agent in Charge Bo Keane – Baltimore Field Office; and Chief Melissa R. Hyatt of the Baltimore County Police Department.

According to his guilty plea, from May 2018 to June 2020, Ball and a co-conspirator incurred charges of more than $1,000,000 on fraudulently established lines of credit, using the identities of at least 10 victims in the framework of the schemes. For example, on August 25, 2018, Ball submitted a false and fraudulent application to open an account with a financial institution using Victim 1’s name, date of birth, and social security number. credit application approved, Ball and his co-conspirator incurred $105,442.59 in purchases from Company 1 (a home improvement store) under the identity of Victim 1. Ball and his co-conspirator did the same several other times thereafter, incurring charges of over $150,000 in connection with lines of credit opened using various names of other victims, none of which were reimbursed. Ball and his co-conspirator also repeatedly forwarded fraudulent checks to Company 1, claiming to pay the balances they had incurred.

Additionally, as part of their fraud scheme, Ball and his co-conspirator obtained two vehicles worth over $60,000 and several pieces of heavy construction equipment worth over $30,000. $ using victim 2’s credentials.

As noted in his plea agreement, on February 5, 2019, law enforcement executed a search and seizure warrant on Ball’s luxury skyscraper in Baltimore, where law enforcement seized several forged identification documents, including three fraudulent licenses, a card reader, a re-encoder, a bank of white plastic card stock, hologram overlays, and a firearm that Ball was prohibited from possessing. Investigators also discovered that Ball rented the apartment using a forged ID document and the credentials of another identity theft victim. Law enforcement would also continue to recover several pieces of fraudulently obtained heavy equipment. Ball was later arrested and charged at the state level in connection with the fraudulent line of credit scheme, and later released on conditions.

As stated in the plea agreement, despite his pending charges, Ball was not deterred and his fraudulent activity continued. In June and July 2020, Ball submitted fraudulent loan applications to the CARES Act Paycheck Protection Program (PPP Loans) and obtained $256,664 in government-backed PPP funds for purported businesses that did not did not exist in a legitimate capacity. Each request was accompanied by a document purporting to be a 2019 IRS Form W-3, Wage and Tax Returns Transmittal, which was in fact not legitimate and contained false information regarding the alleged wages paid. and the alleged number of employees of each company. Each request also incorrectly asserted that Ball was not on probation in light of a prior conviction at the time of each request. The PPP funds were then deposited into a bank account that Ball had opened using the credentials of another victim.

Ball also initiated the PPP loan application process for two other Bank 1 fraudulent PPP loans amounting to $113,258 and $231,078,000 for alleged businesses he ran. These loans, however, were ultimately not closed.

In total, Ball caused a loss of $750,000 and expected losses of over $1,450,000 and used the identifying information of over 10 victims in his schemes.

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. For more information on the Department’s response to the pandemic, please visit https://www.justice.gov/coronavirus.

Anyone with information about alleged attempted fraud involving COVID-19 can report it by calling the Department of Justice’s National Center for Disaster Fraud (NCDF) hotline at 866-720-5721 or via the NCDF online complaint form at: https://www.justice.gov/disaster-fraud/ncdf-disaster-complaint-form.

the Pandemic Response Accountability Committee (PRAC) The Fraud Task Force was created to serve the American public by promoting transparency and facilitating coordinated oversight of the federal government’s response to the COVID-19 pandemic. The PRAC’s Fraud Task Force brings together officers from its 22 member inspectors general to investigate fraud involving various programs, including the Paycheck Protection Program. Task Force officers who are seconded to the PRAC are given expanded authority to investigate pandemic fraud as well as tools and training to support their investigations.

Ball faces a maximum sentence of twenty years in federal prison for conspiracy to wire fraud and a mandatory two-year consecutive sentence in federal prison consecutive to any sentence imposed for aggravated identity theft. U.S. District Judge Deborah K. Chasanow set sentencing for July 22, 2022 at 11:30 a.m.

United States Attorney Erek L. Barron commended the USSS and the BCPD for their work in the investigation. Mr Barron thanked Assistant US Attorney Paul A. Riley, who is prosecuting the case.

For more information about the Maryland U.S. Attorney’s Office, its priorities, and the resources available to help the community, please visit https://www.justice.gov/usao-md and https://www.justice.gov/usao-md/community-outreach. For more information on identity theft and fraud, please visit https://www.justice.gov/usao-md/report-fraud.

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Yahritza Martinez is the youngest Latin artist to appear on Billboard’s Hot 100


Yahritza Martinez has officially become the youngest performer to make the list Billboard’s Hot 100. The 15-year-old Mexican-American singer released their first single, “Soy El Único”, March 25. Before that, Martinez mainly sang and uploaded videos to TikTok.

His entry into the Hot 100 chart marks the highest entry by a Mexican musical artist in history. Additionally, his Spanish-language single reached No. 1 on Billboard’s Hot Latin Chart, and just two days ago it had topped 6.7 million streams on the US YouTube Song Chart. “Soy El Único” currently sits at No. 6 on Table of the best American Youtube music videos. To say it exploded is an understatement.

Martinez has 733.6k followers on TikTok, and his followers keep growing. She formed her band, Yahritza Y Su Esencia, with her two older brothers, Jairo and Armando Martinez. Hailing from Yakima, Washington — a town known for its fruit and apple orchards — the siblings grew up around Mexican music, waking up to hits from bands like Los Temerarios and Los Canarios playing throughout their home.

After Ramón Ruiz of indie label Lumbre Music found Martinez’s videos on TikTok, he flew to Washington and signed her. Since then, the sibling trio has produced and shot the music video for “Soy El Unico”, which is part of a four-part love story.

With her debut single, Martinez established herself in Mexican regional music, a genre dominated by men for years. In “Soy El Único”, Martinez writes about how heartbreaking it can be to love someone who doesn’t love you. Seeing such a young talent sum up a universal feeling is shocking and inspiring.

With such raw talent and a voice that sounds light years beyond his real age, it’s thrilling to witness the start of Martinez’s musical career and look forward to seeing how they will change the music scene. Mexican regional.

Wichitans’ work featured at 64th Grammy Awards


WICHITA, Kan. (KWCH) – At the 64th Grammy Awards on Sunday night, some of what viewers saw and heard on the show had Wichita connections. On Monday, Eyewitness News spoke about the experience with a nominee and another songwriter with Wichita connections.

Wichitan Roy Moye III started writing and creating music in 2015. It was the start of a journey that led to a Grammy nomination on Sunday night.

“In 2019, you know, I’m an engineer, also a singer. [I] I love to sing, I love music, and I combined that to create STEMusic, LLC, which is my small business that promotes STEM (science, technology, engineering, and math) to various audiences,” said Moye said. “So we’re on a mission to inspire the next generation.”

Over time, Moye’s passion for making music for children grew.

“And that, I didn’t know, launched me into the children’s music industry,” Moye said of STEMusic, LLC. “So when I started this project, I became a children’s music artist. I hadn’t realised.”

Moye’s journey led him to become a member of 1 Tribe Collective. Then to Sunday night’s nomination for Best Children’s Music Album for their “All One Tribe” album.

Not only was Wichitan nominated for “Best Children’s Music Album” with 1 Tribe Collective; he was in the audience for the show in Vegas.

“What a ride, what a trip to take,” Moye said. “And what I love the most about it is ‘yes, we wanted to win, everyone wants to win, but when we think about what we did, it’s very historic.

The album covers many topics for children.

“It’s a 26-song album on topics ranging from STEM, science, tech, engineering, math, black history, family, COVID. So many different topics on this album, the story of you know, what we did as black people as a black community for our children,” Moye said.

For Wichita songwriter Cameron Bedell, watching a song he helped write perform on the biggest stage was a dream come true. Bedell wrote a song called “Down Home” for country artist Jimmie Allen. Allen performed the song on Sunday at the Grammy’s.

It was a moment he described as “very, very surreal and cool”.

“But it also doesn’t happen without the time invested,” Bedell said.

Copyright 2022 KWCH. All rights reserved.

AN AMERICAN PARODY as King George at Musical Theater West


Musical Theater West will welcome a familiar face to take on the iconic role of King George for the final weekend of Spamilton: An American Parody. Spamilton’s spectacular cast of six will welcome their lucky number seven in a special cameo by Musical Theater West alumnus Matt Merchant. Merchant, an actor and stuntman known for his work in Vice (2018) and Valentine’s Day (2010), plans to make the already larger-than-life role even more memorable! Passing the torch from crowd-favorite King George to Merchant is his former co-star Jason Graae, who thrilled crowds in the first two weeks of Spamilton’s run. The two were last seen performing on stage together in Musical Theater West’s 2018 production of Nice Work If You Can Get It. Audiences can expect to burst into laughter when this fabulously comical character enters the scene. Tickets for the final five performances featuring Merchant at Spamilton, April 7-April 10, 2022, are available now at musical.org.

Spamilton was written and created by award-winning writer and director Gerard Alessandrini, who is best known as the mastermind of the musical series Forbidden Broadway, which spawned 12 albums, was nominated for five Drama Desk Awards and earned Alessandrini a Tony. Honoring Excellence in Theatre. With Spamilton, Alessandrini took on the juggernaut of musical theatre, and he didn’t waste his shot. As well as parodying Broadway’s biggest hit, Spamilton takes on top talent from the Great White Way, including Stephen Sondheim, Liza Minelli and Barbra Streisand. Audiences “will want to be in the room where it’s happening” to see the show full of celebrity satires, pop culture zings, new and original material written specifically for Musical Theater West audiences!



  • April 7, Thursday: 7:30 p.m.

  • April 8, Friday: 8 p.m.

  • April 9, Saturday: 2 p.m. / 8 p.m.

  • April 10, Sunday: 1 p.m.


  • Carpenter Performing Arts Center at Cal State Long Beach, 6200 E Atherton St, Long Beach, CA 90815


  • Tickets are available now and range from $20 to $96.

  • $15 student rush tickets available at the box office 30 minutes before the start of the show with ID.

  • Buy online at musical.org or call 562-856-1999


The story of Musical Theater West is the 70-year journey from a group of volunteers performing in a high school auditorium to one of Southern California’s largest and most respected theater production companies. Utilizing professional talent and producing regional and even global musicals while continuing to honor the tradition of classic musical theater, MTW is the largest artistic producer in the Long Beach area. The company continues to receive critical acclaim and national recognition – and many performers who cut their teeth on the MTW stage have gone on to successful careers on Broadway, television and film. Equally important, stage and screen veterans now come to Musical Theater West to perform, finding it one of the friendliest and most fun places to work. A key aspect of the company is its dedication to education, and education and awareness Musical Theater West’s programs bring the joy and magic of musical theater to more than 17,000 children each year through special morning performances , road shows and school assemblies, as well as the Summer Youth Conservatory. Musical Theater West’s mission is to enrich the community with quality Broadway productions, to preserve musical theater as a uniquely American art form, and to expose people of all backgrounds to the excitement of musical theatre. We hope you will join us.


Gerard Alessandrini – Spamilton: (creator/screenwriter): New York, London, Chicago, Los Angeles, national tour. Forbidden Broadway (creator/screenwriter/director): 25 editions worldwide. Also Forbidden Hollywood (writer/director), Madame X: The Musical (NYMF) (co-writer/director), The Nutcracker and I (lyrics), Maury Yeston’s review Anything Can Happen in New York. Television: special material for Carol Burnett, Angela Lansbury and Bob Hope. Movie: Aladdin, Pocahontas (voice). Recordings: 12 Forbidden Broadway cast albums, Forbidden Hollywood and Spamilton cast albums. Special Lyrics: Barbra Streisand Duets 2. Awards: Drama League Lifetime Achievement Award, Obie Award, 2 Lucille Lortel Awards, 7 Drama Desk (2 Best Lyrics, 2 Special Achievement, 3 Best Musical Revue) and a Special Tony Award for Lifetime Achievement at the Theater. Special thanks to her husband Glenn Bassett for bringing his many talents to Spamilton.


Director/Choreographer Gerry McIntyre
Music Director Wilkie Ferguson III
Stage Designer/Technical Director Kevin Clowes
Costume Designer Dustin Cross
Lighting designer Jean-Yves Tessier
Sound Designer Julie Ferrin
Production Manager John “JP” Pollard
Assistant Manager Alyssa Escalante

Music maestro Ilaiyarajaa wins Best Original Score award at Amsterdam International Film Festival


Music maestro Ilaiyarajaa received the award for Best Original Score at the Amsterdam International Film Festival. Ilayaraaja won the award for his compositions in director AJithvasan Uggina’s Indo-English film, A Beautiful Breakup.

The film’s producer, Sir Marco Robinson, announced the news on his Twitter account. “We won the best score for our film ‘A Beautiful Rupture’ with composer Ilaiyaraaja at the Amsterdam Film Festival. (The) award for best original music. We are so happy!!! It’s incredibly beautiful music,” Robinson wrote.

The film, which includes up to 30 original Ilaiyaraaja soundtracks, was produced by A5 Natures Movies International in the UK and stars debutants Krish and Matylda in the lead roles. A Beautiful Breakup is about love, hate, desire, revenge, and a variety of other conflicting feelings that run through Krish and Ruby’s lives at the same time.

Krish and Ruby, the protagonists, are a couple living in the UK. Various destinations have seen their love deepen over the years as a couple who have traveled the world together. Despite this, the couple decides to end their relationship, and they want to make it a memorable experience by traveling, which is their favorite pastime. Unexpected plot twists result from ghostly activity in the tourist destination.

The film is Ilaiayaraja’s 1422nd film and has cinematography by KR Gunahsekar and editing by Srikanth. Ilaiayaraja’s musical compositions have transcended borders and are not limited to Tamil audiences alone.

Such was his popularity that when Rajnikanth’s Murattu Kaalai was released in 1980, fans celebrated with posters and cutouts of Ilayaraja alongside superstar Rajinikanth. Generations later, Ilayaraja remains the favorite composer of so many of his fans past and present.

Read all the latest IPL 2022 news, breaking news and live updates here.

Grammys: Volodymyr Zelensky speaks, Olivia Rodrigo wins the award for best new artist



Ukrainian President Volodymyr Zelensky spoke to viewers about the conflict in his country at the Grammys on Sunday. File Photo by Ukrainian Presidential Press Office /UPI | License picture

April 3 (UPI) — Ukrainian President Volodymyr Zelensky addressed viewers at the 64th Annual Grammy Awards on Sunday.

Zelensky spoke about Russia’s invasion of his country and the ongoing conflict before John Legend played “Free.”

“Our musicians wear bulletproof vests instead of tuxedos. They sing for the wounded. In the hospitals. Even for those who cannot heart. But the music will pierce anyway. We defend our freedom. Live. Love . ringing,” he said.

“Our land, we are fighting against Russia, who are bringing horrible silence with their bombs. The silence of death. Fill the silence with your music! Fill it today. To tell our story. Tell the truth about this war on your social media, on TV. Support us in any way you can. Any way, but not silence, and peace will come,” Zelensky continued.

Chris Stapleton took the stage to perform “Cold” during the show. The country star was backed by a full band and orchestra.

Baby Keem and Kendrick Lamar’s “Family Ties” won Best Rap Performance. Ludacris presented the award, which Keem accepted alone.

Hip-hop legend Nas donned an all-white outfit and rapped a tune to his most iconic songs, including “Rare.”

Brandi Carlile performed her song “Right on Time”. Carlile played piano, guitar and was joined by a full band.

Olivia Rodrigo won Best New Artistwhich was presented by Dua Lipa and Meghan Thee Stallion.

Lipa and Meghan The Stallion wore matching outfits until fashion designer Donatella Versace took the stage and made some adjustments.

“It’s my biggest dream come true,” Rodrigo said onstage.

Host Trevor Noah sat down with Silk Sonic and jokingly ignored Bruno Mars while praising Anderson .Paak.

“You are the silk and the sound,” Noah joked to .Paak.

Billie Eilish paid tribute to late Foo Fighters drummer Taylor Hawkins by performing his song ‘Happier Than Ever’ inside a flooded house while wearing a Taylor Hawkins t-shirt.

Eilish then finished the rest of the song on the roof of the house as it started to rain where she was joined by her brother and collaborator Finneas.

Hawkins died March 25 at the age of 50. The Foo Fighters were originally scheduled to perform at the awards show.

Stapleton also won Best Country Album for restart and wished her twin children a happy birthday.

Lil Nas X performed a number of tracks including “Montero (Call Me By Your Name)” and “Industry Baby” where he was joined by Jack Harlow. The musician had a statue of his face behind him and was donning sparkling, marching band outfit.

BTS gave a special performance of their hit song “Butter.” BTS delivered a spy themed performance of the song and wore matching black suits. The segment played out like an action movie mixed with dance moves.

“Butter” broke multiple music records, including Spotify’s single-day stream chart and fastest music video to reach 200 million views on YouTube.

Silk Sonic opened the show, which airs live from the MGM Grand Garden Arena in Las Vegas.

The group, consisting of Mars and .Paak, performed their song “777” and wore matching white costumes. Silk Sonic made his Grammys debut last year performing “Leave the Door Open.”

Silk Sonic also won Song of the Year for “Leave the Door Open”.

Noah, who is hosting for the second year in a row, took the stage after Silk Sonic’s opening number and poked fun at some of the nominees and the recent Oscar incident where Will Smith slapped Chris Rock.

“We’re going to keep people’s names out of our mouths,” Noah joked, referring to what Smith told Rock.

Rodrigo performed it hit song “Driver’s license” against the backdrop of a dark street. Rodrigo started singing while getting out of a classic Mercedes-Benz.

J Balvin followed Rodrigo and performed “Qué Más Pues?” with Maria Becerra.

Balvin, who wore a red coat, moved on to his Skrillex collab “In Da Getto” while standing on white steps. Balvin was joined by several backup dancers who were seated and using their hands in a very choreographed fashion.

Other artists will include John Legend, Carrie Underwood, Jon Batiste, Brothers Osborne, Cynthia Erivo, HER, Leslie Odom Jr., Ben Platt and Rachel Zegler.

Chrissy Teigen (L) and John Legend. Legend will perform at the show. Photo by Jim Ruymen/UPI | License picture

Grammy Awards 2022: Wizkid, Tems and Burna Boy made winners


Where is this photo from? Getty Images

What we call this photo,

Wizkid won a second Grammy Award for his song Essence wey im feature Tems

After a three-month delay due to rising Covid cases for the United States, the Grammy Awards are upon us once again.

This star-studded ceremony is traditionally known as “music’s biggest night” – it spans both the scale of the event and the length of time they use the show.

The first winner is announced for Las Vegas on Sunday at 12:30 p.m., eight hours before the Album of the Year award ceremony at 8:30 p.m. local time (4:30 a.m. in West Africa).

Around 70 categories in total, with everyone from Wizkid to Angelique Kidjo, Tems and Barack Obama nominating their list of nominations.

Unlike last year’s event, the event is small and features a mix of live and pre-recorded performances, the 2022 ceremony will be more of a normal show.

Billie Eilish, Lil Nas X, Carrie Underwood, Silk Sonic and Olivia Rodrigo will all perform on stage for di MGM Grand Arena.

Comedian Trevor Noah will be hosting for the second time.

Here are some facts about the ceremony to prepare you…

Voters listen to music from Plenty

Nearly 22,000 songs and albums are submitted for consideration this year, we’re pushing them through the shortlists for the main categories of eight to 10 nominees for the first time.

“We live for the times, and music is experiencing tremendous growth,” says Recording Academy CEO Harvey Mason, Jr. “Over 60,000 songs have been released. So much more music is still out there. recognize and celebrate.”

From Best World Music Album to Best World Music Album

Where is this photo from? others

What we call this photo,

Femi Kuti, Angelique Kidjo, Rocky Dawuni and Wizkid are all nominated in the same category

The Di Recording Academy reveals the nominations for the 86 categories of the 2022 GRAMMY Awards show.

In the categories, Nigerian musicians Wizkid and Femi Kuti are nominated for Best Global Music Album among oda musicians like Musician Rocky Dawuni, Angelique Kidjo and Daniel Ho & Friends.

Prior to the 2020 Grammys, “Best World Music Album” was known as the “Best World Music Album” category.

Grammy says it’s changing its name to make it more relevant, modern and inclusive.

“It changes that they symbolize a move away from the idea of ​​colonialism, folk and ‘un-American’ that the old term they carry as we try to adapt to current listening trends,” add- they.

Drake continues to boycott the show

Where is this photo from? Getty Images

What we call this photo,

Drake Don wins a total of four Grammy Awards

Drake’s latest set of songs, Certified Lover Boy, received a nomination for rap album and single Way 2 Sexy, with Future and Young Thug picking up a rap performance. But I ask them to withdraw their nomination before the end of the voting period, and the Academy honors my request.

I’m not a long-time critic of the ceremony – even when I win. “We play a sport based on opinion, it’s not a sport based on facts”, im bin tok wen e to win the 2019 God’s plan award. “You already win if pipo sings your songs word for word, if they do sing for your hometown. You’re already not winning, you don’t need that here.”

Also absent from The Weeknd, we refuse to participate in the Grammys after their rebuff last year.

Ariana Grande and Doja Cat are also refusing to submit dia duets with di star for awards, out of solidarity. But Kanye West didn’t get a memo: I’m the single Hurricane, we’re including The Weeknd and Lil Baby, I’m making the shortlist for best melodic rap song.

Adele bin too late to be invited

Where is this photo from? Getty Images

After sweeping the Brits Awards board two months ago, Adele is completely absent from the Grammy shortlists this year – and for a very simple reason. The star’s comeback single, Easy On Me, and his hit fourth album 30 bin dey are out after the September 30, 2021 deadline.

Other albums that missed the deadline include Ed Sheeran = (Equals), Bruno Mars and Anderson Paak’s An Evening With Silk Sonic and Taylor Swift Red (Taylor’s Version). Expect them to make an appearance next year instead.

Billie Eilish made Grammy history

Where is this photo from? Getty Images

What we call this photo,

Billie Eilish adds to her already impressive cabinet of Grammy trophies

During her few short years as a pop star, Billie Eilish didn’t prove herself to be the darling of Grammy voters. She has already made history as the first woman to win all four main categories in one night – and this year she won two more firsts.

If she wins album of the year for Happier Than Ever, she will become the first artist to win the title for both her debut album and its follow-up.

The album’s title track is also up for Record of the Year – where Eilish became the only person to receive the honor three years in a row.

Where I’d rather be: Pointing to Sydney for the musical 9 to 5 Dolly Parton


What a way to earn a living! Dolly Parton’s musical 9 to 5 has arrived in Sydney. Photo / Provided

It’s back to work in Sydney, and New South Wales has plenty to do in serious showbiz business.

After a brief pandemic hiatus, the 24-hour entertainment capital welcomes hard-working comedians and back-to-charcoal musical theater fans. What a way to earn a living!

It’s a perfect backdrop for the launch of the musical Dolly Parton 9 to 5. The show favorite plays at the Capitol Theater until May 8 and is sure to draw packed crowds, so you’ll need to get in fast.

But don’t expect to stop and see a show. A city break in Sydney is no easy task and requires good administration in the food, sleep and tourism departments.

Here’s our working guide to where we’d rather be, on a short break across the gap.


Arrive early at one of the city’s favorite breakfast spots for a quick coffee.
The city park is a favorite of CBD office workers who take some time out to savor and digest their cup of coffee in the vintage settings. While you’re there, buy a pastry from Woolloomooloo’s favorite worker (or wife) Flour and stone.

For those with a relaxed European work ethic, Madame and Yves bakery makes some of the best croissants in NSW.


After a morning of honest hard work trampling the cobblestones of The Rocks neighborhood, there are plenty of options to eat.

Sydney’s Kylie Kwong recently opened her up Lucky Kwong restaurant for “down to earth ravioli” on Locomotive St in Eveleigh. Gourmet with a very good value for money on the go. Equally healthy is the pub life kitchen at the Lord Wolseley Hotel in Ultimo. After a four-year hiatus, chef Jovan Curic (aka Meat Jovi) has returned to the Sydney grind with this gourmet burger bar. Vegans are also welcome.


Check in and discover the impressive list of city hotels Sydney has to offer.
The “gloriously decorative” Kimpton Margo Hotel Sydney is the official lodging partner of the Capitol Theater, with packages offered. There is a lot of exciting competition for city hotels that have sprung up over the past couple of years. The elegant Capella Syney was completed earlier this year, if you fancy getting into “executive style” accommodation.


If you’re still buzzing after the musical, Sydney’s world-class bars are open around the clock.

The martinis at Maybe Sami earned them a spot on the World’s 50 Best Bars. Their sister bar, Dean and Nancy on the 22ndis a newer joint with a great view of the city.
If you’re looking to do business, New York cocktail bar Employees only recently opened a branch in Sydney.


If you can’t make it to Sydney by 9am-5pm for the end of its season, don’t worry – the big events continue to run through the rest of May. the Long live Sydney The festival of lights has finally been greenlit for 2022 with its first lineup of acts in three years. Featured are fellow Kiwis Te Karehana-Toi (aka Teeks) and Auckland musicians Tiny Ruins. Grab a program and check out the acts taking place during the 23-night arts extravaganza, starting at the end of May.

Although there is a lot of music on offer, the festival is all about night street art. From the projections on the sails of the Opera House to the dancing LEDs on the Harbor Bridge, the city is transformed into a giant strobe installation. Take one Lively cruise around Sydney Harbor with FantaSea cruising to fully enjoy the transformed horizon from the water.

Check out tickets and showtimes from 9 a.m. to 5 p.m., at the Capitol Theater through May 8. 9to5themusical.com.au/

Exciting new Irish artist Skinner leads JOE Songs of the Week


Five essential pieces you need in your life right now.

Greetings and welcome to JOE songs of the week tiredness.

As you’d expect, this is where we recommend a selection of new music that we really think you should take the time to engage with in your busy day.

Whether you do it here via the YouTube videos below or queue them up on your respective streaming service is really up to you; but trust us, you get the good stuff here.

Now on the air…

#1. Skinner – ‘The Crisis’


Clip via Skinner

Brand New Irish Artist Aaron Corcoran aka Skinner announced itself with a particularly hard-hitting debut single, reminiscent of the nicer indie fare that followed you around clothing stores in the late 2000s.

It’s a compliment, honest.

“The song conveys a sense of nothingness and attempts to find the humor in it,” he says.

Accomplished job.

#2. Vince Staples – ‘ROSE STREET’

Clip via Vince Staples

Prolific, fearless and quite brilliant rapper from Long Beach Vince Staples is about to drop Ramona Park Broke My Heart; his fifth studio album.

It comes less than a year after his self-titled record, which lasted just 22 minutes.

More power to man, we say. Albums are usually too long these days.

Either way, ‘ROSE STREET’, the second cut from next Friday’s new album, is Staples at its widescreen best.

#3. Soccer Mommy – ‘Shotgun’

Clip via Soccer Mom

Soccer Momknown as Sophie Allison by the taxman, has released two stunning albums over the past four years – Clean in 2018 and Color Theory in 2020.

Hailing from Nashville, the 24-year-old singer-songwriter boasts a sound that sounds trapped in 1990s dive bars — again, that’s a compliment.

His next album arrives in June. ‘Shotgun’ is a very strong first blast of what to expect.

#4. Maria Kelly ft. Paul Noonan – ‘the sum of the in-between’

Clip via Mary Kelly

Irish alternative folk artist Mary Kelly reworked one of his tracks from 2021 – “the sum of in-between” – as part of his new project “Postcards In-between”.

“This track was always about the power of vulnerability and the strength that can be found in meeting wherever you are, wherever you are,” Kelly says.

Bell X1 and HousePlants leader Paul Nounan is on board for the new reimagining – the result of a perfect union.

#5. Angel Olsen – “All the Good Times”

Clip via Angel Olsen

After producing one of the most enjoyable collabs of 2021 alongside Sharon Van Etten, the formidable Angel Olsen is back focusing on solo material.

‘All The Good Times’ is the first angry hit from the forthcoming album Big Time, which lands in the first days of June.

Olsen will finally return to Ireland this year too. Catch her at Vicar Street on Monday, October 24.

Legendary musician Ilaiyaraaja receives the title of “Best Original Score” at the Amsterdam International Film Festival

Ilaiyaraaja wins the award for Best Original Score at the Amsterdam International Film Festival (Photo credit: Twitter)

One of India’s greatest musical directors, Isaignani Ilaiyaraaja, won the award for Best Original Score at the Amsterdam International Film Festival.

Ilaiyaraaja won the award for his compositions in the Indo-English film “A Beautiful Breakup” by director Ajithvasan Uggina.

