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Chamber Music Sedona turns 40

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Chamber Music Sedona is celebrating its 40th year this 2022-23 season and with that, some amazing world-class musicians are coming to town.

Their mission is to bring exceptional classical music to the people of Sedona, Verde Valley and Northern Arizona. Their plan is to help enrich their musical culture with some of the best musicians in the world to help promote a love of the performing arts through music education programs. Nick Canellakis, Artistic Director of Chamber Music Sedona, joins us today on Arizona Horizon.

A look at Canellaskis and his journey

Canellaskis is an artist of the Chamber Music Society of Lincoln Center, he is also a winner of the prestigious CMS Two International Auditions and was also considered a “superb young soloist”. He is also a former graduate of the Curtis Institute of Music and the New England Conservatory.

He is also a regular guest performer at many of the world’s largest music festivals, including the Ravinia in Santa Fe. Film and theater are other areas of Canellaski’s interests. While participating in seven short films, Canellaski has experience in production and direction. His latest film, “Thin Walls”, has been nominated for awards at many top film festivals.

The History of Sedona Chamber Music

Chamber Music Sedona was established in 1983 as a non-profit organization to present two-week festivals at Verde Valley School. CMS would continue to include concerts in Prescott, Flagstaff, Jerome and Cottonwood. In 2018, CMS then hired Canellakis from the Chamber Music Society of Lincoln Center as artistic director.

CMS welcomed over 550 new artists into the community to perform, while growing audiences at each concert. Thanks to the power of more dynamic programming, the audience has grown to 200-350 per concert.

If you would like more information about Chamber Music Sedona, Click here. or if you want more information about Nick Canellakis, Click here.

The Architects Share ‘Tear Gas’ Lead Single From Their New Album

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The Architects have announced a brand new studio album titled Classic Symptoms of a Broken Spirit, which will be released via Epitaph on October 21. The announcement is accompanied by the release of the first single “Tear Gas”, an arena-ready anthem filled with industrial pedals.

Classic Symptoms of a Broken Spirit will be the band’s 10th studio album and follow last year’s critically acclaimed For These That Wish To Exist. The group barely had time to celebrate the success that they began the process of writing the songs that make up the new album.

Produced by Dan Searle and Josh Middleton, with additional production by Sam Carter at Deacon’s Middle Farm Studios and their own HQ, Electric Studios in Brighton. The band were encouraged by finally being back in the room together after their latest album was released mostly remotely due to COVID restrictions, the result was something altogether more “free, playful and spontaneous” explains the drummer and songwriter of the group Dan. “This one is more live, more exciting and more fun – it has that energy. We wanted it to be a lot more industrial and electronic,” frontman Sam Carter confirms.

Layers of electronic and industrial elements infuse the album with a burst of energy that sets the cinematic vibe of the 11-track ride. There’s more than a nod to the band’s post-rock influences as well as now-familiar anthems such as “When We Were Young” and new single “Tear Gas.” “Anything is possible – awaken the unstoppable.”

Watch the new music video here:

2022 TOUR DATES

September 6 – Minneapolis, MN @ First Avenue

September 8 – Milwaukee, WI @ The Rave Hall

September 9 – Chicago, IL @ Riviera Theater

September 10 – Columbus, OH @ Newport Music Hall

September 12 – Indianapolis, IN @ Deluxe – Old National Center

September 13 – Cleveland, OH @ Agora Theater

September 15 – Royal Oak, MI @ Royal Oak Music Theater

September 16 – Toronto, ON @ Canada Rebel

September 17 – Montreal, QC @ Canada Mtelus

September 20 – Boston, MA @ House of Blues – Boston

September 21 – New York, NY @ Terminal 5

September 22 – Philadelphia, PA @ The Fillmore – Philadelphia

September 23 – Silver Spring, MD @ The Fillmore – Silver Spring

September 25 – Louisville, KY @ Louder Than Life Festival

September 26 – Norfolk, VA @ The Norva Theater

September 27 – Raleigh, NC @ The Ritz – Raleigh

September 29 – Nashville, TN @ Marathon Music Works

September 30 – Atlanta, Georgia @ The Masquerade

October 1 – St. Petersburg, Florida @ Jannus Live

October 3 – Dallas, TX @ Granada Theater – Dallas

October 4 – San Antonio, TX @ The Aztec Theater

October 6 – Tempe, AZ @ Marquee Theater

October 7 – Los Angeles, CA @ The Novo by Microsoft

October 9 – Sacramento, CA @ Aftershock Festival

November 5 – Leeds, UK @ First Direct Arena*

November 6 – Glasgow, UK @ OVO Hydro*

November 8 – Dublin, IE @ 3Arena*

November 9 – Belfast, IE @ SSE Arena*

November 11 – Birmingham, UK @ Utilita Arena*

November 12 – London, UK @ 02 Arena*

November 14 – Cardiff, UK @ Motorpoint Arena*

November 15 – Bournemouth, UK @ International Center*

* Biffy Clyro support

Disney’s The Little Mermaid musical will be at the SCCC!

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Drama Geek Studios is proud to bring to the Sussex County Community College (SCCC) stage this summer the complete version of the modern fairy tale, Disney’s The Little Mermaid with music by Alan Menken, lyrics by Howard Ashman and Glenn Slater and Doug Wright’s book. Based on and adapted from a fairy tale written by Hans Christian Andersen, this show tells the epic story of wishes, love, family and the choices we make. There is something for everyone!

Ariel, the youngest daughter of King Triton, wishes to pursue the human prince Eric to the upper world, negotiating with the wicked sea witch, Ursula, to trade her tail for legs. But the market isn’t what it seems, and Ariel needs the help of her colorful friends Flounder the fish, Scuttle the seagull and Sebastian the crab to restore order under the sea.

Shows of this caliber take place once a season and you don’t want to miss them! The cast of Disney’s The Little Mermaid is made up of residents of Sussex County, Morris County, Passaic County and Middlesex County, ages 8-76! When asked why Drama Geek Studios chose to make Disney’s The Little Mermaid at that time, Artistic Director and Owner Joshua Reed had this to say, “There’s no bad time for a comedy. Disney musical and felt a show about wishes, family and dreams. coming true was exactly what people needed to see!

Tickets to Disney’s The Little Mermaid are $17 for students 17 and under; seniors 65 and over are $15. Adult tickets are $22. Performances will take place on the weekends of July 15, July 22 and July 29 with Friday and Saturday performances at 8 p.m. and Saturday and Sunday matinees at 3 p.m. The Saturday matinees will be interpreted by the understudy. To purchase tickets, visit dramageekstudios.com.

Drama Geek Studios is a non-profit community theater and is the theater-in-residence at Sussex County Community College, located at 1 College Hill Road, Newton.

“Mrs.” by Laura Karpman. Marvel’s Score Is As Colorful As The Series Itself

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The music to “Ms. Marvel” is as colorful as the bright, splashy visuals of the Disney+ series, and composer Laura Karpman – who just completed five months of scoring – relished the challenge.

Karpman frames it like this: “How do you bring someone like Kamala Khan into the Marvel Universe, give her the kind of dignity and presence of all the other major Marvel superheroes, and also recognize where she’s coming from? “

The answer, in part, was close collaboration with executive producer Sana Amanat, who came up with specific musical ideas and even suggested a violinist to contribute unique sounds. She often spent up to seven hours a week at the composer’s studio in Los Angeles.

Karpman, a five-time Emmy winner who scored animation’s “What If…?” last year. from Marvel, had already been announced as the composer for next year’s big-screen feature “The Marvels” when “Ms. Marvel” (actually a prequel to “The Marvels”) arrived in February of this year.

“The Marvel superhero encounters a deep and meaningful legacy that also had to be part of the show’s sound,” she says of her overall concept for the score. “It’s about representation, about bringing up people who haven’t been seen in a certain way cinematically yet. And when I can help with that, it’s really satisfying for me.

Kamala Khan (Iman Vellani) is a Pakistani teenager and Captain Marvel fan from Jersey City, NJ, who inherits a magical bracelet that gives her cosmic energy powers. Her journey ultimately brings her back to her grandmother’s home in Karachi and the unveiling of family secrets related to the partition of India in the 1940s. The series’ sixth and final episode drops on Wednesday.