Producer Sir Marco Robinson shared the news on Twitter. He said: “We won the best score for our film ‘A Beautiful Break’ with composer Ilaiyaraaja at the Amsterdam Film Festival. (The) award for best original music. We are so happy!!! It’s incredibly beautiful music.”

The film, which features up to 30 original Ilaiyaraaja soundtracks, was funded by a UK-based production house called A5 Natures Movies International and stars debutants Krish and Matylda in the lead.

“A Beautiful Breakup” is Ilaiyaraaja’s 1422nd film and an international project. KRGunahsekar was the director of photography for the film, which was edited by Srikanth.

Ilaiyaraaja’s upcoming musical titled “Music School” directed by Papa Rao Biyyala has completed its forty-five day schedule by successfully shooting ten of its eleven songs in Hyderabad.

The quick and efficient realization of this program can be credited to master choreographers Chinni Prakash and Raju Sundaram. The first two programs of this Ilaiyaraaja play were choreographed by Broadway choreographer Adam Murray.

The makers of the film are now gearing up for its final program with the intention of delivering a memorable musical.

At the end of the program, Shriya Saran said, “Thank you for this amazing shoot. Mr. Kiran, we love you. Thank you Chinni Prakash sir and master Raju for your choreography. It was fun shooting with Sharman and the most amazing child actors. Thank you dad sir for making this movie.

Actor Sharman Joshi added that “I just finished the third music school program. It was a huge task with very elaborate dance sequences and a very large cast with children.

“It was quite a challenge for Mr. Rao’s team. For me as an actor, it’s been very exciting to see all of this come together and huge efforts for the film that we’re trying to scale in terms of scale, in terms of casting and everything else put in square. ”

Must read: KGF Chapter 2: Did you know Sanjay Dutt wore 25-pound armor every day to nail his Adheera look in the upcoming movie? – Details inside

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Michael Scott Dawson: music to listen to


Michael Scott Dawson: music to listen to

(We are busy bodies)


Released April 1, 2022

Buy on Bandcamp

Michael Scott Dawson: Music to Listen to – Album Review

Music For Listening is the second solo album by Canadian sound artist Michael Scott Dawson. Just like spring, it’s cool and airy and those ethereal sound waves just demand that you immerse yourself completely. Gordon Rutherford review for Louder than War.

Spring is the most wonderful season of the year. Every morning, always earlier, dawn rises on our sleeping souls. Mother nature’s perfect awakening – birdsong – is triggered by these clearer skies. Michael Scott Dawson’s second album, Music For Listening, is a spring album. It is the sound of optimism and hope, freshness and lightness. Everything is bright. Everything sparkles. Everything is fragile in its novelty. And there are birdsong everywhere. Literally. Dawson’s inspiration for Music For Listening came from a phone call to his ninety-five-year-old grandmother. As she spoke, she mentioned birds singing outside her window, prompting Dawson to unearth a field recording he had made of birds singing a few years earlier. He had abandoned that particular project because of the crackle of bugs attacking the microphones. Somehow, now seemed like a good time to resurrect those recordings.

I discovered this Canadian sound artist for the first time last year, thanks to his role in the free jazz collective Peace Flag Ensemble. Their excellent first album, Noteland, has been reviewed by yours truly on these same pages. Dawson’s solo work is different. With these projects, he creates minimalist ambient soundscapes that you can easily immerse yourself in. Interestingly, Dawson chose to take a slightly different path on Music For Listening than he took on his debut, Nowhere, Middle Of. Gone were the synths, his primary instrument, in favor of resonant guitar codas. These are complemented by tape loops, manipulations and the aforementioned field recordings, combining holistically to create a soothing and ethereal sound.

Long after the needle has left the turntable, these birdsongs persist. They dominate this album without ever dominating it. They’re the very first thing we encounter on the opening track, No Rave, and the last thing we experience (aside from the sound of footsteps on a gravel path) on the album’s closest track, The Sentimentalist. . After birdsong, the most notable thing about Music For Listening is the complete absence of any beats. It’s not unusual on ambient albums, but there’s something about the space left by their absence on this collection that’s quite striking. The sense of minimalism is amplified, creating this valley of tranquility. Nothing moves, not even a mouse (click). This is ideal because you wouldn’t want any kind of extraneous noise cluttering up those delicate sound waves. Just as rhythms can bring a sense of urgency, their absence allows the sound to drift unhurriedly.

Michael Scott Dawson: Music to Listen to – Album Review
Photo by Emma Ruthnum

Perfectly encompassing the immanent essence of this disc, the track titled Places I’ve Loved, People I’ve Been. There seems to be a chasm, an anticipation, between the resounding notes of Dawson’s guitar. He lays this sonic tapestry before us in a masterful way, almost demanding that we stop what we’re doing and absorb every note. Equally impactful is Two Solitudes, which comes as cascading crystals. The title is taken from a quote by Rilke, which Dawson explains as “somewhere I heard love described as ‘two solitudes'”. Those pesky bugs I referenced earlier bring a wonderful sense of depth to this particular track, contrasting with Dawson’s melodic guitar lines.

Music For Listening was mastered by Taylor Deupree, who previously worked with Ryuichi Sakamoto. I don’t know how much Deupree influenced the creation of these tracks, but there is unmistakably a similarity between Dawson’s compositions on this album and certain aspects of Sakamoto’s work, especially those tinges of oriental mysticism given off by the chiming notes of Dawson’s guitar. It’s also reminiscent of Amongst A Landscape Of Spiritual Reckoning, the 2021 album by Californian electronic musician Forest Robots. Both corpuses have a certain numinous ambience, both give the impression of being bathed in light. Both are outdoor albums, operating in vast open spaces.

Music For Listening is a very good ambient record, imaginatively composed and performed with incredible musicality. It’s pretty gorgeous everywhere. Rest assured that the fact that it is a spring record will not prevent you from enjoying it in winter. Far from there. However, it is a mood disc. I strongly resent the opinion of many that ambient is “elevator music”. No more than hip-hop or metal. I stress this because Music For Listening can only be truly enjoyed when, unsurprisingly, one listens. Perhaps that is why he bears this particular title. What that means, however, is that he’s unlikely to be a constant presence on his deck for months to come. But for those times when you want to be transported to another place, drifting and wallowing in those wonderful soundscapes, it’ll tick all the boxes.


Michael Scott Dawson is on Instagram.

We Are Busy Bodies is on Bandcamp, TwitterFacebook and Instagram.


All the words of Gordon Rutherford. Other writings by Gordon can be found in his archives.

Gordon is also on Twitter as @R11Gordon and has a website here: https://thedarkflux.com

A pastor and a wedding singer play music for cancer patients in Thomasville


THOMASVILLE, Ga. (WCTV) – It was a chance encounter that brought these two strangers together. Henry Yuma is a wedding singer and James Banks is a retired pastor and biologist.

The two were seen jamming together in the lobby of the Lewis Hall Singletary Oncology Center in Thomasville.

Yuma has just moved to the area from the Philippines. He accompanied his wife, who beat breast cancer a few years ago, for a doctor’s appointment at the oncology center. This is where Henry says he is captivated by the soft jazz melody coming from the hall.

“I sat here watching TV, I closed my eyes just listening to his music. He said ‘Do you know the song’ and I asked him ‘Do you know Stevie Wonder?’ That’s how it went,” Yuma said.

Yuma says music has a way of bringing people together, and when played from the heart, it can heal.

“I know patients and everyone here relax when they hear it. Everyone who suffers will forget their problems and their pain if they hear good music,” he said.

After battling cancer himself, Pastor James Banks said he wanted to do something to help others through treatment like he did.

“On March 24, I completed my last treatment of 40 rounds of radiation,” Banks said. “As I walked through the hall every day, I saw the people and I saw their faces, they seemed somewhat downcast and I wanted them to understand that there is hope.”

Banks asked the oncology staff if they could come back to the center and play some music in the lobby. Once approved, he first settled on March 28, just a day before Henry and his wife visited.

“When I rang the bell of hope, I just decided that if I couldn’t do anything else, I would bring this gift of music,” Banks said.

It was an encounter they didn’t expect, but one they both say they will never forget.

“He’s a great guy. I just met him, but he’s already a longtime friend of mine,” Banks said.

Copyright 2022 WCTV. All rights reserved.

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Instagram / Indiana State Police

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Suns vs Warriors – Game Recap – March 30, 2022


SAN FRANCISCO — – Chin-ups, lunges, loud music and some good-natured banter at 10 p.m.

The Phoenix Suns held off the Golden State Warriors in a furious playoff-like finish, then got back to business after the final buzzer like they do every game — home and away.

“It’s who we are. We are a working team. Even though studies show that lifting after a game helps with recovery, I think they really enjoy being together and enjoying the work,” coach Monty Williams said. “…As I have Already said, our guys are chasing When you’re chasing something, you don’t want to achieve what you’re chasing and not be ready.

Devin Booker’s two free throws with 34.2 seconds left gave Phoenix the lead, Draymond Green traveled to return it before Chris Paul made a small jump, and the NBA’s top Suns beat the Warriors 107-103 Wednesday night back and forth. battle between the Western Conference rivals.

Jordan Poole scored a season-high 38 points to tie his career high and also contributed nine rebounds and seven assists. He had five free throws in the final 1:20.

Poole drew a loose ball foul on Booker with 39.8 seconds left and converted two free throws before Booker passed for the Suns (62-14) in their ninth straight win.

The Suns tied the franchise record with 62 wins, of which Booker said, “That means a lot.”

“We know what we work for, strength and conditioning is a big part of the game,” he said.

Paul hit a key jumper with 1:37 left and finished with 15 points and eight assists, Mikal Bridges scored 22 points and Deandre Ayton added 16 points and 16 rebounds for Phoenix.

“We felt like we had been there before,” Paul said of the atmosphere. “Obviously it’s an exciting environment to play here, the crowd goes crazy and all that, but we’ve played a ton of games like that.”

Green had a three-run game to tie the game with 2:25 left, the Suns had a three-second violation on the other end, but Golden State failed to capitalize that streak and Paul scored. Green and Jae Crowder had a few words near midfield after the final buzzer.

Booker scored 22 points but shot 5 for 21 – 2 of 8 from long range – while Torrey Craig missed all four of his 3-point tries.

The Warriors have played better defensively once again without defending champion Stephen Curry, who is nursing a foot injury that cost him seven games.

Poole shot 11 for 22 with seven 3s as Golden State headed home from a 123-95 loss at Memphis on Monday night.

“The hardest thing about Jordan is learning to play like Steph,” Williams said before the game.

Klay Thompson shot just 5 of 21 and missed nine of 10 3-point attempts in Golden State’s fourth straight loss, seventh in eight and third straight at Chase Center.

The Warriors had won the previous two matchups with the Suns, who have an eight-game road winning streak. Phoenix defeated the shot 7 for 28 on 3-pointers.

The teams split the season series into two games each.

Golden State coach Steve Kerr told his team in a morning meeting how well the Warriors had played defense in previous meetings with Phoenix and that they were able to do it again despite recent difficulties.

“Draymond took a step tonight,” Kerr said of the improvements on both sides.


Curry has yet to return to on-court basketball activities while working out from a sprained left foot, but has been working out on a treadmill in the water and in the weight room. He could resume filming soon.

“Trend in the right direction,” Kerr said.

Golden State fell to 1-6 without him during that streak.


Suns: Phoenix won at the Warriors’ home court for the first time in four tries since a 121-110 victory on Oct. 30, 2019. … The Suns won last season’s matchups 2-1 for their first winning streak since the taken the four meetings in 2010-2011. Phoenix is ​​19-3 on the road against the Western Conference. … Cam Johnson missed his 13th straight game with a right quad contusion. … JaVale McGee sat out with non-COVID illness, missing his second in a row and this one against his former team.

Warriors: Gary Payton II left for the locker room with 8:43 remaining but returned at 4:54 to provide a key defensive presence on the stretch. … The Warriors went on a five-game-eight-day streak to now have three games in eight days in which they won’t have to leave the state.


Suns: At the Grizzlies on Friday night after winning back-to-back in Memphis.

Warriors: Host Jazz on Saturday night after winning the last three meetings with Utah at home before completing a home-and-away game in Sacramento on Sunday.


California man found guilty of using $27m in PPP loans for personal gain, including renting beachfront property


(Gray News) – A California man was convicted on Monday of multiple financial fraud charges, including using fraudulently obtained PPP loans to rent a beachfront property in Santa Monica, according to the Justice Department.

Robert Benlevi, 53, submitted 27 Paycheck Protection Program loan applications to four banks between April and June 2022 on behalf of eight companies he owned, according to a DOJ statement.

The DOJ said it was seeking a total of $27 million in repayable PPP loans guaranteed by the Small Business Administration under the Coronavirus Aid, Relief and Economic Security Act.

Benlevi reportedly said each of his businesses had 100 employees and average monthly payroll expenses of $400,000, even though he knew the businesses had no employees or payroll expenses, the DOJ said.

Evidence at trial also allegedly showed that Benlevi had submitted false IRS documents that incorrectly stated that each of the companies had an annual payroll of $4.8 million.

Three of Benlevi’s companies received $3 million in PPP funds, according to the DOJ. Instead of using the funds to pay salaries and other business expenses, evidence would show that he instead used the money to pay for personal expenses, including cash withdrawals, personal credit card payments and even renting a beachfront apartment in Santa Monica, California. Some money was transferred from the business account to personal and business accounts he controlled.

Benlevi was found guilty of bank fraud, misrepresentation to a financial institution and money laundering.

He is due to be sentenced on June 27 and faces up to 30 years in prison for each of the bank fraud and misrepresentation charges. He also faces up to 10 years for each count of money laundering.

Copyright 2022 Gray Media Group, Inc. All rights reserved.

Cobblestone Live Music & Art Festival shares its 2022 lineup of artists


Cobblestone Live Music & Arts Festival has shared its lineup of artists for the 2022 iteration of Buffalo, NY’s beloved event, taking place July 15-16 at the city’s historic Cobblestone Distinct.

Lineup includes Misterwives, Pigeons Playing Ping Pong, Andy Frasco & The UN, The Hip Abduction, Doom Flamingo, Mihali, Funktional Flow, Workingman’s Dead, Grub, Canetis, Mom Said No, The Sideways, Grace Greenan and more.

Rounding out the lineup, two tribute bands, Jagged Little Pill, featuring former members of Turkuaz, will pay tribute to Alanis Morissette. Additionally, Dirty Work will pay tribute to Steely Dan with the members of Aqueous & The Sideways.

Additionally, the festival will also feature a silent disco with a playlist of alternative music, hip hop and 2000s pop. Cobblestone Live will also feature family activities, a vendor village, local artisans, food trucks and bars throughout the site.

The music will be spread across three stages, two located outdoors on Illinois and Columbia streets, and a single indoor location at Buffalo Iron Works & Lockhouse Distillery.
Tickets are on sale now and can be purchased here. For more information, visit cobblestonelive.com.

Ghost is preparing a trilogy of clips from the album “Impera”


In a new interview with Victor Wilt from idaho KCVI radio station, PHANTOM brain Tobie Forge he was asked if he had ever picked a song from the band’s latest album, “Impera”, which will be released as the next single from the LP. He replied (as transcribed by BLABBERMOUTH.NET): “Short answer: yes. I don’t know exactly… Sometimes there’s a difference between – obviously, you know it on the radio – the songs that we release as singles and those that are singles that we push with a video and all that. Right now I know what we’re hoping to do a little later in the year. Anyway, we’re doing kind of a trilogy of videos for “Call me little sun”, ‘Around twenty’ [and] “Watcher in the Sky”. And it’s sort of happening. So it could be some kind of different element; it could be a different thing that sort of comes out separately from a radio campaign, while obviously we have our eye on what we’re going to do towards the fall in terms of the song that we’re doing a video for right now and and so on .”

PHANTOMthe fifth album of, “Impera” sold 70,000 equivalent album units in the United States in its first week of release to land at number two on the Billboard 200 chart. It is the third album in the top 10 – and the fifth in the top 40 – from the Swedish occult rock band.

The Billboard 200 chart ranks the most popular albums of the week in the United States based on multimetric consumption measured in equivalent album units. Units include album sales, track equivalent albums (TEA), and streaming equivalent albums (SEA). Each unit equals 1 album sale, or 10 individual tracks sold from an album, or 3,750 official ad-supported audio and video streams or 1,250 paid/on-demand subscription generated songs from a album.

Of “Impera”of the 70,000 units earned for the week, album sales include 62,500, SEA units include 7,000 (equivalent to 9.11 million official on-demand streams of the songs in the set), and TEA units include 500 .

“Impera”First-week album sales exceed any other album in the 2022 tracking year so far. It also has the biggest sales week for a rock or hard rock album since the start of FOO FIGHTERS“Medicine at Midnight” in February 2021 (64,000).

“Impera” landed at the No. 1 position in Germany and Sweden, No. 2 in the UK, Netherlands, Belgium and Norway, No. 3 in Australia, No. 5 in France and Ireland and No. 20 in Italy.

“Impera” was released on March 11. The 12-song effort was produced by Klas Åhlund and mixed by Andy Wallace.

Forge worked on the 2018 sequel “Prequel” with Åhlund and Swedish co-authors Salem Al-Fakir and Vincent Pontarewhose credits include Madonna and Lady Gaga.

Regarding his collaboration with Åhlund, Al-Fakir and Pontareas well as OPETHit’s Fredrik Akesson who was brought in to sharpen the album’s guitar attack, Forge recently told the St. Louis Post-Dispatch, “I found that I could work really well with someone I respect, who is always looking for the best. They make me want to write better, improve a bit my game.”

PHANTOMco-headlining tour with VOLBEAT began January 25 at the Reno Events Center in Reno, Nevada and concluded March 3 in Anaheim, California.

In March 2020, during the final show of PHANTOMit’s “Prequel” tour in Mexico City, Mexico, the band was officially introduced Papa Emeritus IVthe new character who makes the headlines “Impera” album phase.

Forge run as a “new” Dad Emeritus on each of the band’s first three albums, with each version of Dad replacing the one that preceded it. Papa Emeritus III was withdrawn in favor of Cardinal Copia before the release of “Prequel”.

Photo credit: Mikael Eriksson

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Kimmel jokes couldn’t play Smith vs. Colbert mocks actor for worst thing he’s done Fallon ignores


Late-night talk show hosts weren’t sparing in their thoughts on Will Smith punching Chris Rock during the Oscars live broadcast on Sunday night.

On ABC, Jimmy Kimmel devoted most of his opening monologue to the incident and succinctly summed up the mood at the start of his show Monday night.

“It is now part of our lives forever. We will never stop talking about it. It was so shocking. The only thing I can really compare it to is when Mike Tyson bit off Holyfield’s ears,” he began.

“It was the Hollywood version of your drunken uncle starting a fight, ruining the wedding, then getting up and giving a long toast to the newlyweds,” Kimmel told a laughing audience at the slap.

Jimmy Kimmel devoted most of his monologue to the Smith/Rock punch

The three main late-night talk show hosts each addressed the Oscars slap between Will Smith and Chris Rock during the Oscars broadcast on Sunday night

The three main late-night talk show hosts each addressed the Oscars slap between Will Smith and Chris Rock during the Oscars broadcast on Sunday night

Kimmel commented that no one did anything to stop Smith during or after his punch and his ensuing tirade.

‘A whole room of people, no one lifted a finger. Spiderman was there. Aquaman was there. Catwoman, all sitting on their hands. No one helped Chris rock!’ Kimmel said laughing.

Kimmel, who hosted the Oscars in 2017 and 2018, shared his thoughts on how he might have reacted if he had been hit.

“A lot of my friends have been texting me asking what I would have done if I had been on stage. I would have run! That’s what I would have done,” he says bluntly.

“Moving on Chris Rock and then winning the Oscar is like storming out of the house after breaking up with your girlfriend and then coming back because you forgot your keys,” Kimmel joked.

“According to a source, the Academy seriously considered having Will Smith removed from acting, but instead they decided to let him deliver the longest acting speech in history,” Kimmel continued.

“Which, of course, was the longest best acting speech in history.” They weren’t going to play him, he would have beaten everyone in the band!

“He would probably like to have one of those Men in Black memory erasers right now.”

Stephen Colbert said it was the 'worst thing Smith had ever done' before he started rolling out a host of movie flops including Wild Wild West

Stephen Colbert said it was the ‘worst thing Smith had ever done’ before he started rolling out a host of movie flops including Wild Wild West

At CBS, Stephen Colbert got his shot at Smith within the first 10 seconds of The Late Show opening.

“It’s Monday, unless you’re Chris Rock, because I’m pretty sure he got slapped next week,” Colbert told the friendly crowd.

“This is the worst thing Will Smith has ever done,” he teased. ‘Wait, I forgot Wild, Wild West. He’s not here, is he? he said, looking carefully around the studio.

Colbert took some time to think about other ways Smith could have hurt Rock without hurting him physically.

“Will Smith was offended by the joke and wanted to stand up to his wife. Fine. Challenge Chris to a duel or, if you really want to punch him: don’t laugh at his jokes. It hurts way more than a punch, I promise!

Jimmy Fallon managed to avoid referring directly to the incident and redirected attention to Fallon's longtime house band frontman Questlove.

Jimmy Fallon managed to avoid referring directly to the incident and redirected attention to Fallon’s longtime house band frontman Questlove.

“America may be divided, but it was kind of nice for all of us to come together and say, ‘Holy cr*p,’ at the same time,” Fallon joked.

NBC’s Jimmy Fallon was more nuanced in his approach and never explicitly referred to Smith by name or rehashed the Sunday night drama like his counterparts.

“America may be divided, but it was kind of nice for all of us to come together and say, ‘Holy cr*p,’ at the same time.

“Of course, I have to address the big moment that everyone is talking about, which is Questlove winning the Oscar for Best Documentary.”

Questlove, the drummer and frontman of Fallon’s longtime house band The Roots, had just won the Oscar moments after Smith was slapped, but hardly anyone noticed.

For those at the Dolby Theater and viewers watching at home, Questlove’s speech was drowned out amid shock and confusion over what had just transpired onstage between Smith and Rock.

But even after honoring his Tonight Show colleague, Fallon only hinted at what he clearly thought didn’t deserve any more attention.

“Yeah, there was a pretty tough moment during the show, and I think you all know what I’m talking about. Everyone in the audience looked shocked, and for once it wasn’t Botox.

“Seriously, you know it was a weird awards show when it ends with a statement from the LAPD, you know what I mean?”

Questlove won an Oscar for documentary feature, but its win came seconds after the on-air smash;  Fallon felt he had been robbed of his moment

Questlove won an Oscar for documentary feature, but its win came seconds after the on-air smash; Fallon felt he had been robbed of his moment

Mira Calix, electronic musician and adventurous sound artist, dies | The music


Mira Calix, the electronic producer famous for her complex and highly imaginative music and sound art, has died.

His record label, Warp Records, announced the news, and did not give a cause of death or his age. A statement posted on social media read in part: “Mira was not only an extremely talented artist and songwriter, she was also a beautiful, caring person who touched the lives of all who had the honor of working with her. … she pushed the boundaries between electronic music, classical music and art in a truly unique way.

Born Chantal Passamonte in South Africa, Calix moved to London in 1991 to pursue a career in music, working first as a publicist for Warp alongside promoting club nights and DJing, before releasing her music with the label .

As with his label mates, his work realized the vast possibilities of electronic production in playful and adventurous music that had its roots in club culture but spanned a remarkably wide stylistic range, touching on ambient, noise, to neo-classical and more.

She has released music in the traditional album format, starting in 2000 with One on One and more recently with the sample-heavy Absent Origin, released in 2021 and hailed as one of her greatest works. But she has also made music for installations such as My Secret Heart, staged at London’s Royal Festival Hall in 2008, and the monolithic sound sculpture Nothing Is Set In Stone, created for the Cultural Olympiad alongside the Olympic Games. of London 2012, with Boris Johnson, then London mayor, declaring: “Mira Calix has managed to rip not blood, but music from a stone, putting music into rock and creating a new cultural attraction.” Other public artworks have appeared everywhere from a public bus in Nanjing, China, to the Tower of London.

She has also collaborated with opera and theater companies, including Opera North and the Royal Shakespeare Company, writing scores for productions of Julius Caesar and Coriolanus for the latter. His 2003 work Nunu featured the sound of live insects on stage, while Inside There Falls, a 2015 collaboration with the Sydney Dance Company, used hidden speakers carried by dancers in a moving four-dimensional room. .

She once said of her boldly experimental yet populist approach, in response to older listeners who adored one of her installations: “The whole piece was completely abstract, but it made them feel something. They didn’t say, “That’s too weird”… People like fantasy. We know it. But people also like fairy tales. And they love abstractions. Art isn’t just for assholes. People can take care of it. »

BBC 6 Music DJ Mary Anne Hobbs was among those paying tribute to Calix, calling her “such an ingenious and pioneering artist… always questioning, always pushing”. Musician Gazelle Twin said: “So heartbreaking to hear this news from such an incredible, inspiring and universally beloved creator.”

Artists in Residence at the Fire Station present works on music, weavings and the environment


LEFT TO RIGHT: Johnatan Machado, Sarah Jayyousi, Amna Al Muftah and Hemanth Madupu.

Artists-in-residence at Doha Fire Station recently showcased their works in ‘open studios’ ranging from music, traditional weavings, painting and sculpture covering themes on the environment, culture and life. self-expression.

Seventeen artists are taking part in this year’s edition. This is an annual nine-month residency program from September to June, where artists are given studio space on one of the five floors of the fire station building.

Included for the sixth edition of the Artists in Residence program or AIR 6 are Shaikha Al Khulaifi, Noor Al Kuwari, Wadha Al Mesalam, Amna Al Muftah), Ali Al Naama, Farah Al Sidiky, Maha Al Sulaiti, Abdulrahman Al Thani (all from Qatar ) Hemanth Madupu (India), Noof Al Theyab (Qatar), Fatima Al Yousef (Qatar), Sarah Jayyousi (Palestine), Hazim Mohamed (Sudan), Johnatan Machado (Venezuela), Abir Zakzok (Syria) and Voyyyd (Qatar).
Also participating are artists Ruwad Wafika Sultan Al Essa (Qatar) and Hassan Al Mulla (Qatar).

Peninsula talked to some of these artists where they talked about their arts.

Hemanth Madupu explained that his current project is about Khaliji music interactive art. Madupu, along with his partner Abdulrahman Al Thani, generated waves through the rhythm of music and by scanning their works through a mobile app, he will play Khaliji music. Both are interdisciplinary artists and musicians.

Fatima Al Yousef’s works feature a creature as a subject. “I use art as a form of expression, every creature you see is based on a person I know or an emotion, everything makes sense to me, even the shapes.”

Each of her works of art has a code that also has a meaning that she does not want to reveal. She experiments with different mediums such as cardboard, embroidery, animation, among others.

Johnatan Machado from Venezuela said, “My idea of ​​the work is about traditional materials that are transformed into contemporary works of art.” Machado has been an artist for 20 years, but work on traditional Qatari weavings and tapestries began six years ago.

Sheikha Al Khulaifi, a multidisciplinary artist has various art forms on media illustration, portraiture, creative writing (poetry), and now she makes her own paper.

She revealed that many of her artworks are about being autistic, being one herself, and that “what it feels like on the outside looking inside, I’m half American and half Qatari, so I’ve always been between two places.

Amna Al Muftah’s works focus on nature. “I collect a lot of native plants around me, usually from the desert; I dry them, make compositions and paint them. I want to draw attention to the pollution that I see around, because the plants that I collect, most of them contain waste, and people don’t notice it because they don’t see it . His latest painting is called “Plant Landfill” where plants are filled with trash on a 121 x 182 canvas.

Sarah Jayyousi’s art is about abstract geometric exploration where she draws inspiration from architecture and paints it on canvas by “flattening images”.

“My art is my voice because I’m very reserved and calm, and my work is very bright and it shows people my confidence. I also want them to appreciate their surroundings, and my art speaks to that,” Jayyousi explained. Open Studios take place twice a year at the fire station, which is a great opportunity to meet artists in residence, curators and see their work and ongoing projects.

Nanaimo Musician Releases Debut Album of “Emotional” Rock-Jazz Music – Nanaimo News Bulletin


A rock and jazz guitarist from Nanaimo relied on some “home cooking” for his debut album.

Celestial Desire, released March 18, features the guitar and songwriting of Vancouver Island University graduate Keanu Ienco and was recorded in the Harbor City area, with elements of rock, jazz and native music. In Nanaimo since age 7 and raised on Queen, The Beatles and Led Zeppelin, Ienco says he has a rock background, but earning a bachelor’s degree in jazz studies from VIU and his own Native American heritage ( Havasupai Tribe in Arizona) also had an impact on the sound of the album.

“A lot of native music, it’s different from European music where it’s very strict on form and always in 4/4 time,” Ienco said. “Indigenous can be a lot more free and it can be really interesting, and so from a compositional perspective, I try to draw inspiration from that in my tracks, whether it’s a lullaby or something like that, and I try to see what kind of what melody are they singing or what kind of harmony are they really doing and that’s what I try to put in my music of course while mixing rock and jazz and traditional sounds more western music.

The COVID-19 lockdown in 2020 was also a catalyst for the record, Ienco recounts.

“Over the years I acquired various music or recording equipment, and I was basically at a point where I thought I might as well just jump in and do something under my own name…then I just started writing what came from my emotions,” Ienco said.

He worked with a co-producer in 2020 and 2021. He recorded guitar tracks at his home, drum tracks were recorded at Risk Disc Records in Cedar, vocals were recorded at Tonebone Marone Audio in Ladysmith and bass was recorded at was added by a friend in Vancouver. .

While Ienco sang on Celestial Desire, he also relied on friend and fellow Nanaimo musician Elise Boulanger for vocals above his range.

“I’ve seen Elise in the scene for the past few years in Nanaimo…her music and voice invokes a really emotional, celestial type of sound that fits my project perfectly,” Ienco said. “I really love the way she makes accessible music, it’s very artistic and my journey is very moving and unique. Over the past few years we’ve become friends, hung out and played music together and she was really the first choice I had to sing on my album.

Ienco also thanks co-producer Jim Blair, who taught him how to play the guitar and also taught him a lot about music history, music theory, and songwriting.

“He basically taught me how to be a musician. He didn’t just teach me how to play the guitar. He taught me how to send well-written emails, how to prepare for a recording studio, how to to organize concerts, to act correctly at concerts, to be a professional and all those things along the way,” Ienco said.

Of the two singles released, he describes I Still Shine as an upbeat song about “uplifting and regaining self-confidence” while Indigo is a softer song about “letting go of a relationship and getting out of it”.

Although no date has yet been made official in Nanaimo, Ienco will perform at the Vinyl Envy in Victoria on Saturday April 2 and at the Duncan Showroom in Duncan on April 23.

For more information, including how to get Celestial Desire, visit Ienco’s website at www.keanuienco.com.

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The music

New Mexican/American Musicals “Desaparecidas” and “¡Americano!” » soon in NYC


A one-night-only concert and limited-entry musical hits New York stages this week, created and performed by a talented roster of Latin American musical theater artists. Both promise to be must-see shows inspired by memorable real-life stories, events and cultural traditions.

Drawing by Martha Orendain.

A list of songs from the new musical in development Désaparecidasdesigned by Jaime Lozano, Florencia Cuenca and Rachel Stevens, will premiere at Joe’s Pub on Monday, March 28. With music by Lozano, lyrics by Lozano and Cuenca, arrangements and orchestrations by Lozano and Jesús Altamira, and musical direction by Jhoely Garay, the concert will feature performances by Cuenca, Sonia de los Santos, Aline Mayagoitia, Majo Rivero, Daphne Rubin-Vega, and more.

An eclectic group of local organizers gather for a secret gathering, but when a young newcomer stumbles upon their midnight wake the day before her quinceañera, she’s forced to consider an identity beyond her supposed destiny. Told through the lens of Mexican folklore, the show celebrates the individual lives of women in Ciudad Juárez, explores their systematic oppression, and highlights the challenge of embracing honored cultural customs while fighting for autonomy and an end to poverty. gender-based violence and murder in a dangerous world of machismo.

Désaparecidas plays Monday, March 28 at 7 p.m. at Joe’s Pub, inside the Public Theater, 425 Lafayette Street, NYC. For tickets (priced at $20, plus two drinks or $12 food minimum per person), meet in line. Everyone must show proof of COVID-19 vaccination and booster, along with photo ID, to enter the building and must wear a mask inside when not eating or drinking not actively.

After a record run at Arizona’s Phoenix Theater Company, the new musical Americans ! is coming to New York for a limited twelve-week Off-Broadway engagement, March 31 through June 19, at New World Stages. With an original score by acclaimed singer-songwriter Carrie Rodriguez (Lolanamed one of NPR’s 50 best albums of the year), additional lyrics by Barnard and Rosenberg, a book by Michael Barnard, Jonathan Rosenberg and Fernanda Santos, choreography by Sergio Mejia, and an almost all-Latino cast, it recounts the true story of the life and accomplishments of American dreamer and hero Tony Valdovinos, with topical themes on immigration, refugee advocacy and voting empowerment for minority communities.

Growing up in Phoenix, Arizona, Tony, inspired by the events of 9/11, focused on the goal of enlisting in the Marines when he turned 18.and birthday. But when he tries, he discovers that he is an undocumented immigrant. With courage, determination and the help of his family and community, Tony finds a new mission that can make history, create good and inspire change, challenging preconceptions and reminding us that the strength of America has always been its hollow culture of enterprising immigrants. .

Americans ! plays Thursday, March 31 through Sunday, June 19, 2022, at New World Stages, 340 West 50and Street, New York. For tickets (starting at $49), call (212) 239-6200 or drop by in line. Proof of vaccinations and boosters, photo ID and a properly fitted mask are required.

Bao London’s Erchen Chang: “I’m happiest at home listening to music and drawing while drinking whiskey”


Erchen Chang, 32, is creative director and co-founder of Bao, which popularized Taiwanese steamed buns in the UK. Bao started as a street-food stall and moved to its first permanent location in London in 2015.

What was your childhood or your first ambition?
To be a designer of school uniforms. I found the uniforms in Taiwan so ugly. I wanted people to be beautiful for the first 18 years of their lives.

Where did you go to school? Where did you train?
The Slade School of Fine Art in London. During college, I started cooking a little – self-taught.

What is the first dish you learned to cook?
I learned a lot by watching my grandmother. She’s like a one-woman team, an octopus that does it all.

Who was or still is your mentor?
Brighid Lowe, my tutor at Slade. The way she thinks really resonates with me. At Bao, we don’t just think about the dish, but about the whole experience: how you interpret it, how you culturally connect – it’s a bigger picture.

Are you in good physical shape?
I feel fit, even though I’m not athletic. But I can go on for a long time.

Breakfast or dinner: which one?
Breakfast. I came to London when I was 14, but used to go back to Taiwan every school holiday and my mom and I were looking for the best lunch spots.

What technique did you struggle to perfect?
Some chefs are incredibly intuitive, their kitchens are like theaters. I like to know where I’m going and take my time to design and cook, and connect the story behind a dish.

Which flavor do you always like?
Lu wei: a dish braised with soy. Soy-braised pork is famous, but you can cook a lot of things in this braising liquor. Charred star anise is so nostalgic to me.

What flavor can’t you stand?
I feel about lovage the same way that some people don’t like cilantro – there’s something sticking out at me.

What equipment could you not do without?
My clay pot. A clay pot takes on flavor and gives so much warmth and depth to a dish. Earth distributes and maintains temperature evenly. It makes cooking tastier.

What would you like to own that you don’t currently own?
A wok burner, so I can cook with crazy fire. Even in Taiwan, a wok burner is not a thing in a home kitchen.

What is your biggest extravaganza?
Return to Asia at least once or twice a year to be exposed to the culture and flavors.

Do you consider food waste?
Yes, but I think I can do better.

What is your guilty culinary pleasure?
Whenever I travel to Europe or go on vacation, I sit down and eat fries, drink beer and people watch. It must be thin fries and very cold beer. Time is the guilty element.

Where are you the happiest?
At home, listening to music and drawing, drinking whiskey. I do the illustrations for Bao, so it’s fun as well as hard work. And make bao carvings, shape the dough into an edible piece [of art]. The physicality of repetition makes me happy.

Who or what makes you laugh?
Currently Larry David of Calm your enthusiasm. I love how sarcastic and funny he is; 10 years ago I wouldn’t have understood it, now I’m really into it.

What ambitions do you still have?
To continue creating images and making food. I would love to have my own solo exhibition – with bao sculptures, or whatever. And the whole idea of ​​Bao and how it all started – the image of the lonely man eating a bao. My secret ambition is to help everyone find that perfect moment of solitude.

What is the luckiest aspect of your life so far?
All aspects. I am grateful.

What was your biggest culinary disaster?
When we first opened, our walk-in fridge broke several times. Everyone was grumpy. It was so hot it was like a wet t-shirt contest in the kitchen. We have air conditioning now!

If your 20-year-old self could see you now, what would she think?
“Wow, what are you doing? ” – in the right direction. It would never have occurred to me that I would be using my taste buds as a skill set.

Do you consider yourself an artist?
Yes — first and foremost.

If you had to rate your satisfaction with your life so far, out of 10, what would your score be?
Six. It’s a very good score, and it means there’s room to grow, to do more.


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Announcement of the artists of the 3rd round of the Summer Camp Music Festival


For their third round of artist announcements, Summer Camp Music Festival welcomes Big Gigantic, SNBRN, fan-favorite DJ Paul (Three Six Mafia), Magic City Hippies and a host of other great artists performing this Memorial Day weekend. This latest announcement caps off a week of exciting festival news, including the lineup release and Sunday 1 Day tickets going on sale, the Founders VIP Lounge lineup, Thursday pre-party performers and finally, the Get Involved apps for programming in the Soulshine Tent, SOULPATCH Interactive Garden, Field Day and more!

List of current artists

The Smashing Pumpkins
McGee of Umphrey
Zed is dead
Big Gigantic
Joe Russo is almost dead
small feat
liquid stranger
great savage

Bone Thugs-N-Harmony
Shpongle (Simon Posford Live Set)
Pigeons playing ping pong
Cory Wang
Lunar taxi
Manic Focus
Grateful Grass by Keller Williams with The Hillbenders
The Infamous Stringdusters
Leftover salmon
Yonder Mountain String Band
the motet
Victor Wooten
Here come the mummies
Magical Town Hippies
Cory Henry
Andy Frasco and the UN
orchestra of all

Balkan bump
big something
BlueStar Radiation
Daily bread
kings of death
earth monkey
doom flamingo
ghost light
Hannah Wicklund
Jason Leech
Maddy O’Neal
Maggie Rose
magic beans
The main compression
Shred by Marcus Rezak is dead
Moore Kismet
Sammy Rae and Friends
so low
constant flow
The works

A hundred drums
Aaron Kamm and The One Drops
Caleb Johnson
Chicago Farmer and field notes
The Claudettes
With brio
Dogs in a pile
Groove Family Business
good night texas
hearty har
The horn section
James Maslow x Eugene Ugorski
hit the cat
kitchen dwellers
Little bird
little stranger
Marching Band Lowdown
mac saturn
Mikaela Davis
The North 41
old shoe
Sun Stereo
TK & The Holy Know-Nothings
yum yum

Alison Hanna Group
Boogie Armchair
Birds of a feather
Booth Blues with Anika Emily
original idea
Charlie Otto + his equipment
Dead inside
Formerly The Fox
Moving heads
The masters of the hill
Jack Cloonan
Jesse Clayton
Kendall Street Company
Kuh Nives
Miles above the mountains
pine travelers
Positive vibrations
recycled funk
Since JulyEYE
Stan P band
always shine
Tenth Mountain Division
Trash Angel (Emo Set)
The Tripp Brothers
Trouble Chasin’
Vincent Anthony
vintage pistol

3-day GA passes, volunteer deposits and a limited number of VIP upgrades are available at summercampfestival.com/tickets.

Summer camp is much more than music. Below are some of the ways you can get involved today. For a full list, visit our Get Involved page: summercampfestival.com/getinvolved

The SOULPATCH interactive garden is looking for collaborators! What designs and systems work for you in permaculture, natural building, sustainability and regenerative agriculture? Build it and take it to the garden to share and help your fellow SCampers learn new skills to bring back to their communities as we all work to make the world a better place. Applications are now open!

The Summer Camp Music Festival attracts a wide range of non-profit organizations that work to educate and engage festival-goers in their mission. Not-for-profit organizations have a great opportunity to gain traction and participate in their causes with festival-goers across the country. Applications are now open!

Do you have a skill to share? What is your passion for life that others could benefit from? Over the years, we’ve housed everything from instrument making to biodiesel manufacturing, from human power to DIY art techniques. To participate in this year’s workshops, please submit an application.

Painters – Show us what you got! Sign up for the Soulshine Live Art Gallery to have your artwork featured and displayed for all SCampers to see! Applications are open until April 16.

Would you like to be an integral part of organizing the magical and immersive experience that is the Summer Camp Music Festival? We are currently looking for dancers, fire artists, performers, workshop leaders, and anyone who thinks they have what it takes to support the vision and momentum of our Flow Entertainment team. Applications are open!

Summer Camp Field Day is the official color war of the festival! Battle it out in a tug of war, giant twister, dodge ball, donut contest and more! Plus, the Field Day Champions take home a victory party on Sunday at the festival. For more information and to register your team, please visit our Field Day page.

The Summer Camp Music Festival would not be possible without the help of our General Volunteers and Green Team! Sign up to help and WIN a 3-Day GA Pass + Thursday Pre-Party Ticket. For more information, please visit: makeadifference.summercampfestival.com/volunteer

Yeule plans to release another album this year


After releasing his second album “Glitch Princess” in February, Yeule revealed that he plans to release another album this year.

Less than two months after the release of “Glitch Princess”, Singapore-born, London-based artist Yeule – aka Nat Ćmiel – is close to finishing work on her more acoustic sequel, according to Fork. The album, as Yeule described it, “is going to sound like emo for cyborgs”.

The next album – which has yet to be given a title or release date – will take on a brighter tone than its predecessors. “I wouldn’t say all the songs on the new album are happy, but I think it’s sweeter,” they said. Fork.

“I’m getting to a point where I’m tired of hating myself. It’s not Tumblr 2012 anymore.

Credit: Ethan Lai.

Elsewhere in the interview, Yeule spoke about their upbringing in Singapore, a country they described as “very nationalistic”. They added, “If you’re not for Singapore, say goodbye to government subsidies or sponsorships. And the education system made me meticulous, in a shitty way. It was crazy to be ostracized if you didn’t hit a certain number – like, goodbye. There’s not much to do if you don’t have the money. It’s like a theme park sometimes – that’s why I was in my room making music and doing stuff on my computer.

“Singapore will always be my home, and there are a lot of good things about it – like, bro, the sunsets are crazy, the sky is on fire,” they continued. “And now, having lived in the UK since university, I can go back and see it in a different light.”

Yeule is set to open for Charli XCX in May on the UK/Ireland leg of the pop star’s Crash tour before embarking on a North American tour in support of “Glitch Princess”. Find tickets for their US tour here.

Yeule released the album “Glitch Princess” in early February. It includes the tracks ‘The Things They Did To Me Out Of Love’, ‘Don’t Be So Hard On Your Own Beauty’, ‘Friendly Machine’ and ‘Too Dead Inside’. The record followed their 2019 debut studio album “Serotonin II”.

Kennesaw State Theater and Performance Studies will present “The SpongeBob Musical”


March 24 – The stage at the Stillwell Theater will soon be transformed into the underwater world of Bikini Bottom as Kennesaw State University’s Theater and Drama Department

Performance Studies presents The SpongeBob Musical from April 7-17.

Adapted from the beloved animated series SpongeBob SquarePants, this colorful and vibrant musical is an uplifting story of overcoming obstacles and celebrating the joy of living. A first in the Atlanta area, this production is based on the series by Stephen Hillenburg and the book by Kyle Jarrow and is directed by TPS professor Amanda Wansa Morgan.

The story begins as SpongeBob and the sea creatures that inhabit Bikini Bottom face the total annihilation of their world. All hope seems lost, but our unlikely hero saves the day.

The characters may seem somewhat familiar, but with a twist, as they are played by college students. Musical direction is provided by guest artist John-Michael d’Haviland, an Atlanta-based professional who also teaches at the Cobb County Center for Excellence in the Performing Arts, a coeducational public school.

hosted on the campus of Pebblebrook High School in Mableton. The musicians have fun performing the musical numbers, as each one is written by a different pop/rock artist.

Some of the contributing artists include David Bowie, Panic at the Disco, Sara Bareilles, Yolanda Adams, Plain White T’s and John Legend. The choreography is led by a Broadway favourite, TPS teacher Timothy Ellis.

Turning the Stillwell Theater into Bikini Bottom took creativity, and TPS rose to the challenge. The theater lighting class, led by Brandon Bagwell, builds practical fixtures to transport the audience from sitting in the theater to sitting under the sea, all without getting wet. Another group of students work on puppets, headdresses and costume crafts. Summer Lee Jack leads the students in designing colorful costumes. Another team of students focuses only on accessories. The scenography, directed by Professor TPS and set designer Ming Chen, mimics a beautiful ocean, a nod to TPS’ attention to environmental issues, especially ocean pollution.

Tickets cost between $14 and $20 and are available online at https://ci.ovationtix.com/35355/production/1059676 or by calling Guest Services at 470-578-6650. Please purchase your tickets early as seating is limited.

This event is in-person only and will not be streamed live.

The 44%: PPP Loans and Spring Break



Alabama State University Spring Breakers Jacory Lee, 21, Justin Stephens, 22, and Terry Haynes, 22, march on South Beach Thursday, March 17, 2022.

[email protected]

Miami Beach has a dilemma on its hands.

Elected officials have made it clear that they see spring break as a problem, but every March the revelers keep coming. And why wouldn’t they? South Beach is iconic, a cultural staple thanks to the wealth of television, movies and music that have built the area’s appeal.

Although I never went to South Beach in college, I do know this: Spring break is spring break. The same things happening at 10th and Ocean Drive probably happen at South Padre Island, the Bahamas, or wherever the spring breakers flock. Sure, South Beach can get a little wild at times, but that’s the image the city of Miami – and by default Miami Beach since most visitors don’t know the difference – has created for itself.

The question now is who will give in first: Miami Beach or the tourists?

Author's map.jpg
C. Isaiah Smalls II author card


Crowds fill the beach promenade along Ocean Drive during spring break in Miami Beach, Fla., Saturday, March 19, 2022. Daniel A. Varela [email protected]

“The only urgency is that the blacks are on the beach.” Critics slam the Spring Break curfew:

Two shootings led Miami Beach to declare a state of emergency – and many were unhappy.

“The only emergency is that black people are on the beach,” said Miami-Dade Black Advisory Board member Stephen Hunter Johnson, adding, “I don’t understand how this city has been doing spring break for at least 25 years. .and I can’t figure it out.

Miami Beach has imposed a daily curfew, from midnight to 6 a.m., Thursday night through Monday morning.

MIA_Spring_Break_Reimagined(2) (2)
People walk down Ocean Drive in Miami Beach, Florida on Friday, Feb. 25, 2022. MATIAS J. OCNER [email protected]

“We are back to square one.” Spring Break curfew evokes Miami Beach’s history of black visitors:

As Johnson alluded to, Miami Beach has a history of being unwelcoming to its black visitors.

For example, after boxer Muhammad Ali, then Cassius Clay, beat Sonny Liston for the heavyweight title at the Miami Beach Convention Center in 1964, Ali couldn’t stay on the beach because segregation laws barred black people from hotels in the city .

Although that law has changed, critics say these types of incidents in Miami Beach’s history have a bearing on where the city is today.

“If you don’t know your story, you’re doomed to repeat it,” said Pierre Rutledge, chairman of the Miami-Dade Black Advisory Board. “And it looks like that’s where we’re headed.”

Performance by Kenya Safari acrobats. Touring band owner Karen Makange struggled to get her Paycheck Protection Program loan cancelled. Karen Makange

PPP loans were made to be forgiven. In heavily black areas like South Florida, many are not:

Miami-Dade and Broward counties have PPP loan forgiveness rates well below the national average, according to an analysis by the Miami Herald.

Why? The large black and Hispanic population of both counties, Ben Wieder reported.

The percentage of unforgiven loans in the majority of black ZIP codes is more than three times higher than the percentage of unforgiven loans in the majority of white ZIP codes, while the percentage of unforgiven loans in the majority of Hispanic ZIP codes is more double that of the majority of white postcodes. codes.


In the Harvard years of Ketanji Brown Jackson:

Ketanji Brown Jackson’s Supreme Court confirmation hearings had a bit of everything.

Through it all, Jackson appeared calm and composed — a demeanor likely honed during her time at Harvard, according to a recent New York Times article.

“She’s fearless in a world where sometimes it’s scary to be fearless,” said Lisa Fairfax, who was one of Judge Jackson’s roommates and is now a law professor at the University of Pennsylvania.


Atlanta, FX Series COURTESY OF FX

“Atlanta” returns tonight:

Few shows have captured my attention quite like Donald Glover’s “Atlanta.” So much has changed during the series’ four-year hiatus that I’m even nervous to watch. Who knows if I’ll be in space to receive the show like I did in 2018?

That said, “Atlanta” is one of the best shows ever made in my opinion, so I, for one, will be front and center at 10 p.m. tonight.

Where does the name “The 44 Percent” come from? Click here to find out how Miami’s history influenced the title of the newsletter.

C. Isaiah Smalls II is a reporter covering race and culture for the Miami Herald. Previously, he worked for ESPN’s The Undefeated as part of their first class of Rhoden Fellows. He is a graduate of Columbia University and Morehouse College.

Opera Philadelphia, Music: Not Impossible, Art-Reach presents “Resonant Philly”


Opera Philadelphia, in association with Music: Not Impossible and Art-Reach, will present “Resonant Philly” on May 21, 2022 at FringeArts in Philadelphia.

This presentation is designed to create a welcoming and comfortable art experience for people with autism and other disabilities, incorporating audio description by Nicole Sardella and American Sign Language by Hands Up Productions.

The event features opera performances, performed through sound and wearable technology Vibrotextila, developed and invented by Daniel Belquer and Not Impossible Labs, inspired by the deaf community and using vests, bracelets and anklets to translate the sound waves into vibrations felt through the skin.

“We have grown as an organization and as individuals, which is why Opera Philadelphia is looking to the future in participating and building with the community and we are working to become an inclusive organization where people feel welcome and have a sense of belonging that enables them to participate. entirely onsite,” Veronica Chapman-Smith, vice president of community initiatives for Opera Philadelphia, said in an official press release.

“Art-Reach is thrilled to partner with Opera Philadelphia and Music: Not Impossible for this groundbreaking introduction to wearable technology,” added Charlie Miller, Associate Director of Art-Reach.

BLT Steak files for bankruptcy after failing to repay PPP loans


BLT Restaurant Group — the parent company of New York-based BLT Steak and BLT Prime — filed for bankruptcy in New York’s Southern District Court on Monday after 40% of the company’s Paycheck Protection Program loan ($1.3 million out of $3.3 million) has not been forgiven by the federal government.

According to bankruptcy documents, after initially receiving the PPP loan in April 2020, BLT Restaurant Group was unable to “restart and commit” multiple locations due to pandemic-related capacity restrictions and has not was unable to convince many employees to return to work in order to comply with the terms of the PPP loan, which led to the federal government’s rejection of a 100% loan forgiveness. In 2020, BLT Restaurant Group suffered a loss of revenue of $7.6 million.

“The company applied for and received PPP funds as soon as possible, as it was unclear how much would be available or for how long,” the bankruptcy filing said. “At the time the funds were requested, no one knew the economic disruption would last this long, and if this had been known, the company would have delayed requesting the funds until a later date so that all funds could be spent during the covered period.”

On top of that, BLT Restaurant Group says the company applied for the Restaurant Revitalization Fund program within five hours of the program opening to independent restaurants, and although it is eligible up to 7.1 million, it was eventually locked out after the company had to resubmit financial information in its application.

By filing for Chapter 11 bankruptcy, BLT Restaurant Group hopes the company will be able to “restructure existing debt” over the past two-plus years of the pandemic, including PPP loans.

Ultimately, BLT Restaurant Group made its decision to file for bankruptcy after it was clear that a second round of the Restaurant Revitalization Fund was not making its way into the Congressional budget.

“The company continued to operate at a loss in the hope that bills introduced in Congress would allow the debtor to extend the period covered for its first loan and/or provide additional funding to the Restaurant Revitalization Fund,” indicates the file for bankruptcy. “With the passage of the recent budget bill, these hopes are no longer reasonable and the debtor has no choice but to file for bankruptcy.”

Contact Joanna at [email protected]

Find her on Twitter: @JoannaFantozzi

Classic Album: Bob Marley and the Wailers’ Catch a Fire, Piece by Piece


APRIL 1973: With Catch a Fire, the band then simply known as The Wailers bridged the deep roots sound of Jamaica with the commercial rock music of the international market, particularly the United States and the United Kingdom. United.

Conducted by Bob Marley, Peter Tosh and Bunny Wailer and recorded between three different eight-track studios in Kingston, Jamaica, Catch a Fire was produced in London by Chris Blackwell of Island Records.

The tracks – seven of which were composed by Marley and the other two by vocalist and lead guitarist, Peter Tosh – are a thoughtful and heartfelt collection, driven by a raw sense of urgency.

catch a fire cover bob marley

(Image credit: Island Records)

Speaking to Billboard in 1973, Marley compared his music to the blues, saying, “It tells the truth from the people’s point of view.” In catch a fireMarley and Tosh are brave with their language and delivery, whether it’s lamenting black oppression, calling for poverty uprising, or singing love songs.

The original 20,000 pressed vinyl comes in a sleeve, designed by graphic designer Rod Dyer, that looked and opened like a real Zippo lighter (above).

Copies of this original pressing have since become a collector’s item and the cover was reproduced for the 2001 deluxe CD edition, which includes the unreleased original “Jamaica version” of the album.

1. Concrete Jungle

Concrete Jungle features an unusually long intro for a reggae song – easing rock fans in with familiar electric guitar sounds, before the punchy bass and classic reggae beat kick in after 30 seconds. Later, it features a searing guitar solo from Muscle Shoals session guitarist Wayne Perkins.

The lyrics contain recognizable metaphors regarding darkness and lightness, recalling passages from the Bible and many aspects of Caribbean and Western culture. Concrete Jungle – or Jungle for short – is the unofficial name of a notorious housing project built in the early 1970s on the edges of Trench Town in West Kingston.

With this track, Marley gives a visceral commentary on the unhealthy aspects of city life, while shedding light on the very real place where his friends lived.

2. Slave driver

In Slave Driver, Marley and The Wailers continue to deliver a bold and meaningful message, giving a voice to some of their country’s most marginalized people and acknowledging how racism has continued to thrive within the structures of society.

Yet the beautiful vocal harmonies created by Marley, Tosh and Wailer mean that the listener may not even realize at first how political the song is. The title of the album – which means “to go to hell” – comes from this track, and is sung in the background as Marley tells the “slave drivers” with calm certainty that “the table is turning” and that they are “going to get burned” for their continued mistreatment of Africans.

3. 400 years old

Written and composed by Peter Tosh, previous versions of 400 Years of The Wailers were already well known in Jamaica – especially the one produced by Lee ‘Scratch’ Perry. It is a haunting song of social criticism, referencing slavery in many forms and highlighting the relentlessness of oppression with the repeated “It’s been four hundred years”,

in addition to scary choirs. Once again, the listener is invited to make the connection between past and present atrocities. But despite all the gruesome references, there’s also a hopeful side to the track with its reference to biblical Genesis 15, which believes that after 400 years of abuse, release awaits.

4. Stop That Train

Peter Tosh’s second track on the album, Stop That Train, is another indication of the success he was to have as a solo artist. Marley and Wailer’s rich vocal harmonies ensure this track stays in your head long after you stop listening to it.

The listener can sense Tosh’s sense of despair and grief with lines like “even though I tried my best/still can’t find happiness”. It’s a painfully sad subject, understood by many to be someone contemplating suicide – or at least someone leaving a home they once loved and tried to improve. But somehow, once again, the song seems to float and fade away with a sense of hope. In the last 15 seconds of the track, we hear Tosh mumbling “it must be better”.

5. Baby, we have a date (Rock It Baby)

Baby We Got a Date (Rock It Baby) is the album’s first love song, and it comes at the end of the first side of the original record – almost as a kind of reward for new international listeners who stick with it. the activism, and a promise of lighter content on the next side.

It features another appearance from Wayne Perkins on slide guitar, as well as backing vocals from Rita Marley and her friend Marcia Griffiths – a popular solo artist in Jamaica. This track has a sweet, positive sentiment, and is about someone looking forward to their scheduled date at “a quarter to eight”.