Kamala’s superhero side would need a traditional orchestra, but her heritage suggested a South Asian musical component. And, Karpman recalls, “she’s a teenager. Kamala’s theme had to be hip, driven by contemporary beats, dhol beats, tabla beats, or both.

Adding South Asian flavors, a variety of artists, most of them recording remotely in India and Pakistan: musicians playing string sarangi and sursringar, bansuri flute, mridangam drum, as well as two unique soloists: violinist Raaginder, a specialist in Indian classical music, and singer Ganavya Doraiswamy, raised in South India.

“I wrote major themes, sent them out, and then saw what came back,” Karpman says of his world music performers. “But then they would do a third or fourth take, and sometimes the most interesting stuff was in those takes, when they started to improvise. It was incredibly exciting.

Karpman combined these sounds with a 70-piece orchestra, which recorded weekly at the Synchron Stage in Vienna; and, for Episode 5 (set entirely in Pakistan), an eight-voice choir of South Asian singers singing partially in the Urdu language.

“I brought music and themes that I had written,” she says. “And together, as a group, we found the sound of the choir. Incredibly extraordinary things happened during this session. It was lightning in a bottle, not only having to come up with quick ideas based on what was going on in the room, but also what people were throwing back at me. It was one of the greatest sessions I have ever attended in my life.

The music, which accompanied the powerful train sequence in Episode 5, will be included in Volume 2 of “Ms. Marvel’s Soundtrack,” also slated for Wednesday. (Volume 1, containing music from episodes 1-3, was released June 22.)

In addition to Kamala’s theme, there are sub-themes for the bracelet, her heritage, a love theme for Aisha and Hasan (Kamala’s great-grandparents) and more. In addition to mixing all of these acoustic elements together, a fair amount of production and processing went into it.

That a television series from the Marvel Cinematic Universe would show viewers the history and tragedy of the region is not lost on Karpman. “When you present people who have no idea what partition is and how destructive the diaspora has been, you feel responsible,” she says.

“I tried to be as authentic as possible by collaborating with a lot of different musicians. I bring what I can, which is a sophisticated orchestral score combined with these incredible elements from a tradition that is not my own. I’m glad they asked me to do it.

‘It’s manic!’ Turner winner Mark Leckey’s dream comes true as he opens art school in Cornwall | Art

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IIt’s a beautiful summer Saturday in the former Cornish mining town of Redruth. White clouds glide picturesquely over Carn Brea, the hilltop landmark that overlooks the town, but Liam Jolly has no time to take in the view.

“It’s manic!” said the artist as he plunged into the darkness of auction house, its ramshackle little gallery just off the main street. Inside, it’s buzzing with activity. Amplifiers and mixers are stacked along the walls. Gallery owners in headphones shake their heads. Projections dance across the walls, showing distorted fractals, psychedelic Cornish landscapes and street signs that have taken on an animated life of their own. Ambient beeps and drones drift down the street, causing shoppers to stop. Perplexed, they look inside to determine the source of the noise.

“Not the sort of thing you usually see in Redruth on a Saturday,” laughs Jolly. “Most people are just shopping. But it’s so exciting for the city, especially for young artists showing their work for the first time. And all thanks to Mark. Without him, this would never have happened. »

The Mark is Mark Leckey, the Turner Prize-winning artist best known for his video work, from Fiorucci Made Me Hardcore in 1999 to O’ Magic Power of Bleakness, at Tate Britain 20 years later. Throughout June, Leckey worked with 10 young people taking part in his Music & Video Lab, a month-long program developed in partnership with Auction House and the West Cornwall Arts Organization. Castfunded by £15,000 from Arts Council England.

Gathering place… young people experiment at the Music & Video Lab. Photography: Perran Tremewan

It is the realization of a long-held ambition for Leckey: to create his own art school, a school that provides opportunities for young people excluded from traditional institutions due to an unaffordable cost of living and tuition fees. exorbitant. “If you’re not middle class,” he says, “art school is always seen as something beyond you. I came out of art school thinking that I was not intellectually equipped to be an artist. I felt like I lacked knowledge, intellectual reasoning – simply put. I’m not quite sure I’m done now. I always thought there had to be other ways to learn to be an artist than art school. That’s what it’s about.