6. Stir it up

This hypnotic track is another that was already well known in Jamaica as a Wailers track, and became Marley’s first hit song outside of his native country. They first released Stir It Up in 1967, and in 1972 American singer Johnny Nash released a cover version which scored a Top 15 in the US and UK – perhaps encouraging Marley to dig it up. re-record for the next album. “Stir It Up” also features Wayne Perkins, once again, with a wah-wah-infused guitar lead. The lyrics are soothing and sultry and it was said that Marley originally wrote the song for his wife, Rita. It’s the longest song on the album – five minutes and 32 smooth seconds of the irresistible classic elements of reggae music – funky guitar, congas, keyboards and that steady, rocking beat.

7. Kinky Reggae

A laid back, upbeat song that remained a fan favorite and was almost always played at Marley’s concerts. Kinky Reggae, following the example of Stir It Up, is full of joy and requires the listener to indulge in good times and some serious skanking.

Fans have speculated about the messages in Marley’s lyrics in the track – it could be a coded story about drugs, a celebration of sexual promiscuity or a secret show of support for the queer community – but most critics agree that It’s about someone who can’t settle down and is full of positive vibes.

8. No more trouble

No More Trouble has few lyrics – the main ones being “We don’t need no more trouble”, repeated several times by Marley as well as in the moving harmonic backing vocals of Rita Marley and Marcia Griffiths. Its beauty and power reside in this evocative simplicity.

A virtual collaboration with Erykah Badu was the first track on a 1999 remix album by hip-hop and rock artists, with production by Stephen Marley, called Sing Babylon.

9. Midnight Ravagers

With a classic Aston ‘Family Man’ Barrett bassline pounding with conviction and driving the track forward, Midnight Ravers closes the album with a sense of optimism and perseverance. With the “don’t let me down!” repeated, Marley reminds listeners that he counts on them to help him spread the message of his music and be part of the positive change he sought to bring to the world.

Boston’s theater scene comes alive with music, dance and drama


As the theater scene blossoms, we finally get a glimpse of a handful of productions that were set to debut two years ago. Between the joys of seeing long-gestating projects hit the stage, the spring theater season includes ballet, modern dance, Afrofuturism, history lessons, Tony winners, jukebox musicals and jukebox musicals that are also Tony-winning history lessons.

“A Gentleman’s Guide to Love and Murder”, Lyric Stage, April 15 – May 22

It’s a simple plan. All Monty Navarro has to do to become the ninth Earl of Highhurst is murder eight innocent members of the highborn D’Ysquith clan. But will love get in his way? Fun, melodious and completely murderous. (lyricstage.com)

“Ain’t Too Proud: The Life and Times of The Temptations”, April 19 – May 1, Citizens Bank Opera House

Some jukebox musicals don’t have enough tunes to fill a shoebox. That’s no problem with this slice of Motown history. The Temptations have scored 42 Top 10 hits and an astounding 14 roster toppers. From the streets of Detroit to immortality thanks to perfect choreography, powerful harmonies and wonderful melodies. (boston.broadway.com)

“Parable of the Sower,” April 21-24, Emerson Cutler Majestic Theater

After her sold-out concert experience in 2017, Octavia E. Butler’s work (finally, after years of COVID-related delays) returns as a fully realized stage production with over 30 original compositions taken from 200 years of black musical traditions. “Parable of the Sower” explores a not-so-distant future where climate change has devastated the world while reflecting on a present where gender and race determine people’s fates. (artsemerson.org)

“The Inheritance,” Calderwood Pavilion at BCA, April 22-June 11

Written by Matthew Lopez and directed by Paul Daigneault, this epic two-part play totaling over six hours transports EM Forster’s novel “Howards End” to 21st century New York, a generation after the AIDS crisis. The creative team then uses Forster’s framework to examine the lives of young gay men in New York City and the legacy of a nearly lost generation. (speakeasystage.com)

“Ain’t Misbehavin’ – The Fats Waller Musical”, April 28 – May 29, Central Square Theater

Fats Waller’s personality, talent and mischievous smile made him a legend. Check out the 1943 film “Stormy Weather” to get a taste of his charisma. “Ain’t Misbehavin'” explores all the magic behind that smile and the history of the Harlem Renaissance (and won a Tony Award for Best Musical). Local actor Maurice Emmanuel Parent directs. (centralsquaretheater.org)

RevelationsChoreographer: Alvin AileyAlvin Ailey American Dance Theater (Photo: ©Paul Kolnik)

Alvin Ailey American Dance Theatre, Wang Theatre, April 28 – May 1

The story of this dance company is told. But surprisingly, since 2011, Ailey’s dancers have only become more engaging under the guidance of artistic director and former Juilliard, Robert Battle. (bochcenter.org)

“1776”, Loeb Drama Center, May 15 – July 24

American Repertory Theater artistic director Diane Paulus didn’t grow up in the shadow of “Hamilton” (a daunting prospect for young writers and directors). The historic masterpiece of his generation came with the Tony Tony-winning musical ‘1776’ in 1969. More than two years ago, Paulus raved about the opportunity to close the season ARTs 2020 with the revival of a show that examines how the Founders invented modern freedom and whose freedom it was. Finally, the dream becomes reality. (americanrepertorytheatre.org)

“Swan Lake”, May 26 to June 5, Citizens Bank Opera House

Boston Ballet’s Artistic Director Mikko Nissinen’s “Swan Lake” is the ultimate gateway from “The Nutcracker” to your great new obsession with the art form. When discussing this season’s wide array, he considered the pair of classics to be great bookends. “It begins with Tchaikovsky’s holiday classic and ends with the best-known classical ballet.” (bostonballet.org)

North Carolina man lied to get COVID loans and robbed bank, feds say


A 35-year-old man has been charged in North Carolina with inventing businesses to qualify for pandemic relief and robbing a bank, then spending the money to buy cryptocurrency and pay bills.

Spenc’r Denard Rickerson, of Claremont, North Carolina, is facing charges of bank robbery and wire fraud in the Western District of North Carolina, according to unsealed federal court documents Tuesday, March 22. . The case centers on allegations that Rickerson made numerous false applications for loans during the COVID-19 pandemic and robbed a bank in nearby Newton.

Claremont, home to about 1,500 residents, is about 43 miles north of Charlotte. Prosecutors said he previously lived and worked in Mooresville, about 30 miles from Charlotte.

Rickerson is in federal custody and could not be reached for comment on March 22, and information about his defense attorney was not immediately available.

According to the indictment, Rickerson worked for a company in Mooresville and lived in Claremont and Mooresville from 2018 to 2020. He was furloughed just before the pandemic hit in March 2020.

Rickerson received intermittent unemployment benefits over the next year, prosecutors said.

Congress passed the Coronavirus Aid, Relief, and Economic Security Act around the same time Rickerson stopped working. The package included billions of dollars in forgivable loans for small businesses known as the Paycheck Protection Program, or PPP, and an expansion of the Economic Disaster Loan Program, or EIDL.

In June 2020, the government said, Rickerson submitted an EIDL application in which he claimed to run a business in the “business services” sector. He received a $53,400 loan as a result, which prosecutors said he spent largely on cash withdrawals and buying cryptocurrency.

Rickerson unsuccessfully attempted to file several more EIDL claims in January 2021, prosecutors said, before switching to the Paycheck Protection Program in March 2021.

According to the indictment, Rickerson claimed to run a single-family home building business and said he needed PPP funds to cover salary expenses. The government later gave him $20,833.

Just two days before filing that request, prosecutors said Rickerson robbed a BB&T bank on Main Avenue in Newton.

The Justice Department didn’t say how much money he took in the bank robbery, but Rickerson was ultimately charged with stealing more than $74,200 in COVID-19 relief.

Court documents show he was arrested on Monday March 21 and his next court appearance will be on March 25.

If convicted, Rickerson faces up to 20 years in federal prison for wire fraud and 25 years for bank robbery.

The indictment follows similar charges against a Charlotte woman, Nkhenge Shropshire, who is accused of filing at least 10 fraudulent EIDL applications. A grand jury indicted Shropshire on Thursday, March 17 – the same day a federal jury in Charlotte convicted a local restaurateur and his son of stealing $1.7 million in pandemic relief from taxpayers.

Follow more of our reports on the coronavirus in North Carolina

See all stories

Hayley Fowler is a reporter for The Charlotte Observer, covering breaking news and real-time news across North and South Carolina. She holds a journalism degree from the University of North Carolina at Chapel Hill and previously worked as a legal reporter in New York City before joining the Observer in 2019.

Above & Beyond Releases First-Ever Film Score – Billboard


Tuesday (March 22) is World Water Day, celebrated every year since 1993 to raise awareness of the 2 billion people on Earth who live without access to clean water.

Dance icons Above & Beyond are doing their part to help solve the world’s pressing environmental issues by contributing their music to a new documentary about the causes and effects of climate change. This IMAX movie, The last glaciersout in select theaters today.

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Composed of strings, piano, and electronic instruments, the trance trio’s score is grand and contemplative, with darker moments that parallel the dire situation all living beings face in relation to our changing climate. (The Washington Post reported that temperatures in Antarctica earlier this week were 70 degrees above normal.) The last glaciers The soundtrack was produced in collaboration with longtime Above & Beyond friend Darren Tate. Listen to the 11-part score below.

The last glaciers was directed and produced by award-winning filmmaker Craig Leeson (An ocean of plastic) and environmental documentary filmmaker Malcolm Wood. Filmed over four years, the documentary describes a journey to explore the causes and effects of climate change in Antarctica, the Himalayas, the Alps, the Andes and more.

“For the musical direction, we felt it was important that the score reflect the beauty of our changing planet that Craig had elegantly captured,” Jono Grant of Above & Beyond said in a press release. “Stylistically, we wanted to combine our largely electronic musical background with a live orchestra to create a hybrid score. It was important to us that the score reflect both the challenges facing the world today and those Craig faces as an individual and a filmmaker during filming. In addition to conveying a sense of urgency, we wanted the score to strike an upbeat tone and encourage a positive call to action from the viewer.

The soundtrack is the latest in a long list of progressive projects Above & Beyond has been involved in, including a series of yoga events and Stream Statusa meditation music album.

Lollapalooza 2022 lineup: Complete list of artists for the Grant Park music festival


Lollapalooza has unveiled its 2022 lineup.

Headliners include Metallica, Dua Lipa, Green Day, Doja Cat, Lil Baby, J. Cole, Kygo and Machine Gun Kelly.

In an announcement Tuesday, Lolla organizers announced the artists who were scheduled to perform at this year’s festival, July 28-31 in Grant Park. More than 170 numbers are programmed on eight stages. Festival hours are 11 a.m. to 10 p.m. each day. Food from over 30 local vendors will be available. The festival merchandising tent will also be back.

Returning this year is the hugely popular Kidzapalooza, the “interactive music playground” on the festival grounds, with its own daily lineup of family shows, music and dance workshops and lots of activities for children.

The four-day musical extravaganza reverted to a full festival last year, after COVID-19 shutdowns forced its pivot to an online incarnation in 2020.

Here’s the four-day pass structure for this year’s festival (starting prices listed). All four-day passes will go on sale at noon March 22 at lollapaloza.com.

Four-day general admission: $350+
Four-day general admission plus: $650+
four day VIP: $1,500+
Platinum four days: $4,200+

See the full range here:

How Papa Roach ‘destroyed’ himself writing his 11th studio album in quarantine


Papa Roach has been making music for over two decades. But the members of the Californian rock band continue to devote all their energy to the creative process.

They are about to release their eleventh studio album, Personal achievement. And in a recent interview, frontman Jacoby Shaddix admitted making the new record had “destroyed” them.

(LR) Jerry Horton, Jacoby Shaddix and Tobin Espérance by Papa Roach | Jon Kopaloff/Getty Images

Papa Roach’s first album was released in 1997.

Papa Roach was founded by Shaddix, his drummer friend Dave Buckner, guitarist Jerry Horton, bassist Will James and trombonist Ben Luther in the early 90s. James was replaced by roadie Tobin Esperance in 1996.

The band released their first album, Old friends from young yearsin 1997. But with their second record, Infestthe band met with mainstream success.

In 2000, Papa Roach landed the Anger Management Tour alongside artists like Eminem, Limp Bizkit and Ludacris. Infest earned the group two nominations at the 2001 Grammy Awards, including one for Best New Artist and the other for Best Music Video for “Broken Home”.

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Since then, Papa Roach has never stopped making music. They have released a total of 10 albums over the past 25 years. Their latest album, Who do you trust?came out in 2019.

Papa Roach destroyed himself making his new album during quarantine

In a recent appearance on the Danny Wimmer presents, Shaddix explained how the band handled the pandemic lockdown. And he remembers talking to Esperance about returning to the studio.

“We were locked down in quarantine, and we just kept FaceTiming with each other, calling each other, like, ‘Man, I’m going crazy,'” Shaddix said. “Tobin is like, ‘Bro, what are we gonna do, man? We gotta do something. We gotta get creative.”

The frontman of Papa Roach revealed that the group has a home down south in a town called Temecula. They locked themselves away and started making music for a month straight.

“It was like a lock had opened,” Shaddix recalls. “And it was, like, 24/7 – there was literally music on for most of 24 hours, whether it was editing or engineering or ‘writing or recording or tracking.’

The creative journey has cost them a lot. And while it completely wore them out, Shaddix admitted that Papa Roach was better for it.

“By the time we finished this process in this house, we all left as if we had just been destroyed,” he suggested. “We had no more energy. Everyone just needed to come home and recharge. But it was such a great bonding experience for the boys and our producers and our engineers and just a really special time in our lives.

The group settled its “grievances” during the process

Coming together during quarantine hasn’t just spurred Papa Roach’s creativity. It also helped band members reconnect and resolve some of their issues.

“I think the process of creating this record, we kicked it off in the right way,” Shaddix said on David Wimmer presents. “A lot of walls crumbled emotionally between us and it really made for great music.”

“And we expressed grievances in the process and really went through some things together and we came out on the other side of the process of this record saying, ‘Man, we just went through hell and heaven to make this disc. We have something special,” he added. “It’s really exciting.”

Papa Roach’s new album, Personal achievement, releases April 8, 2022.

RELATED: John Lennon’s Son Said One of His Dad’s Songs Was the Quarantine Anthem

Paramedic fired for attending musical theater rehearsals while on duty receives five-year warning


Paramedic who was sacked for attending rehearsals of amateur musical while on duty receives five-year caution

  • Craig Young, 35, worked for the Scottish Ambulance Service at the time
  • He told bosses he would be at a healthcare meeting but was at a theater rehearsal
  • He was sacked last year and has now received a five-year caution order

A paramedic has been warned after repeatedly attending musical theater rehearsals while on duty.

Craig Young told bosses he would not be available for two hours during an evening shift as he would attend an official healthcare meeting.

But instead, the 35-year-old attended a “musical theater group rehearsal” of Anything Goes in uniform and lied about it, a disciplinary hearing heard.

He was fired last year and has now received a five-year precautionary order.

Craig Young, 35, who was an advanced paramedic with the Scottish Ambulance Service, attended a ‘musical theater band rehearsal’ in uniform and lied about it

A Health and Care Professions Tribunal (HCPTS) panel said his “dishonesty” would shock and appall members of the profession and the public.

The cautionary order does not prevent Mr. Young from working for the next five years, but is considered if new allegations are made against him.

HCPTS has learned that Mr Young had previously asked his control center to ask if he could attend rehearsals “while on duty” – when he should have asked direct permission from officials.

The panel heard that Mr Young was employed as an advanced paramedic by the Scottish Ambulance Service and had served for approximately 13 years.

Between September 2018 and January 2020, Mr Young is said to have rehearsed for his role in the production of Guy Bolton and PG Wodehouse’s musical Anything Goes, which was due to be staged at the King’s Theater in Edinburgh.

The panel heard that he had previously called the Ambulance Control Center (ACC) several times to ask if he could attend rehearsals while on duty.

The panel was told that ACC workers had been “pleased” that he “stays ready in the rehearsal room” as long as he was “always available to witness incidents” and that his “mobilization was not not delayed”.

Between September 2018 and January 2020, Mr Young is believed to have rehearsed for his role in the musical Anything Goes¿ due to be staged at the King's Theater in Edinburgh (above).  file picture

Between September 2018 and January 2020, Mr Young is believed to have rehearsed for his role in the musical Anything Goes – which was due to be staged at the King’s Theater in Edinburgh (above). file picture

However, the panel acknowledged that this was not the “proper route” of clearance and said he should have sought clearance from his line manager instead.

Instead, senior staff had ‘no knowledge’ that he was attending rehearsals while on duty and were adamant that their clearance ‘would not’ have been granted.

The panel noted that certain places were acceptable for paramedics to be on standby – such as sitting in ‘McDonald’s’ or ‘the driver’s lounge at the bus station’.

But Mr Young’s musical theater rehearsals were deemed “very different” from these “more passive activities”.

The panel heard that one evening in mid-January 2020, Mr. Young attended his rehearsals in his official ambulance service vehicle and uniform, but told his control center that he would be attending a Lothian Unscheduled Care Service (LUSC) meeting instead.

He told the ACC he would not be available for two hours during the meeting, except for “purple” calls – the most serious emergency calls involving incidents such as cardiac arrest.

But the panel heard when another colleague asked permission to attend an LUSC meeting the next day, they found no such meeting had taken place the night before.

An investigation was opened and, in an interview the following month, Mr Young said he ‘thought’ there was a meeting and ‘freaked out’ when he realized he didn’t. there were none.

He said he parked in a Scout hall to ‘sort out his head’ – but later admitted he knew the meeting was the next day and lied about going to the repetitions.

He was later fired by the SAS.

The court called his lie “deplorable”, “unprofessional” and “unacceptable”, and ruled that he had been guilty of “prioritizing his own interests” over his duty.

He said, “The panel felt that undertaking this leisure activity while on paid service without informing his superiors of what he was doing would be considered deplorable by other practitioners.

“The panel found that [Mr Young]The actions on January 12, 2020 to mislead people, about where he was and what he was doing while on duty, and his unavailability to respond to patients who may have needed his services constituted professional misconduct serious.

“The panel was in no doubt that giving dishonest accounts to his employer of his actions … was both unprofessional and unacceptable conduct.

“The committee felt that members of the profession and the public would be shocked and dismayed to learn of Mr. Young’s actions.”

Huskers finish twelfth at Music City Classic


Smyrna, Tennessee – The Nebraska bowling team placed twelfth on the final day of the Music City Classic on Sunday afternoon.

The Huskers pitched best-of-seven baker-style against No. 7 Louisiana Tech and lost 4-0. Nebraska lost the first two games (182-174 and 216-206). The bowlers fought hard in Game 3, but were edged (209-206) and fell in Game 4 (179-172).

In Game 2, Nebraska took on Youngstown St. and lost 4-0. Unlucky shots kept NU from winning the first three games (197-189, 196-176 and 186-172), and even with our improved performances, Youngstown St. won the fourth game (242-190), ending at the match.

Moving on, NU took on Lincoln Memorial but lost 4-3 in an intense seven-round match. The bowlers lost the first three games (207-166, 195-192 and 179-159), but fought back to win the fourth game by a score of 231-215. Nebraska kept pushing and won Game 5 233-158. The Huskers tied the score in Game 6 with a win (181-166), but fell in the final game (211-191).

The Huskers will return to competition April 8-9 for the NCAA Regional Championships.

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Fans can follow @NEBowling on Facebook and Twitter, and @huskerbowling on Instagram for the latest news.

Music City Classic Final Results
2. Stephen F. Austin
3. Arkansas Street
4. Vanderbilt
5. Maryland East Coast
6. North Carolina A&T
7. Maryville
8. Sam Houston
9. Louisiana Technology
10. Youngtown
11. Lincoln Memorial
12. Nebraska
13. Central Missouri
14. Tulane
15. LIU
16. Monmouth
17. Wisconsin Whitewater
18. Louis
19. Alabama St.
20. Valparaiso
21. Emanuel
22. Drury
23. Sacred Heart
24. Kentucky Wesleyan
26. Tusculum
28.Jackson St.
29. Aurora
30. Alabama A&M
31. Center-North
32. Carroll
33. Spalding

Jenks’ K-pop artist AleXa is grateful to represent Oklahoma at NBC’s “American Song Contest” | Television


Oklahoma men’s basketball teams have been excluded from March Madness, but you can still scout for other Oklahoma talent in a national “tournament.”

“American Song Contest” is a live music contest that begins at 7 p.m. on Monday, March 21 on NBC.

Hosted by Snoop Dogg and Kelly Clarkson, “American Song Contest” features 56 musical artists – one from each of the 50 states, plus the District of Columbia and five US territories. A state or territory will emerge victorious.

Oklahoma’s representative in the battle royale is AleXa, a K-pop artist from Jenks.

“It’s honestly something beyond my wildest dreams,” she said. “It’s just amazing, and I’m so grateful for this opportunity.”

“American Song Contest” will feature entrants from a wide range of styles and genres, as well as artists at different stages of their careers. Among the “names” in the field are Jewel (Alaska), Michael Bolton (Connecticut), Sisqo (Maryland) and Macy Gray (Ohio).

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AleXa, who was asked if she’d be impressed with any of her contestants, said, “On the one hand, Macy Gray is an amazing performer, and I really hope to get to see her in person at through the show. But, to be blunt with you and completely honest, I’m most excited about Michael Bolton. I grew up listening to his music, and I’m going to be so impressed if I see Mr. Bolton.

And you have to compete with him.

“I know! It’s a bit terrifying, but it’s an honor to go into battle with Michael Bolton.

AleXa graduated in 2015 from Jenks High School, where she was Alexaundra Schneiderman, but, in a phone interview before the premiere of “American Song Contest”, she said people in her hometown know her as Alex. Christina.

A lifelong dancer, she was first drawn to K-pop because of her strong performance identity, according to her “American Song Contest” biography. She left Oklahoma for Korea at the age of 21 to pursue her career, which sounds brave.

“It wasn’t so brave it was just, I guess, a leap of faith if you will, because this wonderful company found me and I had all my faith in them and I was so ready and can’t wait to start following my dream,” she says. “It was just this golden opportunity that I could never pass up.”

Alexa took the opportunity. In 2019, she made her multilingual K-pop debut with “Bomb,” which has received nearly 22 million views to date and reached No. 7 on Billboard’s worldwide digital song sales chart.

She said her following is “more global than domestic,” but added that K-pop fans are everywhere these days.

American magazine Seventeen recently asked her to participate in a “17 questions” video that she shared on social media.

“I’m just very happy to represent K-pop in general for this competition, but of course through my home country,” she said.

It would have been on-brand — perhaps even stereotypical — if a country music artist had been selected to be Oklahoma’s delegate to the “American Song Contest.” Alexa was shocked when she found out she had been chosen. She has no information on how or why.

She said there were wonderful stars from Oklahoma, including Carrie Underwood and Garth Brooks.

“Even the All-American Rejects come from Oklahoma. I found out,” she said. “But how did you end up with me, a K-pop artist? I do not know. Just pure luck, I guess. But I’m grateful for the opportunity to showcase a different side of what Oklahoma has to offer, and I’m just proud to represent the state.

“American Song Contest” is based on a foreign predecessor. “Eurovision Song Contest” is an international songwriting contest with a history of 65 years and is watched by 200 million viewers every year. Past winners include ABBA (1974) and Celine Dion (1988).

The US version will feature qualifying rounds, semi-finals and a grand final over an eight-week period. Regardless of AleXa’s progress, “American Song Contest” should provide a significant increase in exposure. On a recent trip home, she filmed a promotional video for the show in downtown Tulsa.

AleXa said she’d like to think she’s a “pretty competitive” person. Example?

“Well, the way my career even started was basically through a competition, and that’s how I first met my company,” she said. “So through competition I was able to fulfill my dreams, basically.”

Nearly one million fan votes made her the winner of “Rising Legends,” an online talent contest, and she was catapulted to “Produce 48,” the most competitive audition show in Korea.

The “American Song Contest” format calls for AleXa and other contestants to pitch original songs. AleXa has a background in songwriting, but she said the process of creating songs for the show is a team effort that includes amazing producers.

“Launching a new series is always a massive undertaking, but putting together one that involves the production of 56 original songs is a Herculean task,” said Audrey Morrissey, the series’ executive producer. “Selecting the right label partner to join us was crucial, and we found the perfect partner in Atlantic Records.

“We can’t wait for viewers to experience new music from our incredibly talented artists across the country and help decide America’s next great song.”

Atlantic Records will release songs featured in the series starting March 21.

Because “American Song Contest” is broadcast live, there is no recast. Alexa said she practices for the show every day and was nervous from day one: “My brain is so nervous.”

Besides herself, who is happiest to have been chosen to be part of the series?

“Oh, man. There’s a lot of people who have supported me through this. On the one hand, I’m definitely thinking of the CEO of my company. He’s really happy to see how far we’re getting with this, but also my mother.

“As I represent Oklahoma, that’s where she grew up despite being from Korea, so I’m really proud to represent my Korean heritage and my Korean roots for my fans and my family.”

Tulsa World Scene: New Frankoma Pottery to Open in Glenpool

Park City man uses fake PPP loans to buy truck


SALT LAKE CITY (ABC4) – A Park City resident who was originally accused of lying about having millions of high-quality N95 respirator masks for sale was recently charged with illegally requesting and receiving loans in the event of a COVID-19 pandemic.

According to TownLift, on March 16, John Anthony Taylor was indicted by a federal grand jury on two counts of making a false statement on a loan or credit application and one count of money laundering.

Taylor allegedly filed claims for both an Economic Injury Loan and a Paycheck Protection Program Loan, both of which were granted to her through the CARES Act under false pretences.

Although Taylor was not qualified to receive either loan, TownLift notes that he raised $36,500 from the Economic Disaster Loan and about $15,600 from the Family Protection Program loan. pay checks. He reportedly transferred some of the funds to another account and used them to purchase a 2014 GMC Sierra pickup truck for over $22,000.

After receiving these new charges, Taylor was on bail in connection with earlier 2020 charges. As reported by TownLift, Taylor was charged with wire fraud in April 2020 after the FBI received information about him and an accomplice announcing their coordination of grouped orders. 3M brand N95 masks.

Amid an investigation into the complaints, TownLift revealed that an undercover FBI agent contacted the two men in April 2020 and requested a bulk order of masks. The men responded and revealed they would be able to expedite the purchase, but when questioned a 3M representative said the company had no record of purchases from either the other of the suspects. Taylor was then charged on April 29.

Taylor was jailed in Weber County Jail on March 10 in connection with the new COVID-19 pandemic loan felonies.

What Minority Business Owners Need to Know About Getting Bank Loans


As high street businesses continue to make a comeback post-pandemic, they face the triple threat of supply chain headwinds, labor constraints and historic inflation. For some, borrowing to invest, grow or simply stay afloat is a priority.

Data from Goldman Sachs’ 10,000 Small Business Voices “Small Businesses on the Brink” survey reveals that 86% of owners find that broader economic trends are negatively impacting businesses. Nearly 30% of owners expect to take out a line of credit or loan for their business this year, and 31% say they are very confident in their business’s ability to access capital. But black-owned small businesses said they expected to borrow at a higher rate of 48%, with less confidence in their ability to access capital, at 19%. The survey was released in late January, with responses from more than 1,400 small business owners, including 225 black-owned businesses.

Company owner Letha Pugh has experience funding pre-pandemic inequality. Pugh owns Bake Me Happy, a wholesale and retail gluten-free bakery and cafe. When she initially sought capital for the Columbus, Ohio-based company in 2013, Pugh said she was weak.

“Just having an account with a bank is not a relationship with a bank. We were offered an SBA 7(a) loan for equipment, and it was specifically for that equipment,” Pugh said. . “There was no discussion about working capital and things like that, I think it’s the disconnect.”

Letha Pugh and his wife Wendy own Bake Me Happy in Columbus, Ohio. Pugh worked for years to establish banking relationships and a network to continue to grow the business.

Courtesy: Letha Pugh

Pugh and his wife Wendy have looked to their savings to get started, and in recent years, Pugh said the focus has been on building a network to support small business. She drew on local resources in the city, attending webinars and participating in the Goldman Sachs 10,000 Small Business Voices program, as well as courses from the National Minority Supplier Development Council and the National Restaurant Association. As the business grew, Banks sought to work with the bakery. A relationship with State Bank in Dublin, Ohio helped the bakery access Paycheck Protection Program loans early on when other small businesses were locked out.

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“I’m thinking of establishing a banking relationship as soon as possible, even if it’s a $5,000 line of credit, or access to credit, just so you can pick up the phone and reach out. … I think being able to reach someone at the bank who knows you and understands you makes a huge difference,” she said.

The pandemic has highlighted inequities in lending, with minority-owned businesses securing funding from programs like PPP at lower rates than their white counterparts. The Federal Reserve’s 2021 Small Business Credit Survey report on businesses owned by people of color showed that even among businesses with good credit ratings, Black-owned businesses were half as likely that white-owned businesses will receive all the funding they seek at 24% vs. 48% of borrowers.

Community banks have ended up being a lifeline for small businesses during the pandemic. Winnie Sun, managing director of Sun Group Wealth Partners, said it was critical for companies looking to build banking relationships to prioritize quality of service over size of bank. Start with a personal or professional banker and hold several meetings to make sure this person is a good match for your business and your goals.

“It’s really important to remember that the relationship you have with your bank is a two-way street. They want to do business with you. But you also have the ability to decide whether you want to do business with them. is the key,” says Sun.

Through her perseverance, Pugh continued to grow the bakery, even in the face of the many challenges of the pandemic. Sales were up 40% from 2019 levels, but supply costs were also up 25%. Pugh just closed a building last month with an SBA 504 loan after the bakery lost its lease and the rent doubled. The new location should open in June or July.

“We sat down and decided that we weren’t going to lose money building a space and renovating that space for the business owner or the building owner, and paying their property taxes. … Let’s enjoy ownership of the building,” she said.

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TO VERIFY: 74-year-old retiree turned model: “You don’t have to blend in” with Acorns+CNBC

Disclosure: NBCUniversal and Comcast Ventures are investors in tassels.

Hailey Whitters releases new album ‘Raised’


Today (3/18), rising Iowa-born, Nashville-based country star Hailey Whitters released her highly anticipated third album RAISED via Pigasus Records/Songs & Daughters/Big Loud Records. The Harper Smith-directed video for the album’s single “Boys Back Home” was also released today and was shot in Hailey’s hometown of Shueyville, IA.

Whitters is currently in the midst of her first HEARTLAND Tour title which will culminate with two shows at her hometown honky tonk DanceMor Ballroom in Swisher, IA on May 6-7. She will also hit the road this summer with Jon Pardi on his Ain’t Always The Cowboy Tour. Find a full list of tour dates below and buy tickets here.

“This song was inspired by the boys I grew up with. Every Friday night we used to pile into the back of one of their vans, buy a bottle of cheap Hawkeye vodka and to go to a clearing in the middle of the woods where we would start a fire and sit all night drinking and talking about life,” says Whitters. “I grew up with a lot of wild boys who became men strong and hardworking. They had my back then and I know they still have it now. I wanted to sing this song to say thank you and celebrate them. I know I wouldn’t be where I am today without them.”

Whitters shared the inspiration for “Boys Back Home” with Consequence of Sound as part of their Origins series.

RAISED finds Whitters reconnecting with his Midwestern roots and hometown of Shueyville, IA, reflecting on family, first kisses, and life amid vast cornfields. The 17-song album was co-produced by Whitters alongside producer Jake Gear, who produced Whitters’ 2020 release THE DREAM and subsequent deluxe album LIVING THE DREAM, and was engineered by Logan Matheny. The album also finds Whitters reconnecting with co-writers Brandy Clark, Nicolle Galyon, Hillary Lindsey and Lori McKenna.

Recently, New York Magazine’s Justin Curto featured Whitters on a visit to his hometown and said, “Raised songs could be about anyone’s life in Shueyville, but their specificity is what makes them special. so intimate and lived.”

Listen to the new album here:

Watch the music video for “Boys Back Home” here:

Tour dates

3/25 – Decatur, GA – Eddie’s Attic
3/26 – Birmingham, AL – Zydeco
4/8 – Lake Buena Vista, Florida – House of Blues Orlando*
4/10 – Fort Lauderdale, Florida – Tortuga Music Festival
4/14 – Houston, TX – White Oak Music Hall – Upstairs
4/15 – New Braunfels, TX – Whitewater Amphitheater #
4/16 – New Braunfels, TX – Whitewater Amphitheater #
4/22 – Portland, OR – Mississippi Studios
4/23 – Seattle, WA – Tractor Tavern
4/26 – Felton, CA – Felton Music Hall
4/29 – San Francisco, CA – The Independent
5/1 – Indio, CA – Stagecoach Festival
5/6 – Swisher, IA – DanceMor Ballroom
5/7 – Swisher, IA – DanceMor Ballroom
6/17 – Nashville, TN – Ryman Auditorium!
7/9 – Fort Laramie, OH – Concert Country 2022 – Saloon Stage
7/14 – Irving, TX – Toyota Music Factory – Texas Lottery Plaza #
7/15 – Belton, TX – Bell County Expo Center #
7/16 – Oklahoma City, OK – Zoo Amphitheater #
7/22 – Sacramento, CA – Golden 1 Center #
7/23 – Bend, OR – Hayden Homes Amp#
7/24 – Airway Heights, WA – Northern Quest Resort & Casino – Pend Oreille Pavilion #
7/29 – George, WA – Watershed Festival
8/4 – Inglewood, CA – YouTube Theater #
8/5 – Santa Barbara, CA – Santa Barbara Bowl#
8/6 – Las Vegas, NV – Red Rock Casino#
8/19 – Lamp, MO – Black Oak Amp #
8/20 – Terre Haute, IN – The Mill #
8/25 – Raleigh NC – Red Hat Amp #
8/27 – Sharpsburg, KY – Backyard Amp #
9/8 – Rochester, MN – Mayo Civic Center Park #
9/9 – Milwaukee, WI – BMO Harris Pavilion #
9/10 – Sterling Heights, MI – Michigan Lottery Amp #
9/15 – Bridgeport, CT – Hartford Healthcare Amp#
9/16 – Big Flats, NY – Summer scene @ Tags #
9/17 – Huber Heights, OH/Rose Music Center#
9/22 – New York, NY – Pier 17 – Rooftop #
9/23 – Gilford, NH – NH Flag Bank #
9/24 – Boston, MA – Leader Bank Pavilion #

# – with Jon Pardi and Lainey Wilson
* – with Jordan Davis
! – with American aquarium

Since Draya Michele has questions for ‘scammers’ on SBA loans – here’s a short lesson


If you’re caught committing fraud on your PPP loan, you better get used to three hots and a cot — and not have your freedom for a long time.

“P3 funds can be used for four purposes: payroll, mortgage interest, rent/lease, and utilities. Payroll should be the primary use of the loan. The second stimulus bill also introduced four new allowable spending categories,” according to Bench.co.

You can view these categories here.

The key phrase to keep in mind is: “Payroll should be the primary use of the loan”. If you choose to spend your PPP money on, say, mortgage interest, it must meet certain parameters. For example, the Treasury Department says you can only use PPP loan money to pay mortgage interest incurred. before February 15, 2020. So if you’ve defaulted on your mortgage interest after On February 15, 2020, you cannot “catch up” using the PPP loan money.

Regardless of what you choose to do with your PPP loan, it’s a good idea to be as open as humanly possible.

“False statements or other fraudulent behavior related to a PPP loan can expose a violator to significant federal criminal liability in several ways,” reports the New York Law Journal. “False statements in a PPP application can also subject violators to up to 20 years in prison and a fine of $250,000 for wire fraud (18 USC §1343) and mail fraud (18 USC §1341), and up to 30 years imprisonment and a fine of $250,000 for bank fraud (18 USC §1344), among others, so it is crucial for small businesses and independent taxpayers to know and understand the many legal pitfalls potential during the application process.”

NU takes flight for Music City Classic


Lincoln, Neb- The Nebraska bowling team will be looking for their sixth title of the season as they head to the Music City Classic this weekend. The event takes place at Smyrna Bowling Center in Smyrna, Tennessee, beginning Friday, March 18. The competition will begin in the Baker format at 9:40 a.m. on Friday. Saturday will feature two-position rounds and traditional-format play starting at 9:30 a.m., while Sunday’s baker-style slice will begin at 9 a.m.

The Huskers will be streaming their games live on the Nebraska Women’s Bowling Facebook page all weekend.

“The team is delighted to be back in action this weekend,” said the head coach Paul Klempa. “Vanderbilt is hosting a top-notch event and with 33 teams in attendance, it’s the biggest field we’ve seen all season. It’s a great final test of the regular season before the playoffs start in a few weeks. We we welcome the challenge and have prepared well in the days leading up to this tournament. It should be a fun weekend of competition.”

The Huskers, who rose to second place in the latest NTCA poll released last week, are set to face one of the most heated competitions of the year, with 19 of the top 25 teams in the 33-team field. The field includes nine of the top 10 teams in the country, as this weekend’s event marks NU’s last competition before the playoffs.

Nebraska has won its last two events, taking first place at the Mid-Winter Invitational and the Big Red Invite. all american Ray Cassidy led the Huskers in the past two tournaments, finishing sixth at the Mid-Winter Invitational and third at the Big Red Invite. Ray has competed exceptionally this season with six top-ten finishes across eight tournaments, including four top-five finishes. Over the season, it is on average 207.1 per game. In the last tournament of the Huskers, second All-American Kayla Verstraetewho placed fifth with a total pinfall of 1,143, was also named to the All-Tournament Team.

Follow the Huskers:
Fans can follow @NEBowling on Facebook and Twitter, and @huskerbowling on Instagram for the latest news.

Teams competing at the Music City Classic
No. 1 McKendree

No. 2 Nebraska
#3 Sam Houston
No. 4 Vanderbilt
No. 5 North Carolina A&T
No 6 Arkansas St.
No. 7 Louisiana Tech
No. 8 Stephen F. Austin
No. 9 Youngstown
No. 12 Maryville
#15 Tulane
No. 16 Sacred Heart
No. 17 Maryland Eastern Shore
No. 18 Wisconsin Whitewater
No. 20 LIU
No. 21 Lewis
Lincoln Memorial No. 22
No. 23 Central Missouri
No. 24 Monmouth
Alabama A&M
Alabama St.
Jackson St.
Kentucky Wesleyan
North Central College

Book of Mountains & Seas – Chinese Creation Myths in Magical Music and Puppets


The annual Prototype festival of new opera and musical theater fell victim to a pandemic in 2021. Regularly scheduled in January, it was again derailed this year by the Omicron variant. Frustrating, although some events were picked up and rescheduled. So Tuesday night, Huang Ruo’s Book of Mountains and Seas made its US debut at St Ann’s Warehouse, under the Brooklyn Bridge. The magic of the evening erased any sense of missed opportunities.

Presented by St Ann’s and Beth Morrison Projects, in association with Prototype and Trinity Church Wall Street, it is a work of ‘vocal theatre’, with 12 singers from the Trinity Wall Street Choir accompanied by two percussionists. It is a collaboration between composer Ruo (who directs) and Basil Twist, who directs and designed the large-scale puppets who are the non-vocal performers of the show. In four scenes, via Ruo’s libretto, Book of Mountains and Seas adapts creation myths from Chinese culture, found in a compilation of the same title dating from the 4th century BC. Myths explain the origin of the Earth (“The Legend of Pan Gu”) and why there is a sun in the sky (“The Ten Suns”), among other things.

Ruo boils that down to a handful of lines for each story. This is where the magic comes in, as he narrates using sound and Twist’s wonderful creations. The singers, their faces lit only by the glow of the tablets on which they have the score, are a ghostly visual and sonic presence, their voices sliding through microtones and attenuating or exaggerating each phoneme. Their faces sliding across the stage, they then disappear into darkness.

Ruo’s score depicts action through form and form, the music soaring as the giant Pan Gu lifts the sky away from Earth, gently swirling like the ocean, weaving a mesmerizing tapestry as the 10 suns originals rise and surround the Earth. It’s tonal, full of detailed and precise dissonances and inflections. Nothing is complicated, but there is always something going on, and it creates the wonderful feeling of being outside of real time, a universe between the seconds on the clock.

The simplicity of Twist’s staging is a perfect balance, solid against the ethereal music. Twist’s taste is so clever that the obvious – each of the 10 suns is a lantern at the end of a pole – becomes, with the music, deeply beautiful. He designed a collection of driftwood-like pieces that are evocatively arranged and joined together. In the first story, they make Pan Gu’s face; in the final tale they are the figure of the giant Kua Fu, chasing the Sun.

It’s the only place where the music is prosaic, using repetition instead of detail. But the giant poseable puppet is amazing to watch as it sits, stands, reaches for the sky. With human voices, this inanimate object becomes touching, and Ruo’s piece abandons text for pure feeling.


As of March 20, stannswarehouse.org

Claire Rousay, acclaimed musician and sound artist from San Antonio, has a new album and a new band


Musician and sound artist Claire Rousay inhabits a realm where traditional instruments such as the piano, harp and violin are juxtaposed with everyday sounds such as, for example, a washing machine or the noise of traffic or ice. jostled in a plastic cup.

His music, on albums such as “A Softer Focus” and “Never Stop Texting Me,” a collaboration with Austin musician More Eaze, is quietly exciting, enigmatic, and thought-provoking. A 2021 profile in T:The New York Times Style Magazine titled ‘A Softer Focus’ was impressive, and music website Pitchfork included the album on its list of the best jazz and experimental music of 2021.

Musically, Rousay says, she is not ironic. Contradiction and sly humor? Yes.

“It’s almost like making an album,” Rousay said. “It’s almost like a snapshot of, like, ‘These are the last months of my life.'”

Rousay has a new album, “Everything Perfect Is Already Here,” coming out in April, and she was in Austin this week to play some showcases at the South by Southwest Music Festival. She also recently joined the San Antonio band Buttercup, which has its own new album.

What: Record release show for the San Antonio band’s new album, “Specks: An Autobiographical Record”

When: Doors 6 p.m. Wednesday, March 23

Where: Japanese Tea Garden,

Details. Free entry. The event will also include a pop-up art exhibit by Jeff Wheeler and food for sale by Cherrity Bar and food truck La Tienda de Birria. Facebook: @buttercult

As a solo artist or collaborator, the avant-garde electronic musician is hard to pin down. His music may be intimate, but it’s not particularly revealing in a biographical sense. But that’s not to say 20-something Rousay doesn’t strike a chord.

“It will be a different experience,” she said. “Something that isn’t necessarily concrete maybe lends itself to becoming a more malleable thing over time…giving you more by giving you less.”

She is as much a curator of found sounds, field recordings and rejected noises as she is a producer or composer of chamber laptops.

“Curator is a good word to use,” she said. “Everything is made of fragments. The whole disc is made up of about 600 samples, or recorded pieces… and all put together. I just like doing things.

The songs are at times as tricky as an emo singer-songwriter and at others as shocking and choppy as a hip-hop star. The melodies come in flashes and sound like they could have been created by a team of Swedish songwriters for Katy Perry.

In addition to her solo and gigging successes — she recently opened shows for Wilco’s Jeff Tweedy — Rousay is the newest member of art-rock band Buttercup. It’s the thresher.

Erik Sanden, Buttercup’s managing light, said it wasn’t that hard to bring Rousay into the quirky fold, which includes guitarist Joe Reyes and bassist Odie.

She’s a friend who’s been on drums over the years for Buttercup as well as the Demitasse duo with Sanden and Reyes. She officially joined Buttercup in January 2021.

“We’ve never done anything like this with a drummer before,” Sanden said.

“I love playing the drums,” added Rousay, noting that her mother was a piano teacher and the piano was her first instrument.

Buttercup, with Rousay on drums, has a new album, “Specks: An Autobiographical Record.” The group will perform a record release show on March 23 at the historic Japanese Tea Garden.

Sanden and Rousay met years ago at 502 Bar when Rousay was playing drums with the musician who now performs as More Eaze and remains Rousay’s sounding board and closest collaborator.

“She has this delicate ability as a musician,” he said. “She has such dynamic range. It’s quite remarkable to me.

“What she does is quite challenging and quite minimalist and quite cutting-edge, and it resonates with people. That works. He has an attraction for him. She’s on a hell of a ride right now.

On stage, Rousay relies on a laptop and a microphone — like a DJ, rapper, or mixtape artist — to perform. As she plays bigger shows, sometimes with other musicians, she hopes to modify the number.

“I really hope the laptop doesn’t necessarily go away, but kind of takes a back seat in the future,” she said. “I think it’s an amazing tool. And I think minimizing music made on a computer is like closing your mind to a lot of possibilities. But honestly, it’s not the same as playing guitar or playing drums.

But playing a recording of walking in the grass is also not typical of most concert acts. Rousay manages to captivate and cope.

She interacts with the audience by pressing buttons and asking questions: “Like, wow, that’s really interesting. Is that music? I don’t really know what that is.

“It’s about interacting more like a human being, on a one-on-one personal level,” she said.

For Sanden, it’s clear why Rousay can command a room.

“She shows that all sounds can be beautiful or interesting if you frame them correctly,” she said.

Hector Saldaña is the curator of the Texas Music Collection at the Wittliff Collections at Texas State University in San Marcos.

The psych-folk project The Singleman Affair launches its fourth album at the Constellation


Even before local singer-songwriter Dan Schneider released his debut album as Singleman Affair in 2006, his solo psych-folk project had become a fruitful bond for collaboration. Schneider not only brought together incredible musicians – including folks from Mucca Pazza, the Cairo Gang, Califone and Fruit Bats – to play and record with him, but he also regularly featured hand-picked local talent over a long series. multimedia at Cafe Mustache which he calls the Orpheatric Variety Show. On Friday, March 25, Schneider’s own Cardboard Sangria label will release fourth album Singleman Affair, 4:00 p.m. Sun, whose pastoral jams shine like the ethereal golden hour of a summer evening. That night, the Singleman Affair performs at Constellation, backed by a video composition Schneider made from eight-millimeter film footage he has shot over the past 20 years.

Three of the ten tracks from The Singleman Affair’s 4:00 p.m. Sun were streaming via Bandcamp at the time of publication.

On Saturday, the folks at DIY Space the VCR released a compilation of live recordings from 2017 and 2018 titled The VHS VCR. The 40-track album is available on VHS tape, with trippy visuals from Brian McCabe (for the first half) and Sky Goodman. Engineer Chris Lee recorded the audio, which includes tracks from Girl K, Sol Patches, Kevin & Hell and Piss Piss Moan Moan Moan. All proceeds are donated to the Young Center for Immigrant Children’s Rights. CAN TV will display The VHS VCR on Thursday, April 7 at 11:30 p.m., after which the video will be released via the Sinema Obscura Vimeo channel.

This collection of two-hour live recordings is also available as a VHS version with trippy visuals added to the music.

Earlier this month, local psychedelic country collective the Keener Family released dreamy, buzzy new single ‘Honest’, their first release since the 2020 EP. hold me close. On Thursday, March 24, they will help kick off Otherpeace’s residency at The Hideout, performing as eight musicians whose roster includes former Disappears and Colleges guitarist Jonathan Van Herik, making a one-time appearance replacing Robby Haynes.

The music video for the Keener Family’s new single, “Honest”

Do you have any advice? Tweet @Gossip_Wolf or email [email protected]

All aboard! Wagner College Theater’s Crazy Musical ‘On the Twentieth Century’ Plays This Weekend


STATEN ISLAND, NY – The Wagner College Theater will host the Tony Award-winning “On The Twentieth Century” this weekend in the main hall auditorium of the Grymes Hill School.

The ‘crazy musical’ tackles the efforts of Oscar Jaffe, a flamboyant theatrical impresario, as he tries to persuade glamorous movie star Lily Garland – and her former lover – to star in his new stage production.

Left to right, Josh Romeo, Aidan Leach and Jack Lobley. (Courtesy of Karen O’Donnell) Advance from Staten IslandStaten Island Advance

And he hopes Lily’s involvement will guarantee Jaffe success and save him from his creditors, while revitalizing his faltering artistic reputation. With the help of his two trusty sidekicks, Owen O’Malley and Oliver Webb, and a somewhat offbeat religious activist, Leticia Primrose, Jaffe struggles to outsmart Lily, her movie star boyfriend Bruce Granit, as well as a rival producer, Max Jacobs.

It all takes place on a luxury train from Chicago to New York in the 1930s.

The production is directed by Brian Sgambati ’96, choreographed by Emma Pittman ’18, with musical direction by Dr. Lauri Young. Kayla Fegeley is assistant director and Lauren Bergen is assistant choreographer.

Wagner College Theater

The company of “On the Twentieth Century”. (Courtesy/Karen O’Donnell) Staten Island AdvanceStaten Island Advance

“I am thrilled to take to the main stage for my third directing effort at Wagner College Theater,” Sgambati said. “It was a joy to share this play with the cast and see them embrace the opportunity of this crazy musical gem. And beyond pure enjoyment, it was great to focus on this story of theater people and about the resilience they bring even in the most difficult of circumstances. At a time when Broadway and the theater itself has taken such a beating from the pandemic, it’s great to see a character like Oscar Jaffe – who is a man of drama through and through – who never gives up, who never says he dies, and who always finds a way to survive against whatever odds may be thrown at him.”

He explains that he had such a great time exploring the character of Oscar Jaffe and his durability, at a time when we are seeing light at the end of the tunnel with the pandemic, and a return of audiences to Wagner College and the country theatres.

Wagner College Theater

The singing and dancing train porters sing “Life is like a train” in a scene from “On The Twentieth Century.” (Courtesy of Karen O’Donell) Advance from Staten IslandStaten Island Advance

“So the time really seems right for a celebration like ‘In the Twentieth Century,’ which I see in many ways as a true love letter to the theater and the people who inhabit it and support it,” he adds. he.

The cast includes Aidan Leach as Oscar Jaffe, Reilly Wilmit as Lily Garland, Maddie La Ferr as Leticia Primrose, Josh Romeo as Owen O’Malley, Jack Lobley as Oliver Webb, Andrew King as Bruce Granit, Hayden Verbanas as Max Jacobs, Kirby Sclafani as Imelda Thornton, Bridget Yost as Agnes, Andrew Kolar as Conductor, Cat Sapovits as Dr Johnson, Liam Ellis as Grover Lockwood, Greyson Riley as Maxwell Finch, Ian Dembek as Secretary, Justino Tesoro as First Officer, Hannah Davis as Emily, Alexander Ullian, as Drew McClelland, Gabe Argate and Alex Moss as The Porters, and the set, Sammy O’Neil, Paul Hogan, Claire Dempsey, Val Lazarczyk, Kirby Sclafani, Greyson Riley, Cat Sapovits, Marvin Moser, Hannah Davis and Seth Jolles.

Wagner College Theater

Reilly Wilmit, center, and Company in a scene from ‘On The Twentieth Century’. (Courtesy of Karen O’Donnell) Advance from Staten IslandStaten Island Advance

The production is designed by Phill Hickox on sets, Fan Zhang, costumes, Vicki Neal, lighting, Richard Kroth, sound, Spring Super, hair/makeup, Nicole Donello, props.

Melanie Raimo is production manager, Jovi Geraldes and Allison Borio are assistant managers and Brian T. Sharron is technical director.

“On the Twentieth Century” features book and lyrics by Betty Comden and Adolph Green and music by Cy Coleman.

The original Broadway production opened at the St. James Theater in February 1978, playing 449 performances before closing in March 1979. The original company, led by Harold Prince, included Madeline Kahn, John Cullum, Kevin Kline, Imogene Coca and George Lee Andrews. The musical won 1978 Tonys for Score (Coleman, Comden and Green), Scenic Designer (Robin Wagner), Book (Comden and Green) and actors Kline and Cullum.

Wagner College Theater

Aidan Leach and Reilly Wilmit as Oscar Jaffe and Lily Garland in a scene from “On The Twentieth Century”. (Courtesy of Karen O’Donnell) Advance from Staten IslandStaten Island Advance

Tickets are $30 for adults and $27 for seniors and can be obtained by calling 718 390-3259 or visiting [email protected]

Performances are Thursday, March 17 through Saturday, March 19 at 8 p.m. with matinees on Saturday and Sunday, March 20 at 2 p.m. Visit https://wagner.edu/performing-arts/theatre-season-2-2-4/ to learn more.

All customers must be vaccinated and reinforced and wear masks when entering the main lobby.

Paradise Square Begins Broadway Previews March 15


The musical is set during the Civil War and tells the story of Irish immigrants and Black Americans sharing their cultures.

place of paradise begins previews March 15 at the Ethel Barrymore Theater on Broadway, ahead of the grand opening on April 3. The show is directed by Moisés Kaufman with choreography by Tony winner Bill T. Jones.

The 40-member cast is led by Tony contestant Joaquina Kalukango (slave game), Chilina Kennedy (Magnificent: Carole King’s Musical), candidate Tony John Dossett (Gypsy), Matt Bogart (Smokey Joe’s Cafe), Kevin Dennis (killers), Nathaniel Stampley (Porgy & Bess), AJ Shively (Shining star), Sidney DuPont (Magnificent: Carole King’s Musical), Gabrielle McClinton (Pippin apple), and Jacob Fishel (fiddler on the roof).

The work was designed by Black 47 frontman Larry Kirwan and was partly inspired by songs by Stephen Foster. Christina Anderson, Craig Lucas, and Kirwan wrote the musical’s book to a score with music by Jason Howland, lyrics by Nathan Tysen and Masi Asare, and additional music by Kirwan. The work is set during the Civil War and tells the story of Irish immigrants and Black Americans sharing their rich cultures.

The cast also includes Colin Barkell, Karen Burthwright, Kennedy Caughell, Dwayne Clark, Garrett Coleman, Colin Cunliffe, Chloe Davis, John Davis, Bernard Dotson, Jamal Christopher Douglass, Sam Edgerly, Shiloh Goodin, Sean Jenness, Joshua Keith, Jay McKenzie, Ben Michael, Kayla Pecchioni, Elis Quinn, Lee Siegel, Erica Spyres, Lael Van Keuren, Brock Warren and Hailee Kaleem Wright. Aisha Jackson is Kalukango’s backup and understudy includes Eric Craig, Josh Davis, Alan Wiggins and Camille Eanga-Selegne. Conor Coleman and Kristen Beth Williams complete the company as swings.

place of paradise features musical direction by Alex Sanchez; musical supervision, direction and orchestrations by Howland; scenic design by Allen Moyer; costume design by Toni-Leslie James; lighting design by Donald Holder; sound design by Jon Weston; projection design by Wendall K. Harrington and Shawn Edward Boyle; special effects by Gregory Meeh; hair and wig design by Matthew B. Armentrout, arrangements by Howland and Larry Kirwan; dramaturgy by Thulani Davis and Sydné Mahone; and the Irish and Hammerstep choreography of Garrett Coleman and Jason Oremus. Karyn Meek is production manager and the casting is handled by Stewart/Whitley.

Winner of Tony Garth H. Drabinsky product, in association with Peter LeDonne, Jeffrey A. Sine, Matthew C. Blank, Joe Crowley, RSR Finance LLC, Hunter & Mariana Milborne, Len Blavatnik, Joseph Coffey, Sherry Wright & Craig Haffner, Bernard Abrams, James Scrivanich, Rick Chad, Arthur M. Kraus, Broadway & Beyond Theatricals, Brian Luborsky, Gilbert & Elsa Palter, The Shubert Organization, Terry Schnuck, Urban One Inc., Robert Wolf, Richard Stursberg, Mark W. Everson, Sanjay Govil, Jeremiah J. Harris, Amabel James, Sheila C. Johnson, Dennis Mehiel, Louise H. & John G. Beard, Henry R. Muñoz III & Kyle Ferrari Muñoz, Walter Swett, Zachary Florence and Berkeley Repertory Theatre, which hosted the work’s world premiere in 2019. Anne Allan is Associate Producer and Resident Director.

For more information, visit ParadiseSquareMusical.com.

Dolly Parton says she only wrote three good songs


When it comes to original Dolly Parton songs, this artist has over 3000 tracks to her name. With such love for “the joy of writing,” the country queen shared that she thinks she only has three “good” songs.

Dolly Parton is the mastermind behind several original songs

Artist Dolly Parton attends the 57th Academy of Country Music Awards | Axelle/Bauer-Griffin/FilmMagic

Some know her for “Jolene”, while others know her for “Here You Come Again”. Parton has been writing and releasing music for several decades, cementing her place in country music history. As a songwriter, this artist explained that inspiration comes from various sources.

“Sometimes I’ll write a song, and I’ll cook, or I’ll do this or that, and I’ll just think while I’m doing it and I’ll just write when I’m thinking of a good line,” Parton said as stated in the delivered Trolley on trolley. “I think before I write it.”

With many years of musical experience, Parton is used to writing songs fairly quickly.