After an open call, students were selected from locations around Cornwall, with an emphasis on “young people who wouldn’t normally even consider the idea of ​​an art school”. Throughout June they worked three days a week alongside Leckey, Jolly and producer Stuart Blackmore, experimenting with video software and editing tools to create work, with guest talks by artists such as twin gazelle, Lee Gamble and Pattern.

“We deliberately didn’t mention the art,” says Leckey. “We talked about it like a music and video lesson. The biggest obstacle to creativity is the feeling that it’s not for you. We were trying to circumvent the criticality and encourage them to be as free to do as they could be.

Inspiring… a teaching session.
Inspiring… a teaching session. Photography: Perran Tremewan

The fact that the project took place in Redruth has an additional significance. Once one of the wealthiest towns in Cornwall, thanks to the mining boom of the 18th and 19th centuries, the Redruth area is now one of the most deprived in the county, a world away from the sanitized vision of Cornwall perpetuated by fluffy TV shows and glossy real estate brochures.

“Visually and symbolically, this was the right place to do it,” says Teresa Gleadowe, Cast president and driving force behind the project. “The young people of Cornwall are quite isolated, but Redruth is a good gathering place. Part of it was just bringing them together in one space and letting artists like Mark and Liam take the lead. For me, the strength of the project is that Mark doesn’t look like a teacher: he’s just someone who talks about why he does work, what it’s for, how it makes you feel. It’s very inspiring.

The success of the lab has inspired the team to think about future projects, perhaps more workshops in London, Manchester or Liverpool. Leckey will also feature music from the Lab on his weekly radio show on NTS. “I was hoping for something amazing and new,” says Leckey. “It was the dream. And it’s absolutely fulfilled that. I would like to do it again.

For the students, it was a life-changing process. Among them is Kittie Smith, a 21-year-old singer-songwriter from Helston. After dropping out of a music degree at Brighton due to soaring costs and the demands of caring for three young children, she was able to reconnect with her songwriting and rediscover the confidence to perform.

“Working with Mark and Liam,” Smith says, “gave me the freedom to be who I am without being afraid of someone telling me I wasn’t good enough, which I constantly heard back home. music school. Everyone was supporting each other: we were just Cornish kids who wanted to do something creative. That’s what the education system lacks. Creativity can’t be categorized, everything is subjective No one can create what you create.

Work produced at Auction House will be exhibited at Cast, Helston, Cornwall on August 5-3 September.

Lily Portia is taking the gospel music industry by storm with her debut album ‘Your Glory’

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Lily Portia Pramang Gyamfi better known by her stage name Lily Portia, is set to take the gospel music industry by storm with the release of an album titled: “Your Glory”.

Her brand of music and unique lifestyle, which over the years have distinguished her as a force to be reckoned with around the world, as she is known for giving her best in everything ‘she does.

With the new album, Lily Portia is indeed out ready to shave the gospel music scene like never before.

She continues to push and work tirelessly to become the best version of herself.

Lily Portia had her secondary school education at Afua Kobi Ampem Girls in the Ashanti Region of Ghana and her tertiary education at the Technical University of Accra, Ghana.

For the burgeoning entertainer, pursuing her God-given musical talent, since childhood, she said her top priority was the ministry of reconciliation.

The singer rose to fame with her debut single “Jesus Reigns” after being endorsed by media maven, Agyemang Prempeh of Power Fm, Dr. Cann of Happy Fm, Dan Lartey, Franky 5 of Hitz Fm and music producer Fred Kyei Mensah.

It maintained its mileage with later versions; Wo Ka Me Ho, Your Glory, Meyi Waye and his visuals coupled with other releases that got him more attention even on mainstream radio.

The album “Your Glory” was the one she announced in 2020 but was unable to release in a bid to produce more appropriate work that can match global standards while embodying the feat of the kingdom.

After several years of work and maximum contribution, the singer released the album on March 20, 2022, under the management of DWM MUSIC, a branch of the International Destiny Family Tabernacle aka Destiny Worldwide Ministries.