“Now I can write a song in fifteen minutes and finish it,” Parton said during a 1967 interview with Music City News. “But then I start repeating it again, and everything, and I hear a lot of things that I don’t think are good about it. So I go back and I change lines and ideas.

Parton even created several original Christmas songs and an album based on the novel. Run, Rose, Run.

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Dolly Parton thinks she’s only written three ‘good’ songs

Even with multiple Grammys and millions of Spotify streams, Parton doesn’t think every song she’s written is a hit. She shared that with thousands of original songs, this artist only considers three of her original songs “good.”

“I take myself more seriously as a songwriter than anything else,” Parton said during an interview with CNBC. “I always say I’ve written about 3,000 songs and three good ones, but I love the joy of writing.”

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What are Dolly Parton’s three favorite original songs?

As the queen of country, many of Parton’s songs have won awards and international recognition. During an interview onThe Late Show with Stephen Colbert, the artist named his three favorite original songs. (“Jolene” and “9 to 5” didn’t make the cut.)

“My favorite song from a personal standpoint is ‘The Coat of Many Colors,'” Parton said. “It’s kind of a signature song for me. It’s more than a little coat. It’s about acceptance and tolerance. It’s even about bullying, kind of how kids get made fun of me at school.

As a song she can sing both “small” and “big”, Parton named “I Will Always Love You” as her second favorite original song. Another song she mentioned was “Down From Dover”, one of her lesser known tracks which became a favorite of Parton and some fans.

One of the reasons she loves this track is that it tells a story – detailing the experience of someone becoming pregnant and leaving home.

RELATED: Trixie Mattel missed Dolly Parton-themed episode of ‘RuPaul’s Secret Celebrity Drag Race’ by one episode

Rising artist Alex Silver wows in his latest R&B album


Alex Silver wows in latest R&B album

UNITED STATES, March 14, 2022 /EINPresswire.com/ — Alex Silver is an extremely talented music producer who has been involved in music his entire life and started producing at the age of 12. It now focuses on R&B music, the album itself comes at a momentous occasion in the global music atmosphere. The COVID-19 pandemic has had a devastating impact on the daily cultural activities that we all cherish. The album is a unique blend of mature beats and sexy vibes, making it the perfect album for intimate settings and romantic interactions. With intimacy at the heart of the album. ‘Night’ definitely sets the tone for a night of passion and love.

Entirely produced by Alex Silver, the album features legendary producer Scott Storch in a collection of seductive, romantic energy – the kind that’s bound to evoke the feelings that occur in the “Night”. Released en masse on all streaming platforms worldwide on February 18, 2022, the album is a captivating amalgamation of alluring R&B music, paired with the talented beat production that Alex Silver is known for.

Originally starting out as a producer in the realm of hip hop, Alex Silver experienced great growth in his career as he transitioned into sound healing and then R&B. Aspiring to consistently create music that evokes deep feelings and emotions in his listeners, Alex Silver and his discography remain the most exciting new thing in the music industry today.

Go to https://alexsilver.hearnow.com/night to stream his latest album “Night”. Feel free to contact the artist via the email address provided for interviews and follow him on social media.



Alex Silver is a talented producer with a diverse musical discography. At 22, the artist has exceeded all expectations and continues to produce quality music. Involved in music production for over 10 years, Alex Silver has truly understood the music business inside out and is now ready to make a name for himself.

His latest album is his best work to date. Alex has produced an exceptional body of work that is a unique take on R&B, perfect for intimate and romantic settings with his talented production and alluring vibe.


Instagram: https://www.instagram.com/alexsilverlll/?hl=fr
YouTube: https://www.youtube.com/channel/UCtlJmdjSpZB9z8hTcaFkG2A?view_as=subscriber
Spotify: https://open.spotify.com/artist/765L1HA3lE1PsNI1ZlIsYK

Alex Silver
Alex Silver
+1 203-858-9383
[email protected]

Too Many Businesses Received PPP Loans They Didn’t Need | Letters to the Editor


Too Many Businesses Received PPP Loans They Didn’t Need

After looking at the website, www.covidbailouttracker.com, it is evident that our country has an inflation rate of 7%. I have been amazed at the number of local businesses that have applied for PPP loans, which have been forgiven and received as non-taxable income.

Many businesses needed these loans like restaurants, hotels and churches etc. However, many of those businesses that applied for the loans were unaffected by the COVID-19 shutdown.

Although applying for a loan is legal, is it ethical for business owners to apply when COVID-19 has had no effect on their profits? Was it appropriate to increase the debt of the United States, which obliges our children and grandchildren to repay in the future?

At least the people who got the stimulus checks didn’t ask for those amounts. It is the worst pandemic response in US history with 961,000 deaths and $4.5 trillion spent, causing the highest inflation since 1982.

Tom Hanks said it best in his movie Forrest Gump, “Stupid is as stupid do.” Was it stupid to flood the economy with this extra money when nothing was being produced and the demand for goods and services was increasing due to the free money given to businesses and individuals?

Now the Democrats want to pump more money into the economy with the ‘Build Back Better’ bill, which will lead to even more inflation and poverty. I think those Democrats should take off their masks, so voters can see the faces of those who are causing this inflation.

Menopause the Musical makes a stopover in Kelowna, BC – Okanagan


Menopause isn’t usually seen as a laughing matter, but it could be something to sing about.

Menopause the Musical is still touring 20 years after it was first staged, and it’s coming to Kelowna. Menopause is the change that every woman goes through but few want to talk about. The show dives right into it with a sense of humor and a killer soundtrack.

“The four ladies crossed paths at the lingerie table at Bloomingdale’s in New York. They all come from different backgrounds,” Musical co-producer Janet Martin Menopause said.

There’s the Iowa housewife who’s conservative, the Earth mother who’s a hippie, the aging soap star, and the professional corporate woman.

Read more:

British Columbia’s Irish Dancers Bring Tradition to St. Patrick’s Day Celebrations

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“I play the role of a professional woman, and the professional woman is the city-dweller type of company. And all of a sudden she went into something new, which is menopause,” said actress Alana Bridgewater.

“All of a sudden now she feels like she’s just not in her own body.”

The show is not only hilarious but relatable and the producers say it’s not just for women of a certain age.

“We have a lot of men coming to the show. And we apparently saved a lot of marriages,” Martin said.

“On more than one occasion we’ve had men say, ‘Hey, you know, I had no idea what was bothering my wife, and that’s what was happening, because we didn’t. never discussed it.'”

Read more:

Festivals and Events Return to the Okanagan and Shuswap

“Apart from the characters and the messages the show brings, it’s brilliantly rewritten,” said Mark Zimmerman, co-producer of Menopause the Musical.

“The woman who wrote the show covered 27 of the biggest hits from the 60s, 70s and 80s. And they’re parodied. So it’s all about the messages of the music and the music that everyone can relate to.

The story continues under the ad

The musical Menopause will land at the Kelowna Community Theater on May 17. Tickets are available online at www.selectyourtickets.com

Preview of LA CAGE AUX FOLLES at Music Theater Works


Music Theater Works’ production of La Cage Aux Folles, Tony-Award winner, music and lyrics by Jerry Herman, book by Harvey Fierstein, directed by production art director Kyle Dougan and music directed by Kyra Leigh with choreography by Christopher Chase Carter now plays through April 3.

The duration is currently 2h40 including a 15 minute intermission. The show schedule is Wednesdays at 1 p.m., Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 2 and 8 p.m. and Sundays at 2 p.m. Tickets are on sale now for $19.50 – $106 with Meet and Greet options with Ginger Minj featuring Gingersnap!, group discounts and discounted 2022 subscriptions at MusicTheaterWorks.com.

Winner of six Tony Awards including Best Musical, Best Score, Best Book and Best Cover of a Musical, La Cage Aux Folles is an evening full of laughter. Based on the hit French farce that also inspired West End and international productions and Hollywood’s “The Birdcage,” this Broadway hit has a hilarious book by Harvey Fierstein (Torch Song Trilogy and Kinky Boots) and a score by king of show tunes, Jerry Herman (Hello, Dolly! and Mame). Featuring “RuPaul’s Drag Race” headliner Ginger Minj* as “Albin” and costumes by “Project Runway” creator Justin LeBlanc, Music Theater Works’ rendition of this classic is guaranteed to be one of the most entertaining productions of the year.

The theater will be transformed into the elegant Saint-Tropez de La Cage nightclub with an on-stage bar and surprises at every turn. And when the future in-laws of a non-traditional family come over for a visit, La Cage shines the spotlight on family, love, commitment and dating as the truth comes out in the wildest way.

The cast of La Cage Aux Folles includes Ginger Minj (she/her, Albin); Jason Richards (he/him/her, George); Christopher Ratliff, (he/his, Jean-Michel); Dane Strange (he/him/her, Jacob); Thomas E. Squires (he/him/his, Dindon/Renaud); Caron Buinis (she/her, Marie Dindon/Mme. Renaud); Honey West (she/her/her, Jacqueline/Albin understudy); Anthony Whitaker (he/him/her, Francis); Darryl D’Angelo Jones (he/him/her, Tabarro); Daniel Hurst (he/her, Chantal); Matthew Weidenbener (he/her, Hanna); Gabe Kohlbeck (he/her, Mercedes); Brian Selcik (he/him/her, Bitelle); Jordon Taylor (she/her, Phaedra); Anna Brown (she/her, together); Gus Franchere (he/her, understudy Les Cagelles); Michelle Hackman (she/her, Marie Dindon, Mme. Renaud and Jacqueline as understudy); Cary Lovett (he/him/her, understudy of Georges); Tom Shea, (he/his understudy, Dindon, Renaud and Francis); Ariel Triunfo (she/her, understudy Anne/Les Cagelles); Riley Vogel (he/him/her, double Angelique/Jean Michel) and Shaun White (he/him/her, double Les Cagelles).

The La Cage Aux Folles orchestra includes Linda Madonia (she/her, conductor/keyboards); Eugène Dizon (he/him/his, keyboards 1); Cara Strauss (she/her, reeds); Amy Nelson, (she/her, trumpet); Catie Hickey (she/her, trombone); Joseph Krzysiak (he/him/her, bass) and Anthony Scandora (he/him/her, drums).

The La Cage Aux Folles production team includes Production Artistic Director Kyle A. Dougan, ((he/him/his/her/their/their, director); Kyra Leigh, (she/her, musical director) ; Christopher Chase Carter, (he/him/his, choreography); Tommy Novak, (they/them/their, assistant director); Scott Davis, (he/him/his, set design); Eric Bakus, (he/him/ his, her design); Justin LeBlanc, (he/him/her, costume design); Andrew Meyers, (he/him/her, lighting design); Sheryl Williams (her/her, intimacy coach) and Hayley E. Wallenfeldt, (she/her/his, accessories design).

Health security procedure:

ALL GUESTS will be required to wear a face mask regardless of their vaccination status and present photo ID with proof of full COVID-19 vaccination with an approved vaccine. Please visit https://www.musictheaterworks.com/health-safety-procedures/ for more information.


Long before she was a season 7 runner-up on “RuPaul’s Drag Race,” Ginger Minj reigned supreme as queen of southern comedy from her home base of Orlando, Florida. The self-proclaimed “prettiest female dog you’ll ever meet” cites classic funny ladies Carol Burnett, Lucille Ball and Dolly Parton as her idols. “Anyone who can pile three wigs on their head, squeeze their body into a beaded and rhinestone dress, and serve up humor alongside glamor is my hero,” Minj said. That’s why she coined the term “Glamour Toad” to describe her unique personality.

In 2016, Ginger released her debut album, “Sweet Tea,” which was soon followed by years of traveling the world and performing showtunes for Broadway royalty on national television. With over 200,000 global streams, Ginger Minj then starred in the 2018 Netflix feature film, “Dumplin'” (Jennifer Anniston, Dove Cameron) and in June 2021 released her second album “Gummy Bear”, which peaked at No. #2 on iTunes comedy album charts. She then followed up in September 2021 with her third studio album, “Double Wide Diva”, which peaked at number 10 on the iTunes country album charts.

Ginger Minj was a runner-up on Season 6 of ‘RuPaul’s Drag Race All Stars’ and is continuously working on exciting projects coming up in 2022 including a new book called ‘Southern Fried Sass’ which tells the story of her life through family stories and recipes.

Check out photos from the show below!

(from left to right) Daniel HurstMatthew Weidenbener, Brain Selcik, Riley Vogel, Jordan Taylor and Gabe Kohlbeck

Photos: Preview of LA CAGE AUX FOLLES at Music Theater Works
(top row, left to right) Daniel HurstBrian Selcik, Jordan Taylor and Gabe Kohlbeck, (bottom row) Riley Vogel

Photos: Preview of LA CAGE AUX FOLLES at Music Theater Works
(from left to right) Jason Richard and ginger minj

Photos: Preview of LA CAGE AUX FOLLES at Music Theater Works
(from left to right) Daniel HurstGabe Kohlbeck, Anthony WhitakerMatthew Weidenbener, Riley Vogel, Jordan Taylorand Brian Selcik

Photos: Preview of LA CAGE AUX FOLLES at Music Theater Works
(Left to right) Christopher Ratliff and Heather Banks

Photos: Preview of LA CAGE AUX FOLLES at Music Theater Works
ginger minj

Photos: Preview of LA CAGE AUX FOLLES at Music Theater Works
(from left to right) Jason Richard and ginger minj

‘Incredible’, Drill’s first song in Welsh goes viral as artist music video released today

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Toda Ogunbanwo (Sage Todz)

The first example of Drill music in the Welsh language has gone viral, with a strong anti-racism message reaching hundreds of thousands of viewers online.

Toda Ogunbanwo who grew up in Penygroes, Gwynedd said the music was an attempt to give meaning to his upbringing.

He releases a music video of one of his English tracks, Sage Mode, at 5 p.m. today.

But in the meantime, a Welsh-language song posted on Twitter has also gone viral with more than 185,000 listeners, and he has promised more in the coming weeks.

Reacting to the attention on social media, he said the response had been “crazy”.

Thank you all for showing love on my post Welsh Drillhe said. “Didn’t think it would blow like this…Trust me, I’m working on releasing the full song soon, so stay tuned!”

Toda Ogunbanwo, who performs as Sage Todz, said music was a “healthy” way to deal with his feelings towards racism encountered during his upbringing.

In June 2020, the family’s home was defaced with a swastika in an act condemned by area politicians, and the police were called.

In one Interview in Welsh with BBC Cymru Fyw he said: ‘It was disgusting that someone was trying to scare us like that.

“It was the feather that broke the camel’s back. I’ve had worse and much more personal things happen to me until now.

“Throughout my childhood, I faced challenges and struggles. I have experienced things that are not pleasant for a child to have to deal with.

He said the response to his video posted on Twitter showed there was a demand for Welsh-language drill music and he would try to produce more in the coming weeks.

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MUSIC: Sueco, the most awaited social media album | News


I have to admit, I’m skipping a bit on this week’s review. For some context, this week’s artist is someone I’ve been looking forward to for a few months now. If you have TikTok, you’ve probably heard of this guy. If you haven’t heard of him, you’ve probably heard of him. His name is Sueco.

Sueco has achieved huge success on the TikTok platform. He initially had moderate success promoting his alternative pop punk songs before posting on August 5. “Paralysed”, one of the singles from Sueco’s debut album, “It Was Fun While It Lasted”.

The August 5 TikTok video wasn’t the social media star’s first online sensation. In 2019, Sueco (then as Sueco The Child) released a video featuring audio from their single, “fast”, which also went viral. Since then, more than 200,000 videos on TikTok contain audio clips from “fast” or “Paralysed”.

While also going by the name Sueco The Child, he was asked to produce a song featuring Wiz Khalifa, Ty Dolla $ign and Lil Yachty for the August 2020 movie “Sonic The Hedgehog” which featured starring Jim Carrey.

So all that to say that Sueco is not a nameless artist straight out of the streets of Los Angeles. This is why his first album is so awaited. “It Was Fun While It Lasted” was released on March 4, the same day I’m writing this. I generally like to digest an album by listening to it several times and taking notes on each track. But I thought I would try something new and give you my first impressions.

I must say that I was a little disappointed by certain parts of the album. “Paralyzed”, “Drunk Dial” and “Loser” had all been released as singles before the album was released, so I already knew they were good. They have also been featured on many TikTok videos, especially “Loser” which is a self-loathing pop punk anthem. The song fills me with visions of bands like Blink-182, The Offspring, and MxPx who built their reputations on self-loathing and outcast pop culture commentary.

Most of the other songs were somewhat underwhelming. The problem I have with Sueco is the problem I have with many “new” artists trying to merge genres, they just don’t know how to do it yet. Each song features different fusions of genres across the spectrum. If you listen to “It Was Fun While It Lasted,” you’ll hear elements of modern pop, punk rock, rap, alternative, and even an acoustic track.

Much like last week’s feature Paris Texas, we see that these early albums can be tough for mergers to pull off. It takes time for the growth of the artist. It’s hard for any performer to get out of the park on their first spin. That being said, there are some highlights on the album and there is one element in Sueco’s music that cannot be ignored: he can sing.

I was afraid that autotune plays an important role in Sueco’s music. The first two titles “Today” and “Paralysed” had started to confirm my fear. Then I heard the intro of “It’s going well!” I heard Sueco’s voice on the piano for the first 20 seconds of the song and was pleasantly surprised. Not only does Sueco have a great hoarse voice for the punk side of his music, but he has the ability to hit higher notes than I expected with that hoarse voice. He is presented so well on the acoustic track “Hate You Too”.

The problem comes from the music itself. Sometimes there doesn’t seem to be a consistent flow in the music. There are times when genres change way too quickly without context or reasoning in the song. Songs like “SOS” and “Primadona” are the two best examples. “SOS” even features former Blink-182 drummer Travis Barker. I’m not sure in what capacity, as the techno-based drum line seems to have a hip-hop beat more than just a rock beat. But maybe Barker has more technical talent than I think.

Overall I would say the album was a bit over hyped and a bit lackluster. I can’t deny that Sueco is here to stay to some extent, but hopefully he will take the time to define his craft. If he does, he could become a great modern musician. At just 25 years old, his work as a producer and now as a recording artist cannot be denied or ignored. The album garnered over 570,000 downloads on its first day, according to Sueco’s social media pages. I’m sure that number will soon exceed one million, especially if Sueco can collect radio broadcasts.

Jack R. Jordan is a reporter for The Moultrie Observer.

Riverfront Theater Company will present Sondheim’s “Company”


A musical about relationships and the madness of marriage, considered by some to be composer Stephen Sondheim’s finest work, will be staged two weekends in March along the Allegheny River in Aspinwall.

“Company” will be presented by Riverfront Theater Company March 17-19 and March 24-26 at Allegheny RiverTrail Park near Freeport Road.

“This show has something for everyone,” said actress Carly Fuller. “Because it touches on so many different relationships and types of romantic relationships, there are moments that anyone can find relatable.

“As a single man in his thirties, I know all too well my married friends’ questions and the dating world.”

The Tony Award-winning play was first produced on Broadway in 1970. It was nominated for a record 14 Tony Awards and won six, including Best Musical and Best Score.

Written by George Furth, the musical features some of Sondheim’s best-known songs, including “You Could Drive a Person Crazy” and “Being Alive.”

A plot line is interwoven with vignettes that begin with the 35th birthday of a confirmed bachelor, Robert, contemplating his promise to remain celibate.

He relies on his friends to relay the pros and cons — some hilarious, some heartbreaking — of marriage.

“Audiences can look forward to a wonderful, talent-filled evening of musical theatre,” said director Matt Mlynarski. “We’re presenting it in a way that will immerse audiences in the show’s vignettes, and we’ll all continue Bobby’s journey together.”

Mlynarski is making his return as a director at the Riverfront Theater Company after a long hiatus that dates back about a decade when the group staged their performances at the former O’Hara Community Center. He most recently performed with the band last year after landing the role of Wadsworth in the virtual production of “Clue.”

Fuller said community theater appealed to him for its chance to present high-profile performances in an intimate space with local talent.

“Not being able to perform during the covid quarantine times really made me miss the live theater and the feeling of being in a cast,” said Fuller, who has been performing since elementary school.

She said she was looking forward to bringing the direct, brutally honest and sometimes infuriating role of Joanne to life in the next show.

“It’s a dream role,” Fuller said.

Likewise, lead performer Rick Hvizdak has been performing since he was 9 years old and has performed in over 40 shows.

Working on a Sondheim production is considered the “holy grail,” he said.

“When I saw they were doing auditions for ‘Company,’ I came out of my five-year hiatus to audition,” Hvizdak said. “Doing the production in a unique space by the river gives us the opportunity to intimately share this story about evaluating life choices and relationships.”

Spectators must show proof of covid-19 vaccination or test negative within 72 hours.

Tawnya Panizzi is editor of Tribune-Review. You can contact Tawnya at 724-226-7726, [email protected] or via Twitter .

From US$15 billion revenue to Downtown’s $200 million independent artist fund: This is MBW’s weekly roundup


Welcome to Music Business Worldwide’s weekly roundup – where we make sure you’ve caught the five biggest stories that have made headlines over the past seven days. The MBW Roundup is supported by Centtripwhich helps over 500 of the world’s best-selling artists maximize their income and lower their touring costs.

This week, MBW reported that the US recorded music industry grew by $2.85 billion (or 23%) year-over-year in 2021, to generate US$14.99 billion.

That total revenue, which comes from the RIAA’s year-end annual data, marked the largest annual tally in the history of the U.S. recorded music market, but with one caveat.

As RIAA President and CEO Mitch Glazier explained in a new MBW op/ed, “In inflation-adjusted dollars, last year’s figure is 37% lower than it was in 1999”.

Glazier added, “We still have a lot of room to grow – to meet and exceed historical values ​​in music.”

Elsewhere, TikTok announced big news for the music industry this week by announcing the launch of its own music distribution platform, SoundOn.

MBW revealed in September last year that SoundOn had entered beta mode, but the service is now fully operational in the UK, US, Brazil and London.

Artists cited by TikTok as having found success after signing up to SoundOn, so far, include Abby Roberts and Chloe Adams in the UK, and Games We Play and Muni Long in the US.

(This last artist is declared to be one of the most sought after signings of 2022 among major record labels in the United States.)

Meanwhile, Russia’s invasion of Ukraine continued to make headlines this week, with the global music industry’s position on the situation evolving daily.

In recent days, the three major music companies announced that they were suspending their operations in Russia.

Kobalt Music Group and Downtown also confirmed they were suspending business operations in Russia, while Paris-headquartered Believe said it was not considering doing so at this time, but that it ” was monitoring the situation very closely.”

In addition, Spotify stops all monetization – whether from subscriptions or advertisements – in the territory.

Also this week: Downtown created a new $200 million fund to support independent artists and entrepreneurs, while Hipgnosis acquired a stake in all 278 songs and derivatives written by Leonard Cohen…


Here’s the headline, folks: America’s recorded music industry generated US$14.99 billion in 2021, its biggest annual tally in history.

This statistic, revealed today by MBW, comes from the RIAA’s year-end annual data and is up 23% (or $2.85 billion) from the equivalent 2020 figure ($12.14 billion). of dollars).

In fact, one would have to go all the way back to 1999 – more than two decades ago – to find the previous peak year for the US industry, when it generated $14.6 billion.

The 2021 figure also represented significantly larger year-over-year monetary growth for US industry (+$2.85 billion) than that seen in 2020 (+$1.02 billion)…


TikTok is now officially a music distributor.

The viral video app owned by ByteDance has just launched its own music promotion and distribution platform, called SoundOn.

SoundOn is already live in the UK, US, Brazil and Indonesia, and it allows artists to upload their music directly to TikTok and RESSO.

It can also stream their music to other platforms like Spotify, Apple Music and Instagram…

3) Kobalt and Downtown severed their ties with Russia; Believe continues to operate in the market but is “monitoring the situation very closely”

The music industry’s relationship with Russia is a rapidly evolving story at the moment.

Two of the biggest non-major music companies in the industry – Kobalt Music Group and Downtown – have both confirmed in the last 24 hours that they are suspending their business activities in/with Russia.

In doing so, they join the three major music companies (Universal, Sony and Warner) – each of which announced this week that it was ending its own commercial activities in the market.

Another of the world’s largest independent music companies – Believe, headquartered in Paris – told MBW that it currently has no plans to suspend business operations in Russia.

A company spokesperson told us that this is Believe’s strategy “at this time”, but added that the company is “monitoring the situation very closely”…

4) Hipgnosis buys Leonard Cohen’s catalog through a Blackstone-backed fund

Hipgnosis acquired an interest in the 278 songs and derivatives written by Leonard Cohen.

Of these 278 compositions, 127 songs come from Leonard Cohen’s Stranger Music catalog, for which Hipgnosis acquired the author’s share of the royalties.

The Stranger Music catalog covers the period from the beginning of Cohen’s career until the year 2000 and includes all derivative works, making a total of 211 songs….


Downtown Music Holdings has created a new multi-million dollar fund to support independent artists and entrepreneurs.

The fund will be backed by a new credit facility with Bank of America and will see Downtown invest more than $200 million.

Downtown’s new $200 million commitment to independent artists and music entrepreneurs comes amid a global boom in the independent artist and label sector…

MBW’s Weekly Roundup is supported by Centtrip, which helps over 500 of the world’s best-selling artists maximize revenue and lower touring costs.The music industry around the world

A conceptual synthpop that leaves a little cold


It’s been nearly a decade since Alex Cameron developed a fondness for one character. In 2013, he slipped into the persona of a failed artist on “Jumping The Shark”, a solo debut defined by thick trowel parody and irony – something he tries to leave three more albums behind. later on 2022’s “Oxy Music,” his response to the massive opioid addiction that has swept America, and more specifically, the question “would it be easy to fall into addiction?” »

Does Cameron’s music hold up when you strip away all the conceptual jargon, costumes, and media ethos? In 2019, NME found Cameron’s earlier studio effort ‘Miami Memory’ “a semi-heartfelt album”. ‘Oxy Music’ is pretty much the same thing. Love song ‘Prescription Refill’ is adorned with blood sax moans, promising multi-voiced harmonies”You fill my prescription baby, just wait until I get my hands on you, I’ll fix this addiction honey, and if that doesn’t work… I’ll dance for you”. The lush “K Hole” sits somewhere between Pet Shop Boys and Tears For Fears. Cameron’s synthpop, sagacious as it is, still suffers from a lack of emotional authenticity.

Nonetheless, ‘Oxy Music’ is still a compelling depiction of addiction and the despair and self-delusions associated with it. The closing track is made up of boxy sunny synths, with a “wah-oh, yeah!” abstain for more pep. Jason Williamson of Sleaford Mods delivers searing punk-rap about being a cheap date who can go off the pills at any time. Cameron stars as a loner addicted to codeine who tries to convince himself that even though he’s been sailing on a high, he’s not a drug addict.

The contrast between Cameron’s melodic, popping vocals and Williamson’s brutal hustle portrays the two sides of addiction – the illusory peace of being on a high and the wild growl of reality as the drugs lose their potency.

Perhaps to lighten the mood, “Cancel Culture” aims to expose the ignorance shown by artists who appropriate elements from other cultures, diluting and degrading the value of the original material. “I didn’t mean to insult you, all you have to do is cancel the culture“, Collapses Cameron. “She said, she said, ‘I’m sorry I did, but I don’t see what’s wrong?’

New York skateboarder and rapper Lloyd Vines plays straighter, punching the playful base of the keys and drum machine with punky, rhyming about hypocrites and “Lily White“Hip-hop fans who appropriate phrases, words and language with no idea of ​​their heritage.

Cameron’s conceptual synthpop is let down by a lack of musical vibrancy and emotional directness. He’s got the vocal chops and the ability for it: “Dead Eyes” lands with the gravitas of Lou Reed or maybe even Brandon Flowers (who Cameron worked with as a co-writer on “Wonderful Wonderful” and “Imploding The Mirage” from The Killers.’) at its candid and anthemic best.

When Cameron leaves his delightfully smooth vocals unprocessed, as he does on “Dead Eyes,” it has a delicate intimacy that creeps into and settles into the emotional center of your brain. When he scales back production and lets his humanity shine through, he’s compelling. ‘Oxy Music’ will leave you yearning for more of those magical, heartfelt moments.


  • Release date: March 11
  • A record label: Secretly Canadian

Have $800 Billion PPP Loans Really Helped Small Businesses? – NBC 5 Dallas-Fort Worth


President Donald Trump rolled out the Paycheck Protection Program to catapult the US economy into a rapid recovery from the coronavirus pandemic by helping small businesses stay open and their employees working. President Joe Biden changed it to try to direct more of the money to poorer communities and minority-owned businesses.

Today, nearly two years after the program was launched, the question is what taxpayers got for the $800 billion. The Biden administration says its version of the program helped prevent deepening racial inequality, while leading academic research suggests the overall price was high per job saved and most of the benefits accrued to the wealthy.

Nearly a year after implementing its $1.9 trillion coronavirus relief package, the Biden administration argues it has made critical adjustments to the repayable loan program, pointing to internal numbers showing that more benefits have gone to poorer communities, racial minorities and smaller businesses — those whose owner is the sole employee.

“The administration entered office with a focus on racial and social equity, and small businesses are an important part of that,” said Michael Negron, senior White House adviser on small business. “For our equity goals, entrepreneurship matters because it helps build generational wealth.”

The I-Team reviewed US Small Business Administration records and found more than 300 small businesses in New York and New Jersey that had PPP loans worth less than $500. Reporting by Chris Glorioso.

However, an outside study suggests that the program – commonly known as PPP – was a troubling cost per job saved and that payments mainly benefited business owners who were best prepared to weather the pandemic. Overall, the study implies that only 23% to 34% of PPP dollars went to workers who would have lost their jobs, at a cost of up to $258,000 per job retained.

The conflicting views on PPPs are part of a larger debate about how to help an economy in crisis. There are pressures to get the right amount of money as quickly as possible without increasing inequality or triggering other forms of backfire such as high inflation.

During two presidencies, Congress approved an unprecedented $5.8 trillion in relief spending that included new interventions such as forgivable loans, direct payments and an expanded child tax credit that was filed. monthly to people’s bank accounts.

When MIT economist David Autor analyzed PPP with other economists, he saw too blunt a tool. The United States never developed data systems to monitor what was happening to individual company payrolls, unlike Canada, the Scandinavian region, Portugal and Brazil. These systems would have facilitated the allocation of funds according to real needs in times of downturn. The United States did not invest in its own data resources and therefore could not target aid.

“The United States has rather ‘starved the beast,'” Autor said. “The result is not less government. It is simply less efficient government.

By changing the PPP program guidelines, the Biden administration was trying to prevent the pandemic from further widening the nation’s racial wealth gap.

Black Americans make up about 12% of the US population, but they control only 2% of private business assets that are often essential to climbing the economic ladder, according to the Federal Reserve. Only 4.3% of total US household wealth belongs to Black Americans and 2.5% to Hispanic Americans, significantly lower than their share of the total US population.

When the Trump administration unveiled the PPP in 2020, the full effects of the pandemic were just beginning to be felt in the economy. There was a race to get cash as quickly as possible due to the unpredictability of the situation, so loans went through large banks which often had existing relationships with eligible businesses for speed reasons. .

The program enjoyed bipartisan support, and then-Treasury Secretary Steven Mnuchin told a congressional committee in September 2020 that the payments supported 50 million jobs. Still, as he lobbied for more help, Mnuchin said the most important thing during the pandemic was to deliver aid “quickly”.

The need for speed has also made it more difficult for historically disadvantaged groups to access money. That’s why the Biden administration changed guidelines and rules after taking office.

It introduced a 14-day period in February 2021 during which only businesses with fewer than 20 employees could apply for PPP loans. It changed the way PPP loans were calculated so that sole proprietors, independent contractors and the self-employed could receive funding equal to their needs. A greater portion of the loans went through community and minority-owned financial institutions.

As a result of these changes, PPP issued around 2 million loans last year to businesses in low-to-moderate income communities, a 67% increase over the previous year, according to figures provided by the administrative officials. There were 6 million businesses with fewer than 20 employees that got loans, a 35% increase from the program under the Trump administration.

A number of minority-owned small businesses have struggled during the pandemic despite a massive multibillion-dollar Paycheck Protection Program (PPP) designed to help them.

Because the administration was targeting more businesses — including those whose owner was the only employee — the average PPP loan size went down. It averaged $42,500 last year, down dramatically from $101,500 in 2020.

“We inherited a program from the previous administration that was plagued with inequities,” said Isabel Guzman, head of the Small Business Administration.

Yet analysis by Autor and other economists indicates that distributions under the Biden administration “have had no discernible effect on employment.” That’s likely because the labor market started to recover in May 2020 despite waves of infections dampening momentum. Because there were fewer jobs at risk, there were fewer jobs to save.

Autor estimates that the richest 20% of households captured about 85% of the benefits of the program. It could be that Biden’s changes made the PPP fairer, but the proof will only come when the tax revenue arrives over the next few years, he said.

“They tried to be better stewards of the program, which they had the luxury of doing because the crisis wasn’t as urgent,” Autor said. “It’s not that PPP didn’t do anything; it was a lifeline for some small businesses and their creditors. It was also an incredibly large gift from future generations of American taxpayers” to certain profitable businesses.


This story corrects the name of the head of the Small Business Administration to Isabel Guzman, not Juan Guzman.

Rotorua Musical Theater puts on an interactive and technical show


Director John Drummond at the Casablanca Theater. Photo/Andrew Warner

A fun and interactive evening with comedy and shows from various countries is planned for those heading for an upcoming theater show.

Rotorua Musical Theater’s first production for 2022 is Song Contest – the Almost Eurovision Experience, which will run from 25 March to April.

The show is a glitzy, comedic and loving tribute to the Eurovision Song Contest.

It features 11 competing countries, a slew of anxious contestants, a gushing hostess and a quirkiness that delights and makes you cringe.

The public vote is genuine with the potential for a different winner each night.

The competing countries are Hungary, Germany, Sweden, Poland, Greece, Italy, Iceland, United Kingdom, Ireland, Russia and Norway.

Director John Drummond says the show is set in Belarus and all 11 countries perform an element.

Audiences have the flag of a country to support named to their seat upon arrival, and after the performances they vote for their three favorite items.

They will use their phone to access a voting website.

After the intermission, hostess Bettina coordinates the crosses live on a television screen, collating each country’s voting results.

The scoreboard is updated after each country’s live cross, and it’s not until the last broadcast that the public knows who the winner is.

The winning country then performs their article again.

John says the show is very interactive and fun, with hilarious lines and adult humor.

It’s also very technical, with videos, green screens and showing live crossovers with other countries.

He says there are 17 in the cast and rehearsals – which have been going on for about two months – are going very well.

When asked why he would encourage people to come see the show, John had three main reasons.

“One – it’s going to be a fun night. Two – everyone needs to have fun right now. Three – there’s nothing better than live theater.”

The musical director of the show is Maria Kapa and the choreographer is Samantha Rowe.

The details
– What: Rotorua Musical Theater presents the Song Contest – the almost Eurovision experience
– When: from March 25 to April 9
– Where: Casablanca Theater
– Tickets: www.iticket.co.nz or call 0508 iTICKET (484-253)

5 things to do this weekend


In recent years, Tyler, the Creator has won a Grammy, debuted two albums at the top of the Billboard 200, and received widespread critical acclaim. But even for such an accomplished rapper and singer, performing at Madison Square Garden remains a source of pride. He spoke about it more than once on last year’s “Call Me if You Get Lost,” a lively, boastful and sometimes melancholy album that draws aesthetic inspiration from mid-2000s rap mixtapes (including the hypeman services rendered by DJ Drama). on disk single leadTyler brags about his “MSG sale”, as well as his car collection and credit rating.

And he’s filled the Midtown arena again: his two upcoming shows are sold out. However, fans can get verified resale tickets at msg.com for the shows, which are Sunday and Monday starting at 7 p.m. Kali Uchis, Vince Staples and Tyler’s “Call Me” collaborater Teezo Touchdown opens.


Long before Katniss Everdeen wowed her oppressors with her archery skills in “The Hunger Games,” another fearless fictional heroine was demonstrating her prowess.

She is Manijeh, a besieged princess who is the central character of “Song of the North” a new adaptation of part of the 10th century epic by the Persian poet Ferdowsi “Shahnameh” (“Book of Kings”). Hamid Rahmanian created, designed and directed this theatrical version, which is intended to be a play of shadow puppets that looks like an immersive cinema. With a screenplay by Rahmanian and Melissa Hibbard, music by Loga Ramin Torkian and voice of Azam Ali, the production features a cast of nine actors wearing elaborate headgear, whose silhouettes are projected onto a 15-by-30-foot screen.

Part of the BAMkids series at the Brooklyn Academy of Music, this 80-minute show depicts the plight of Manijeh after his father throws his beloved, a knight from a rival kingdom, into a well and strips him of his title. Tickets from $12 (partial view) and $15 for the final performances, Saturdays at 2 p.m. and 7 p.m. at the Harvey Theater, where young audiences can watch the princess triumph with a weapon even mightier than arrows.

To dance

You can always wear green and grab a Guinness at your nearest Irish pub, but why not celebrate St. Patrick’s Day this year by engaging in Irish culture too? The week ahead offers several opportunities around the city to see stellar troupes perform Irish dancing, which is characterized by stiff torsos and punchy, tornado footwork and accompanied by dramatic folk music.

Friday at 8 p.m., the National Dance Company of Ireland presents “Dance Rhythm”, a show tracing Irish history from ancient mythology to the present day, at Kingsborough Community College in Brooklyn (tickets start at $34 at onstageatkingsborough.org). Sunday at 4 p.m. Velocity Irish Dance takes a similar historical approach in a flashy program at the Lehman Center for the Performing Arts in the Bronx (tickets start at $25 at lehmancenter.org). Velocity will also make two stops on Long Island: at the Patchogue Theater on Friday and at the Madison Theater in Rockville Center on Tuesday. Also on Tuesday, Trinity Irish Dance Company begins a run through March 20 at the Joyce Theater in Manhattan (tickets start at $20 at joyce.org).

in the provocation “Caveman,” When a Republican deputy goes away for the weekend, his employee Imaculada (Annie Henk) and three of her friends (Claudia Acosta, Jacqueline Guillén and Socorro Santiago) hold an unforgettable meeting in his decadent, mostly male basement.

Written by John J. Caswell Jr., the play explores “American anxieties and the shrewd ways that systematically maintained forces penetrate and corrupt our own singular and collective identities,” he said in an interview. Its seance-like work combines elements of horror and comedy with devilish sharpness, as the four main characters exorcise demons of the emotional, sexual, political, and supernatural varieties.

Directed by visionary Taylor Reynolds, “Man Cave” is presented by Page 73 and runs at the Connelly Theater until April 2. Tickets start at $10 and are available at ovationtix.com.

Classical music

Kate Soper’s opera “The Romance of the Rose” was one of the most anticipated premieres of 2020 until it was canceled due to the pandemic. His last album, “The Understanding of All Things” should help tidal fans until the opera is rescheduled. And it can also serve as a compelling introduction to the inimitable style of this composer, singer and pianist.

Soper is best known for pairing lavish song forms with delivered speeches. Fittingly, the new album begins with his treatment of a work by Kafka. The second track, “Dialogue I”, is a musical improvisation between Soper and live electronics virtuoso Sam Pluta. But one of the texts Soper quotes, by philosopher George Berkeley, is part of a grander design, for Berkeley’s name recurs during the album’s centerpiece, “The Fragments of Parmenides” (which also includes a text by Yeats).

When hearing the nimble and engaging humanities lectures on this album, you’ll probably want Soper’s libretto in front of you. (A PDF booklet is supplied with each digital purchase on the Bandcamp platform.) But the sublimity of Soper’s singing material needs no great explanation—just check out his setting of Yeats’ “For Anne Gregory” in “Fragments.”

Rahm Academy offers local artists help in understanding the music business


We’ve all seen stories of musical artists who couldn’t handle the “business” side of the music industry. And, if you’re a local music fan, you’ve probably seen upstate artists perform and wondered, “Why aren’t they bigger than they are?”

Camden Johnson aims to solve both of these problems with his new nonprofit Rahm Academy. Johnson has designed a 9.5 month residency program that will teach musicians and aspiring managers the ups and downs, the ins and outs of the music industry, focusing not only on coursework, but also on live performances.

“This model is really built on what I call ‘holistic artist development,'” says Johnson. “It’s not just about getting to know the music industry, musicianship, production, songwriting, event and concert management, legal aspects and the business knowledge they need, but also to have a mental health component.”

The mental health aspect of Rahm Academy is a very important piece of the puzzle for Johnson. The program’s very name comes from the pen name of an artist who was Johnson’s partner in music and in life.

Johnson ran a label called Death Valley Entertainment for five years while attending Clemson University. It was there that he met a young man named Thomas Russell Moore II, aka Rahm Fisher.

“The goal is to have a program that really gives creative professionals the tools they need to succeed in the field.” -Camden Johnson

Camden Johnson

“He was an incredible up-and-coming artist,” says Johnson, “and then he joined the label as someone who was an artist that we were going to develop.” Johnson said he and Moore worked together until Moore’s conservative Christian parents took him out of Clemson and put him in the military.

He said Moore struggled while in the military and ultimately committed suicide shortly before his release. Johnson created the Rahm Academy in memory of Moore and to ensure that aspiring local musicians and managers have the tools they need to succeed.

“My real vision for Rahm,” says Johnson, “is to create a space where creatives can come for a developmental type of education that’s primarily experiential and also places them in a community and gives them just the space and the resources. and the time and education they need to become a better creative professional.

“The goal is to have a program that really gives creative professionals the tools they need to succeed in the field,” adds Johnson, “and our hope is to become a pipeline for record labels.”

For more information, visit www.rahmacademy.org.

next album by Robert Anthony to share his love of music | The music


Fountain Hills resident Robert Anthony admits his dad “beat the Beatles” in his head when he was a kid.

As a result, music has been a mainstay in the life of the Polish-born man.

His family moved to the United States in 1981, when Anthony was in high school. He didn’t speak English, but he could sing and play guitar, so he and some friends formed a band.

“Of course we were a metal band,” Anthony said. “Those were the years of hard rock and heavy metal.”

Over the years he studied other musicians, including the Yardbirds, Mott the Hoople and Jimmy Paige of Led Zeppelin. One of the singers of Mott the Hoople, John Fiddler, guided Anthony towards another style of music.

Anthony said he still loved hard rock, but Fiddler encouraged him to

“My music started to change,” Anthony said. “It’s softer. Maybe I’ve outgrown the heavier stuff.

One thing is certain: Anthony reflects his philosophy of life through his music.

“I woke up to life,” he says. “I appreciate things a lot more. I got rid of stuff. Now I’m enjoying what’s really important, my family and friends.

He added that he does not allow negative energy to enter his life now.

“I have a huge connection to life and its beauty,” he said. “Miracles happen every day. I appreciate that more than I ever have.

Anthony moved to Fountain Hills 25 years ago.

“I followed the sun,” he said, possibly using a line from a Beatles song. “Fountain Hills is a magical place. And I love being here.

Anthony recently returned from Poland where he performed to an audience of over 10,000 people.

“This three-day festival was one of the biggest country shows in Europe,” he said. “It was an amazing experience.”

Anthony hopes that more people in this country will become familiar with his music.

“I’m not looking for fame,” he said. “I just want to share my music.”

His songs are upbeat and positive. He said his music now sounds a bit like that of Keith Urban and Brian Adams. He said he doesn’t cover other people’s music and likes to play his own songs.

“Right now we need good music,” Anthony said. “I love what I write, and I think others will too.”

Anthony said he was pushing to release an album by March 15. The album’s title track, “Undenied”, is now available on YouTube.

His YouTube channel is UndeniedMusic – YouTube.

If the album isn’t finished by March 15, Anthony said it will be April 15.

“One thing is certain: I will be releasing many new songs on Spotify in March.”

Another song, “Little Town”, is on YouTube. Both videos are indicative of the kind of music Anthony writes and performs.

Anthony is full of energy and brilliant. When he plays his music, it’s clear he likes to entertain.

And when he’s not playing music? He owns a computer company.

“Music is my passion and my love,” he said. “But I too have to earn a living. I am blessed in every way.

Tony Walton, award-winning set designer who was married to Julie Andrews, dies at 87


Mr. Walton was born in England and spent most of his career in the United States and became a theater mainstay, with more than 50 Broadway credits to his name. He established his reputation in 1962 with his simple, almost abstract sets for “A Funny Thing Happened on the Way to the Forum”, one of Stephen Sondheim’s first musicals, directed by George Abbott. Mr. Walton designed a more realistic setting for the 1966 film adaptation of “A Funny Thing Happened,” which, like the original Broadway production, starred Zero Mostel.

Another of Mr Walton’s early triumphs was “Mary Poppins”, a 1964 musical starring Andrews and Dick Van Dyke. Although Mr. Walton’s title was simply “design consultant”, he was widely credited with developing the distinctive Edwardian look for the film’s costumes and sets and received the first of five Oscar nominations.

“There’s a definite attempt to augment reality,” Mr. Walton told The New York Times in 1991, explaining his approach to “Mary Poppins,” “to fantasize about it and try to make it all about fun.” .

He won the Oscar for artistic direction for “All That Jazz” (1979), director Bob Fosse’s alternately dark and brilliant self-portrait. Over the years, Mr. Walton has worked on films directed by Sidney Lumet (“Murder on the Orient Express”, “Equus”, “The Wiz”, “Deathtrap”), François Truffaut (“Fahrenheit 451”), Mike Nichols (“Heartburn”), Ken Russell (“The Girlfriend”) and Paul Newman (“The Glass Menagerie”).

But “I really am a theater animal,” Mr. Walton said, and his work has touched virtually the gamut of theatrical presentations, from revivals to hit dramas, comedies and musicals. He created the stage designs for the original Fosse productions “Pippin” (1972) and “Chicago” (1975), winning a Tony for the former.

He also received Tony Awards for a 1986 revival of John Guare’s dark comedy “The House of Blue Leaves” and for a 1992 version of “Guys and Dolls,” for which director Jerry Zaks told Mr. Walton: “I want to see you let loose with the brush, to let it rip.

He prepared by reading the stories of Damon Runyon, which formed the basis of Frank Loesser’s musical comedy about gamblers, gangsters and reforming members of the Salvation Army. The result was a colorful visual fantasy, with bold angles and a surreal sense of inhabiting another world – in this case, an eerily seductive sewer.

Mr. Walton won an Emmy Award for a 1985 television production of Arthur Miller’s “Death of Salesman,” starring Dustin Hoffman and John Malkovich.

His creations were in such demand that at one point in the early 1990s, Mr. Walton had six plays running simultaneously on Broadway – three musicals and three dramas. He had also designed a production of “Peter and the Wolf” then performed by the American Ballet Theatre.

He approached a new script, he said in a 2008 interview with Playbill, “like it was a radio show and [would] don’t allow me to have a rush of imagery… I try to imagine what I see as slowly being revealed by a pool of light… Usually, of course, that’s the best way to tell the story.

His design palette was so varied that there was no particular “Walton style”. New York Times drama critic Frank Rich described the low-key setting of the 1989 Broadway musical “Grand Hotel,” which earned Mr. Walton another Tony nomination:

“Mr. Walton sets the mood for nearly every public and private room in a grand hotel in Weimar Berlin simply by relying on three chandeliers, a proscenium broadband platform, several dozen high-backed chairs right, a skeletal revolving door and four ghostly, translucent pillars in whose evocative period bric-a-brac float like the cultural detritus in a Joseph Cornell box.The ever-changing configurations of these simple fixtures are all that is necessary to move the action from bar to bedroom to lobby and back again.The public eye fills in what Mr. Walton leaves out.

Anthony John Walton was born on October 24, 1934 in Walton-on-Thames, England. Her father was an orthopedic surgeon and her mother was a housewife.

At first, Mr. Walton thought he would take medicine, but he struggled with science and was uneasy at the sight of blood. He became interested in acting after his parents returned from a London playhouse late at night and taught their children a new dance they had seen on stage, the Lambeth Walk.

Once, when called upon to recite a Latin poem at school, Mr. Walton instead launched into a vaudeville skit he had learned, later noting: “I was expelled from this class.

He staged plays and operas with puppets and tried acting, but “was hopelessly embarrassed in front of paying audiences”. He studied at the Slade School of Fine Art, part of University College London, where he found his niche in design and began his relationship with Andrews.

Mr Walton was serving in the Royal Air Force in Canada in 1956 when Andrews starred on Broadway in ‘My Fair Lady’. He often visited her in New York, attended other plays, and settled in Manhattan after her military discharge. They married in 1959, divorced nine years later but remained close friends.

In a statement, Andrews called Mr. Walton “my dearest and oldest friend. He taught me to see the world with new eyes and his talent was simply monumental.

Mr. Walton was inducted into the Theater Hall of Fame in 1991, and his set designs have occasionally been exhibited in museums. He has illustrated more than a dozen children’s books which Andrews wrote with their daughter, Walton Hamilton.

In addition to his daughter, Mr. Walton’s survivors include his second wife, writer Genevieve “Gen” LeRoy; one daughter-in-law, Bridget LeRoy; two sisters; a brother; and five grandchildren.

After concentrating on design, Mr. Walton turned later in his career to directing, directing productions of works by Noel Coward, George Bernard and Oscar Wilde at theaters in New York, from Connecticut, Florida and California.

“I start every project as if I had never done one before,” Mr. Walton said in 1991. Each new play or film, he added, is “a dive into something unexplored.”

The Batman Score gets a 3XLP release via Mondo


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The arrival of any new superhero movie comes with great anticipation regarding a number of components, from performance to direction to story, but in the case of Batman, fans also have high hopes for a film score. Whether it’s Adam West’s version of the character from the ’60s, Danny Elfman’s scores from Tim Burton’s films, or the ominous themes of Hans Zimmer’s work with Christopher Nolan’s films, there’s a proven legacy of exploits character on the big screen. This trend continues with Michael Giacchino’s impressive work on Matt Reeves The Batmanthe film’s score getting a 3XLP vinyl release through Mondo. The Batman 3XLP vinyl will be available for pre-order via Mondo official website March 9 at 1 p.m. ET.

The Batman (Original Motion Picture Soundtrack) features the music of Oscar, Emmy and Grammy Award-winning composer Michael Giacchino, whose credits feature some of the most popular and acclaimed film projects in recent history, including The Incredibles, coconut, JoJo Rabbit, Ratatouille, star trek, jurassic world, Rogue One: A Star Wars Story, Spider-Man: Homecoming, and War for the Planet of the Apes. This is the fifth film that Reeves and Giacchino have collaborated on.

See the record store in Mondo

Giacchino once again proves he’s one of the greatest living composers as he introduces a powerful and instantly canonized new theme to one of music’s most iconic superheroes. When director Matt Reeves first heard the theme, he was with film producer Dylan Clark. “I was dazzled!” He exclaimed. “It was so emotional. We literally both cried…it was unbelievable.”

(Photo: Mondo)

While it’s not just the world’s greatest detective who emerges with a new theme – Selina Kyle’s new string-heavy / Catwoman theme is slinky and haunting like a classic noir’s femme fatale. And Giacchino’s version of The Riddler is much more haunted, accompanied by the Tiffin Boys choir, a truly terrifying and spooky motif for one of the scariest versions of a Gotham villain to date.

“In 2022, five decades and nearly two dozen takes on his world’s character and music, it should be impossible to tackle the world’s greatest detective with such a fresh and iconic take,” the director shared. Mondo’s creative, Mo Shafeek. “But here we are, and the soundtrack of The Batman is as inspired and essential as the film itself.”

(Photo: Mondo)

Featuring nearly two hours of score, housed on three discs, featuring brand new artwork by Henry Abrams, and pressed on 180 gram vinyl (color exclusive to Mondo online store, also available on 180 gram black vinyl ), The Batman The soundtrack on vinyl will be available for pre-order on Wednesday, March 9 at 1 p.m. ET on MondoShop.com.

(Photo: Mondo)

The Batman – 3XLP Original Movie Soundtrack

  • Music by Michael Giacchino. Artwork by Henry Abrams.
  • Pressed on 3 exclusive 180 gram Mondo color vinyls
  • Also available in black vinyl
  • $50

Track list

side one

  1. Can’t Fight City Halloween (4:05)
  2. Municipal pipeline (2:34)
  3. It’s raining revenge (4:31)
  4. Don’t be a voyeur with me (2:38)
  5. Crossing the Feline (1:46)
  6. Girl Gannika (2:31)

Side Two

  1. Moving in for the Gil (4:23)
  2. Funeral and Far Between (1:46)
  3. Identification of the collar (1:15)
  4. Escaped Crusader (2:44)
  5. Penguin of Guilt (3:45)
  6. Highway to the Wrath Zone (5:20)

side three

  1. The worst translator in the world (3:35)
  2. Puzzles, Puzzles Everywhere (1:54)
  3. Meow and you and everyone we know (5:19)
  4. For all your Pennyworth (2:38)
  5. Are you a Kenzie or a Can’t-zie? (5:45)

side four

  1. An Imperfect Murder (3:49)
  2. The Great Pumpkin Pie (2:22)
  3. Hoarding School (4:55)
  4. A Deluge of Terrors (4:30)
  5. A Bat in the Rafters, pt. 1 (4:34)

Side Five

  1. A Bat in the Rafters, pt. 2 (6:42)
  2. The Bat’s True Calling (3:05)
  3. All’s Well That Ends Farewell (2:41)
  4. The Batman (6:47)

Side Six

  1. Catwoman (3:03)
  2. The Riddler (5:01)
  3. Sonata in the Darkness (12:11)

The Batman 3XLP vinyl will be available for pre-order via Mondo official website March 9 at 1 p.m. ET.

Will you be adding this set to your collection? Let us know in the comments below!

Greenwich doctor spent PPP loans on country club and vineyard after being charged in $3.6million scheme


A Greenwich eye doctor has been sentenced to eight years in federal prison, after prosecutors say he falsely billed patients for more intensive and expensive procedures than he actually performed, earning at least $3.6 million dollars, and fraudulently obtained two COVID business relief loans.

Ameet Goyal, 58, of Rye, NY, also faces five years of probation upon release from prison, the U.S. Attorney’s Office for the Southern District of New York said in a statement.

Goyal was charged over the health care costs in November 2019, but after being released on bail, prosecutors say he fraudulently obtained two loans through the federal Paycheck Protection Program, from the federal money intended to help businesses pay their employees during the early days of the pandemic. Instead, investigators allege Goyal put the money — some $637,200 — into paying for a Westchester country club and a California vineyard.

US Attorney Damian Williams said Goyal was a prominent eye doctor and oculoplastic surgeon and had given up his medical license. He claimed Goyal was “blinded by greed”.

“Over a period of seven years, he took advantage of the trust placed in him and deceived patients and insurance companies out of $3.6 million in false accusations,” Williams said in a statement. “To cover his tracks, he created fictitious operative reports, strewn across hundreds of patient records, violating the integrity of patients’ medical records and making it more difficult for subsequent physicians to assess their care. He sent patients who couldn’t pay the coded bills to a collection agency, decimating their credit.

Goyal was ordered to pay $3.6 million in restitution, as well as $3.6 million in forfeiture, Williams’ office said.

He pleaded guilty to an indictment, charging him with healthcare fraud, wire fraud and healthcare-related misrepresentation for the allegations of coding medical procedures. He also pleaded guilty to bank fraud, misrepresentation on a loan application, and “misrepresentation in a matter within the executive jurisdiction of the United States government” in connection with PPP loans, the official said. Williams office.

Goyal’s firm, Rye Eye Associates, had offices in Greenwich and New York in Rye, Mt. Kisco and Wappingers Falls.

Investigators alleged that between 2010 and 2017, Goyal ‘constantly’ replaced lower-cost surgical procedures and exams with more complex, higher-paying ones in bills he submitted to Medicare, insurance companies and to patients.

Authorities say he also pressured other employees in his firm to accept the program. They also claim that he “systematically falsified patients’ medical records, writing fictitious operative reports that corresponded to the complex operation he billed for rather than the various minor procedures he actually performed,” said Williams’ office in a statement.

The higher charges “resulted in patients paying thousands of dollars out of pocket for fraudulently billed charges and initiating debt collection proceedings against patients who failed to pay the full amount of these false charges,” says the press release.

After his arraignment and release on bail, Goyal applied for PPP loans from a bank and the Small Business Administration for $358,700 and $278,500, prosecutors said. They allege Goyal submitted the same report for each loan and claimed to have no pending criminal charges against him at the time of the loan applications.

“Goyal used the company checking account into which these funds were deposited to pay for business and personal expenses, including making a payment to a country club in Westchester, New York within days of receiving the first loan, as well than payments to a California vineyard. and golf merchandise website,” the statement read.

The school board approves the creation of new positions in art and music | Local News


The Hopkins County School Board approved the creation of two visual performing arts teachers, as well as a vocal and instrumental music teacher position at Monday’s meeting.

Wendy Mitchell, director of elementary education for the school district, the two visual arts teachers would benefit students by allowing teachers to build relationships with students rather than moving from school to school as they are currently doing.

“They rotate and the kids get three weeks of art, three weeks of music, and the other twelve weeks they get physical education with integrated dance,” she said. “They do physical education all year, but they can dance for a term.”

She said that currently there is an art teacher serving the elementary schools of Earlington, Southside and Grapevine, one serving the elementary schools Jesse Stuart, Hanson and West Broadway and one serving the elementary and middle schools of West Hopkins as well as Pride Elementary.

“We did this rotation, it’s been over five years, and it’s worked, it’s served us well, but we think we can serve students better, build better relationships, have more oversight by having this position at full time at each building,” Mitchell said.

Students will have access to the performing visual arts teacher for 36 weeks instead of just 12 weeks at a time, she said.

The part-time vocal music teacher at West Hopkins and the part-time instrumental music teacher at Hopkins County Central High School would help level the playing field across all schools.

Mitchell said Madisonville North Hopkins High School currently has a full-time group principal and a part-time middle school principal supporting the position, while Central does not.

“We want to try to equalize these programs to make sure we’re giving equitable access,” she said.

This instrumental music teacher at Central would also work part-time at West Hopkins as a vocal music teacher.

“At the moment they don’t have a standalone choir program and they’re the only college that doesn’t have one,” Mitchell said.

All of these jobs would be for the 2022-2023 school year.

Kabbage provided vital loans to small businesses during the pandemic


When Kabbage withdrew from its previous international focus, co-founder Kathryn Petralia said the strategy paid big dividends.

At one point, Kabbage developed partnerships with banks that saw its technology propel small business lending in seven countries.

These relationships are hard to maintain, and it’s hard to teach leaders the importance of taking ownership of the customer experience. There were plenty of opportunities in the United States, and Kabbage developed a suite of cash tools to help small businesses.

Catherine Petralia

“There was nothing like it for small businesses in the United States,” Petralia said.

She said America has 30 million small businesses, 80% of which employ fewer than 10 employees. Together they are a powerful economic force, but they are underserved by service providers.

Kabbage has begun to focus on simplifying finance functions for these entrepreneurs, who are pressed for time and don’t have the luxury of being CFOs, Petralia said.

They need basic operating systems, checking accounts, payment and bill processing, and bill payments.

Petralia said a payments product was launched before the onset of the COVID-19 pandemic, perfectly positioning Kabbage to process the second-largest volume of PPP loans in the program’s first run. The average loan amount they processed was $11,000.

“It was a really exciting time for us to be able to serve these small businesses,” Petralia said.

In August 2020, Kabbage was acquired by American Express and began developing new products, still focusing on smaller businesses.

Few companies seek to meet such needs, she said. Bigger players like Square and PayPal are more monolined, but some newer ones like Wayflyer and Pipe show promise.

Petralia noted that many companies use external data sources to help evaluate apps, something Kabbage has been doing since their inception in 2008.

“What’s old becomes new again”

Few lent during the first 12 to 18 months of the pandemic. Add government relief and there was a lull. Then came the K-shaped recovery where some sectors, including many restaurants and retail establishments, fared well, Petralia observed.

Many of these successes are the result of careful adaptation, some developing an effective online strategy, others instituting delivery services and others leveraging social media.

While some businesses have sat on PPP money or used it to pay off higher-interest loans, Petralia said many small businesses need it to keep their lights on. Some even returned the money because they didn’t need it. Many had a problem: the rules were constantly changing, which made the criteria for forgiveness unclear.

Digital finance grew because people couldn’t go to a bank for a long time. This hurt small business operators who couldn’t make mobile deposits from their phones for business accounts.

A common observation from industry watchers is to expect more partnerships between fintechs and banks as the latter seek to play digital catch-up and the former to growth.

It depends on the particular niche the fintech operates in, Petralia warned. BBVA closed a pair of costly acquisitions that failed to pay off. She sees most of these partnerships succeeding in banking services and basic infrastructure.

Small business interest in crypto is also low

Are small businesses very interested in cryptocurrency? Petralia has not heard from many customers who want it. Small business owners already take on enough risk without facing volatility.

Petralia admitted it was in a strange position during the pandemic, given the sale of Kabbage and the launch of PPP financing. This has left many lenders unsure of how to proceed.

She said she was watching inflation closely, which will have a significant impact on small businesses, with customers telling her the price of some items has doubled in price in recent times. Supply chain issues will also persist. The full effect of some of these factors has yet to reach the consumer.

Kabbage has long used fully automatic, real-time access to third-party data as well as machine learning models, Petralia said.

“It surprises me that there have been few other Kabbages.”

Is secure multi-party computing a process that can enable competitors in the same domain to collectively benefit from each other’s data without seeing it as an option as companies seek to refine their lending models? Only if everyone participates, Petralia said. Otherwise, you are only looking at one piece of the pie.

The data challenge

A challenge in financial services, especially on the consumer side, is that so little real data is available due to provisions of the Fair Credit Reporting Act, Petralia said. This law protects information collected by consumer reporting agencies such as credit bureaus, medical information companies and tenant screening services. The information may not be provided to anyone who does not have a purpose as specified in the law. Companies providing information to agencies have obligations, including to investigate disputes.

“Facebook doesn’t want to be a credit agency,” Petralia said.

Will the open banking movement have a revolutionary effect as it heads west? For now, Petralia reserves judgment. She noted that fewer people than expected in Europe were changing banks. Companies must also educate consumers about the benefits of the process. The user experience must also be superb.

“Hopefully we have a better plan for how this is going to be useful,” Petralia said.

The BNPL craze also fascinates her. She said it was nothing new and similar to what was on retail branded card products.

“The fervor around this baffles me,” Petralia concluded. “How many new BNPL companies can there be? »

Todd Rungren to perform songs from his favorite Beatles album on Fab Four-themed tribute tour – Everett Post


Todd Rundgren is one of many acclaimed musicians participating in the 2022 edition of “It Was Fifty Years Ago Today: A Tribute to The Beatlestour, which kicked off last week.

While the 2019 edition of the trek featured songs from The Beatles’ self-titled 1967 album, aka The White Album, this tour focuses on 1965’s Rubber Soul and 1966’s Revolver.

Todd, who was inducted into the Rock & Roll Hall of Fame last year, told ABC Audio that although he’s a fan of Rubber Soul, Revolver is his favorite Fab Four album.

“When they made Revolver…[they] actually redefine[ed] the [rock] kind of,” notes Rundgren, “adding in tape loops and backwards guitar solos and things like that, all kinds of studio techniques that nobody had used before.

Todd says that when it came time to choose songs to perform during the trek, he immediately “grabbed” two Revolver tracks that were part of the Beatles’ early forays into psychedelia – “She Said, She Said” and “Tomorrow Never Knows”.

“I said, ‘No one else does that but me,'” Rundgren recalled with a laugh. “No one else has taken as many drugs as me in this group, and therefore I qualify.”

Join Todd on the outing are Christopher Crossfounder Moody Blues and wings member Denny Laine, bad fingerit’s Joey Molland and old Chicago singer/bassist Jason Scheff. Each artist performs several Beatles songs, as well as some of the best-known songs from their own career.

Rundgren says the tour members’ own hits “get just as great a response” as the Fab Four songs during the show.

The tour continues tonight in Red Bank, New Jersey, and wraps up March 27 in Kansas City, Missouri. Visit GlassOnyonPR.com for a full list of dates.

Copyright © 2022, ABC Audio. All rights reserved.

LÄTHER PLAYS MUSIC BY FRANK ZAPPA – ADELAIDE FRINGE 2022 at the Osmond Terrace Function Centre, Norwood Hotel


Reviewed by Ray Smith, Saturday March 5, 2022.

As my guest and I walked into the quick and cozy Osmond Terrace reception center to see Läther play Continuity: Läther plays the music of Frank Zappa live, I was excited for two reasons. The first was that I was on an annual pilgrimage, or is it an indulgence, to see one of my favorite ensembles play impossible music live, and the second was that my mate had never seen one of my favorite ensembles playing impossible music live, and I couldn’t wait to see his reaction. The band takes its unusual name from Frank Zappa’s posthumously released sixty-fifth official album, and is the brainchild of one of Australia’s most talented musicians, Tim Hogan.

Now, 65 might seem like a very high number of album releases, and the main reason for that is that it really is a very high number of album releases, but it has to be seen in context. 62 albums were released during Zappa’s lifetime, but the total number of albums released between 1966 and 2022 is over 120. There were only 10 albums recorded in the studio, and the rest were either officially released live recordings, or fake recordings of live events, some of which were later officially approved.

Such a back catalog gave Hogan an almost endless supply of material from which to work and, since many compositions were performed differently, many times and with different musicians, by Zappa, it also gave him and his selected musicians, an absolutely free hand to improvise around the composer’s themes and intentions. All he really had to do was find musicians in Adelaide with a deep interest in the works and of such an extraordinarily high level of skill that they could actually succeed.

To give the reader, particularly interested musicians, some insight into the challenges players of this material, at this level, face, I quote Hogan’s setlist for the evening’s performance. “Set 2, part 5, Dupree’s Paradise – open solos, key unknown”. Most musicians would read this, cry pitifully, put away their instruments, and go home to watch Netflix, and there were plenty of these helpful instructions on the band’s setlists. Hogan introduced this particular piece by saying, I don’t know what’s going to happen, and I don’t think those guys do either, and I’m sure you don’t! Atonal, arrhythmic, heavily affected guitar played an introduction, then a clear throw to Saunders for a saxophone solo to set the tone and give direction to the rest of the band. Absolutely, incredibly brave and a master class in improvisation.

Läther are: Gerry Masi on vocals and occasional sound effects, David Goodwin on keyboards, Jez Martin on bass, Jarrad Payne on drums, Ryan Simm on vibraphone and percussion, Dave Saunders on alto sax, Gareth Davis on trombone and Tim Hogan, arranger and conductor, on guitar. A veritable who’s who of virtuoso jazzmen from South Australia.

Their playing was, of course, extraordinary. Beautifully abstracted solos morphed in an instant into a unison interplay of patterns so fast and intricate they blew the mind, but it’s the silent onstage communication between the musicians that always strikes me when I watch Läther player. As one member of the ensemble launched into a wild and seemingly limitless solo, other members, providing no basis for their colleague, moved to the back of the stage or left it altogether, to allow the soloist to fully concentrate on the stage. audience, then, with an almost imperceptible wink, or a raised eyebrow, call them all back to join him for the next impossible track. Except for Payne, Martin and Goodwin, who were the very soil from which the solo would grow in nurturing, understated, egoless backing.

The deep respect these men have for each other is palpable, and the trust they place in each other’s play is born out of that respect and an intimacy that must be experienced to be understood.

Suddenly the solo ends and the players are once again locked in frantic unison lines that seem to ignore anything remotely normal in terms of time signature or pitch, but jump from one improbable note to the next. another in an exhilarating vagueness of delicious precision.

Goodwin smiles rapturously at Hogan on such a perfect landing, his hands moving too fast to keep up, Simm’s vibraphone hammers a blur above his instrument, Davis’ trombone joins Hogan’s guitar in lines that I thought, mistakenly, just too fast for such an instrument, Saunders’ saxophone finds harmonies on notes that only last a millisecond, Masi’s vocal lines leap effortlessly through octaves as if they don’t were only semitones, mirroring Hogan’s guitar, while Paynes’ polyrhythmic drumming underscores tiny changes of emphasis in the chaos, while Martin’s bass gently slices through the frenzy into perfect, bird-sized chunks. a bite, as if you were calmly cruising through traffic on the freeway. I was exhausted just watching and holding my breath as the drama unfolded before my eyes.

I met another Zappa enthusiast in the front row of the audience before the show started, and we managed a brief introduction and conversation while waiting for the performance to start. A Brazilian musician and event planner, he was very keen to hear how these Australian musicians would handle such intricate and intricate works. He knew every word of every song and anticipated every change in musical direction that occurred as the ensemble improvised from theme to theme. A true Zappa enthusiast. At the end of the show, he told me he had never seen Zappa perform live, but now he knows exactly how he would have felt if he had.

We clapped, we stood in awe, we clamored for more as the second set drew to a close, but there couldn’t be any more, because Jarrad Payne had another gig to play that night, on the other side of town. This is hardly surprising considering the depth and breadth of Payne’s musicality. As Hogan said of him, “the greatest thing you can do is stand before this man.”

Hogan was wrong, of course, because the best thing you could do is sit in front of these eight men as they weave improbable stories with unimaginable precision, at ridiculous speed, while smiling happily at each other, like us in the audience. let’s hold our collective breath. It was an absolutely thrilling and deeply satisfying performance of some of the most complex contemporary music ever conceived, and it was quite different from the last time I saw Läther live. Like it should be.

Dancing On Ice viewers rage as Brendan Cole opens the show again and gets a perfect score after the ‘fix’ line


FORMER Strictly star Brendan Cole was once again first on the ice during Dancing On Ice tonight.

Viewers groaned after seeing him kick off the show, with one frustrated fan tweeting, “Here we go, starting with Brendan and Vanessa.”


Vanessa Bauer and Brendan Cole of Dancing On Ice opened the show1 credit
They won a perfect score again tonight


They won a perfect score again tonight1 credit

Smoked a lot on Twitter after fans claimed last week that the ballroom dancer had an edge on the ITV series by being the first celebrity to hit the ice each week.

Tonight, celebrities delivered routines inspired by Olympic champions and show judges Jayne Torvill and Christopher Dean.

Brendan, 45, and his partner Vanessa Bauer kicked off the quarter-finals with a stunning performance on Let’s Face The Music And Dance from the movie Follow The Fleet.

They finished their routine with a successful headbanger, earning them another perfect score of 40.

When asked how he found the routine, Brendan replied, “Scary, completely scary. There was so much content in there and we wanted to do Jayne and Chris justice.”

And Jayne Torvill told her, “everything went wonderfully” before fellow judge Ashley Banjo described the routine as “almost perfect”.

But viewers took to social media to express their displeasure, once again claiming his appearance on the show was a “solution”.

He got another incredible score from the judges last Sunday during Props Week.

One said: “No matter how good he is and despite what they say, the dancers have an advantage…”

Another person said: “No matter what people say Brendan has the biggest advantage in this competition. Yes Kimberly and Regan also have a dance background but they are not used to teamwork and lifts . All Brendan has to do is learn to skate and he’s good to go.”

Another said: “I thought Stef and Andy deserved 10 points down the line! I prefer them to Brendan tonight!”

A theory circulated on Twitter last week claiming that Brendan received a secret boost from producers by being allowed to skate first.

Fans say Brendan gets an unfair advantage by opening the show every week


Fans say Brendan gets an unfair advantage by opening the show every week1 credit

SXSW Music 2022 in Austin – 10 Must-See Local Artists

SXSW Music 2022 in Austin – Top 10 Local Artists

SXSW Music 2022 is almost here and like every year I profiled 10 of the best local artists!

After two years of cancellations and virtual showcases, the South by Southwest conference and festivals are back with a screaming vengeance. On the music side, nearly 2,000 artists are preparing to hit our beautiful city, including more than 200 from ATX. A whirlwind of music and discovery, SXSW 2022 is poised to be one of the ages.

To celebrate SXSW’s triumphant return, I’ve compiled my Top 10 Austin artists you absolutely must see at this year’s festival. As always, here are the rules!

  • This list is in alphabetical order.
  • As always, I only choose bands and artists that I have never featured in my annual list or covered in detail on this site. You can read my annual lists here: 2016, 2017, 2018, 2019, 2020, 2021

SXSW Music 2022 in Austin – Top 10 Local Artists

1/ Adam Ostar

On first listen, you’d be tempted to call Adam Ostrar 60s retro folk. Crank out a few songs and you’ll learn that’s only one piece of the puzzle. Combining American folk with a Texas twang, Ostrar’s sound is familiar because it’s unique. “Take It Back” mixes a groove through an urgent Dylan-esqe Bleecker Street bop while “Kansas City” is the kind of subtle storytelling that helped me fall in love with the genre. A wonderful artist worth exploring and enjoying at the earliest opportunity.

2/ Blackillac

Blackillac dominated the VRBO scene at ACL Fest 2019 (Credit: John Cabuena/Flipintex Fotos).

Ever since I saw Zeale perform at 3Ten ACL Live in 2017, I knew I would follow him anywhere. Who knew a year later he would team up with flow master Phranchyze and create one of Austin’s best punches. Their latest record, “Indigo Room” is chock full of bangers. “Like Me Tho” sways and sways to a minimalist beat while “Viral” comments on our current state of social media’s obsession with style and flow. Don’t sleep on Blackillac, y’all. Should be up your SXSW schedule.

3/ Calliope Musicals

Carrie Fussell Calliope Musicals SXSW 2019
Carrie Fussell of Calliope Musicals during SXSW 2019. (credit: Bill Tucker)

It is an inexcusable crime. Calliope Musicals didn’t make any of my SXSW lists (apart from superlatives). A nitro explosion of color, power and musical joy, Carrie Fussell’s glam renegade band of jammers is particularly sensational. Let the dirty growl of the bass of “Color/Sweat” drag you into the maelstrom, swirl through the explosive groove of the strings of “That’s Why We Dance.” When you’re ready, escape to relative normality with their latest single, “Dr. Poivre.” And see them live for heaven’s sake. You will thank me later.

4/ Jon Muq

Jon Muq performing at the Moody Theater in 2021 for the Black Fret Black Ball. (credit: Bill Tucker)

Some artists go online the minute you hear their music. Others require a live frame before appreciation sets in. For me, Jon Muq fits into the latter. It only took two songs at Black Fret Black Ball 2021 to make me an insta-fan. Disgusting yet powerful, Muq’s unique voice reaches untold emotional depths and sends back touching truths and vivid imagery. While originals like “Always Remember Us This Way” demonstrate the full range of Muq’s skills, his cover of Birdy’s “Skinny Love” is inspiring. An artist I can’t wait to see again on the SXSW stage.

5/ Kydd Jones

Austin hip hop is enjoying a well-deserved renaissance. And when it comes to MCs leading the charge, Kydd Jones deserves to be in the conversation. His latest album, “Onyx d’Or”, is the musical equivalent of a collection of short stories. Of its 16 tracks, the highest notes go to the laid-back bumper “Sprinter” and “Sam’s Club,” a relaxing, drum-studded track featuring the incomparable Jackie Venson. An MC of exquisite flow and rockstar chops, Kydd Jones continues to fuel the ATX hip hop revival with skill and swag.

Be sure to check out my lists from previous years – 2016, 2017, 2018, 2019, 2020, 2021

Electric guitar resting on an amp, inlaid with the title

SXSW Music 2022 in Austin – Top 10 Local Artists – Continued

6/ Motenko

Motenko performing the Black Fret Black Ball 2021 at the Moody Theatre. (credit: Bill Tucker)

Blending Motown, blues, funk and nearly every other influence known to man, Micah Motenko’s sound is a joy to listen to. Tunes like the soulful “On Your Level” feature Motenko’s signature piano while “The Thief” grooves through subtle drum work, soft touches and sharp lyrics of loss and regret. Another artist who begs to be experienced live, Motenko delivers a special brand of rare and special vibes.

7/ Primo the extraterrestrial

Primo the Alien performing at Black Fret Black Ball 2021 at the Moody Theatre. (credit: Bill Tucker)

Before seeing her live at the Black Fret Ball, I thought of Primo the Alien as a talented songwriter who creates infectious pop tunes from a box of Crayola sounds and influences. Afterwards, it is a primordial force of nature. Using the backdrop of the 80s synth to create new and exciting music, Primo transcends the modern new wave genre. And the woman can belt like the best in ATX. One of my favorite artists to emerge over the past five years and must-see during SXSW 2022.

8/ Mister Woman

Kelsey Wilson of Sir Woman performing at the 2020 Austin Music Awards. (credit: Bill Tucker)

Don’t make a mistake. Kelsey Wilson is an Austin musical treasure. Once a Wild Child side project, Sir Woman has become a powerhouse with its own groove and soul. Wilson’s upbeat, effortless vocals shine on the charming “Highroad” while their latest release, “Get What You Want,” layers strings, jazz bar piano and sparse guitar to create a touching 70s soul jam. . I’ve had the chance to see Wilson perform several times, and each time is not just a new experience. It is an evolution. Listening and attendance required for SXSW participants.

9/ Sun June

June Sun Group
Sun June’s whimsical and melancholic indie rock is as thoughtful as it is soothing. (credit: Bryan C. Parker)

Indie pop is a broad and often tense genre. Built from a web of influences and styles, the bands get lost in the label. Sun June stands out from the crowd with sharp lyrics and cloudy afternoon vibes. Vocalist Laura Colwell’s dreamy, evocative sighs and coos accompany subtle bops and rhythms. “Bad girl” tells a mournful short story about an escape to the Big Easy while “Everything I had” ups the tempo and emotional temperature in equal measure. Soft and austere pillow well suited to nostalgic gazes from bedroom windows and moments of contemplation. Absolutely love it.

10/ We don’t ride llamas

Sometimes you need a little grunt in your day and this fierce quartet delivers in a major way. “The Flies” turns a wicked punk flaw into a sonic nod while their latest single, “Venus & Mars,” is an infectious funk earworm with a tight guitar line and silky-smooth vocals. . A band I predict big things for and can’t wait to stay up late to check out during SXSW 2022.

Stay up to date on all the fun happenings and activities with our guides Things to do in Austin this weekend, Things to do in Austin this week and Things to do in Austin with kids this weekend

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Thomas Rett Talks New Album, Song Ahead of ACMs


(NewsNation Now) – Country music star Thomas Rhett’s new song is unlike anything he’s written before – so he’s excited to perform it for the first time at the Academy of Country Music Awards this Monday.

“I’m working on some really cool stuff for that song that night, and I think it’s going to be fun to watch,” Rhett told NewsNation’s “Morning in America.”

Rhett, nominated for Male Artist of the Year and Album of the Year, said he wrote the song “Slowdown Summer” a year and a half ago with the help of some good friends.

“It was very unique,” he said.

Rhett said his new album ‘Where We Started’, which will be released in April, will take people on a “crazy emotional journey, to make you want to cry, to make you want to dance, to make you want to just put on a beer in the air.”

The album has already been endorsed by his family, wife Lauren and four young daughters.

“My kids are, and my wife has always been a huge inspiration in my music-making process,” Rhett said. “If my kids don’t like a song, then it probably won’t make it to the record.”

When he drives his two oldest children to school, Rhett will play his musical demo for them to try to gauge their reaction. If they move their head and know the words after listening to a catchy song several times, then they will know that song is a winner.

But for slower songs, says Rhett, they only have one question: Was the song about them?

“If I say, ‘Well, no, that one wasn’t,’ then they’re like, ‘I don’t really like it then,'” Rhett said.

Recently, Rhett was in a Fritos commercial, the company’s first in 20 years. This really impressed the children of the singer-songwriter.

“We watched it probably 50 times in a row,” Rhett said.

However, his younger children are a bit confused when they see their father on the big screen.

“Lennon, she’s 2, and so every time she sees me, like at an awards show, every time I play a music video, and especially for that Fritos commercial we just did , she looks at the screen, then she looks at me,” Rhett said. “She doesn’t understand how I’m in two places at once.

For parents, Rhett said, it’s important to enjoy the time with their children while they have it and to “treasure those really sweet times.”

“At this stage of the infant, there are definitely nights at 2 a.m. where you are up, rocking or feeding or putting a pacifier back in your mouth…. (where you’re like) “Man, I’m exhausted,” Rhett said. “But in the end, you wouldn’t trade it for anything in the world.”

Being a parent, Rhett said, is one of the most special things he has to do.

“I really love watching them grow and can’t wait to see who they become,” he said.

Hosted by Dolly Parton, Jimmie Allen and Gabby Barrett, Monday’s Academy of Country Music Awards show will stream live exclusively on Amazon Prime Video beginning at 8 p.m. ET.

Aladdin’s Adam Jacobs Will Be King of Siam in The King and I of Drury Lane


Alan Paul will lead a cast that also includes Betsy Morgan, Christine Bunuan, Paulina Yeung and Ethan Le Phong.

Adam Jacobs, who originated the title role in Disney’s Broadway production Aladdinwill play the King of Siam in the Drury Lane Theater 2022-2023 season opener, The king and me.

Directed by Alan Paul with musical direction by Tim Laciano and choreography by Darren Lee, performances at the Illinois site are scheduled for April 1 through May 22.

Betsy Morgan

Jacobs will be joined by Betsy Morgan as Anna Leonowens, Christine Bunuan as Lady Thiang, Paulina Yeung as Tuptim, Ethan Le Phong as Lun Tha, Braden Crothers as Louis Leonowens, Nolan Maddox as Alternate Louis Leonowens, Matthew Uzarraga as Prince Chulalongkorn, Karmann Bajuyo as as Kralahome and Victor Holstein as Captain Orton/Sir Edward Ramsey.

The set includes Kristine Bendul, Chih-Jou Cheng, Mai Claypool, Hannah Fernandes, Albert Hsueh, Kenway Hon Wai K. Kua, Kevin Kulp, Anthony Christopher Milfelt, Nich O’Neil, Yuki Ozeki, Aurora Penepacker, Richel Mari Ruiz, Garrett Shin, Marissa Swanner, Ayana Strutz and Michiko Takemasa. The set of children includes Avelyn Choi, Dante Garcia, Enzo Garcia, Elle Laroco, Vin Laroco, Rika Nishikawa and Alexandrya Salazar.

According to Margaret Landon Anna and the King of Siamthe classic musical has music by Richard Rodgers and book and lyrics by Oscar Hammerstein II.

The upcoming production will also have associated choreography by Yuki Ozeki, dance captain of Lincoln Center’s 2015 Broadway revival of the work.

The Drury Lane season also includes Steel Magnolias (June 10-July 21), Agatha Christie’s Murder on the Orient Express (August 31 to October 23), Elf the Musical (from November 9, 2022 to January 8, 2023), and A chorus line (January 25-March 26).


To have! Kelli O’Hara and Ken Watanabe Share a Dance in Gorgeous First Photos from The King and I

Eligibility, timing in question for PPP loans; $1.2 million went to Pennsylvania unions | State


(The Center Square) – The federal payment protection program established in 2020 to help small businesses and protect the jobs of their workers was finally allowed to include unions, and millions of forgivable loans ended up with them and other organizations.

Eligibility and timing are in question for many, according to a new report of the Freedom Foundation. Nationally, labor organizations received $36.7 million in P3 funds and $1.2 million ended up in the hands of Pennsylvania unions.

“Disturbingly, the apparently inappropriate PPP loans may have been made due to fraudulent loan applications or other questionable behavior by applicants or private lenders operating under the delegated authority of the SBA,” Maxford wrote. Nelsen, author of the report and director of labor policy at the Freedom Foundation. .

PPP eligibility expanded from small businesses and nonprofits in March 2020 to include unions and construction companies by March 2021. But many unions applied for funding before they could legitimately receive largesse.

Teachers’ unions and state and local government employee unions across the country have received funding, although they have not been affected by the kinds of economic shocks that private businesses have experienced.

“It was a complete breakdown of how the program was supposed to work,” Nelsen said.

In Pennsylvania, the following unions have received funding:

  • IBEW Local 375 ($46,880).

  • Graphic Communications Union Local 4C ($23,100).

  • PA AFL-CIO ($267,762).

  • Teamsters Local #77 ($86,900).

  • Local 66 AFL-CIO Operations Engineers ($180,100 in 2021).

  • Local 66 AFL-CIO Operations Engineers ($180,100 in 2020).

  • IATSE Local 489 ($40,251 in 2021).

  • IATSE Local 489 ($28,400 in 2020).

  • The Training and Education Fund ($187,900).

  • UFCW Local 1776 ($171,822).

Since most unions were not eligible for PPP loans before the law was enacted on March 11, 2021, these were not misclassified documents. They were ineligible for program funds at all during the period in which they applied. Because the documents went through private lenders and not the Small Business Administration, the applications are not publicly available. Thus, it is unclear whether private lenders failed to understand the program’s qualifications or whether unions misrepresented how the funds would be used.

“It has become quite clear in the year since the program’s inception that the SBA did not have appropriate controls in place to ensure funds only went to eligible recipients,” Nelsen said. .

“Loans determined by the loan review process to have been issued to ineligible borrowers will not be forgiven,” SBA Administrator Jovita Carranza wrote after a critical report by the investigator general.

Still, the Freedom Foundation noted that $24.2 million of the $36.7 million in union loans has already been forgiven.