According to Lily Portia, the inspiration for ‘Your Glory’ came from Isaiah’s book.

“The word of God, indeed, does not lie. When I had given up, He prompted me with his word in (Isaiah 55:1), that his word should not fall into the void of the ground, except that it accomplishes all that he desires, so he said clearly, this is victory. He said to me, arise, shine for your light has come and the glory of the Lord has risen upon you (Isaiah 60:1) Oh Hallelujah,” she said.

She noted that each of the 15 tracks on the album is a ‘Rhema’ at every stage of her life that has kept her above all circumstances and she named it ‘Your Glory’ to give praise to God. .

Many music enthusiasts say the album will go down in history as one of the best gospel projects of 2022.

Lily Portia has been busy since the release of the album, she recently performed at Mission Praize which just ended with God’s Mission Ministries.

She is also invited to perform at “Worship Experience,” an annual program hosted by Destiny Worldwide Ministries, in September.

On how she handles challenges, she said, “I believe God has a way of ruminating and building up each individual, I’ve never seen what I’ve been through as a challenge. Rather, it was to build me up and make me the best woman God wants me to be.

Giving her advice to future gospel artists, she said, “Stay steadfast in prayer and fasting, be steadfast in the word of God, which is our manual of life, stay in the house of the Lord and serve with diligently with your gift from God. talent, because our primary mandate is to preach Christ through our songs,” she said.

In due course, Lily Portia will announce her next tour dates later this year.

Currently, his album “Your Glory” is playing widely on radio stations in Ghana and Nigeria, and it is available on all major streaming platforms.

The climbers review – disappointing and flat Everest game | Theater

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JThe location is perfect. If on a clear day you stand just beyond the theater by the entrance to the lake and let your eyes wander southwest, across Derwentwater, into the distant blue, you might catch a glimpse of the highest peak of England, Scafell Pike. Charlie, one of the title’s namesake climbers, was taken to Scafell on a school trip when he was 16. “At the top…it had never felt so alive,” according to Tshering, the guide hired some 20 years later by Charlie and his partner, Yasmin, to take them up Everest. Only Yasmin and Tshering return.

Carmen Nasr’s disappointing new play promises mystery and suspense but falls short. It’s based on familiar docudrama dilemmas Touching the Void: how to react when it seems that a member of a team might not return to base camp; Which of the survivors’ two versions of events is true? Connie, a private detective hired by Charlie’s grieving mother, travels to Nepal to confront Yasmin and Tshering. The problem, as Tshering puts it, is that in Everest’s death zone, littered with corpses and haunted by ghosts, “time and space vanish. It may be impossible to remember what is happening.

It can also be impossible to care, as rambling scenes revolve around the past, present, and future, devoid of tension. The rhythm of production of Guy Jones, sometimes icy, lacks dramatic dynamism. The actors do their best with thinner-than-air characters at high altitudes, but only Shenagh Govan, as Charlie’s mother, manages to convey a sense of inner life.

On a positive note, the production provides an exciting opening. Huge white sheets arranged in triangles suggest a snow-covered mountain range bathed in light (Max Johns, design; Jess Bernberg, lights). Echoing sound and music (Alexandra Faye Braithwaite) whistles strange winds. A rope descends from the flies; Yasmin goes down; stops to look; the rope winds and coils; she clings… blackout! Unfortunately, it peaks too soon; it’s downhill from now on.

  • The climbers is at the Theater by the Lake, Keswick, until July 16

Artist Marco Fusinato turns the noise up to 11 at the Venice Biennale

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Two medieval figures look up desperately from a vat of boiling oil; a man shakes his head at the sight of soldiers’ clothes scattered behind a tank; an owl, a duck and a few songbirds gather around a musical score. For years, Marco Fusinato has collected what he calls “failed images”, images full of “ambiguity, contradiction and tension”. These images are now the centerpiece of the artist-musician’s experimental noise project in the Australian pavilion at this year’s Venice Biennale.

Evoking in its title “Disasters of War” (1810-20) by Francisco Goya and a Japanese doom metal band that writes its lyrics in Spanish, “Desastres” synchronizes sound and image in a solo “performance as installation” by Fusinato. He plays daily, improvising blocks of noise on an electric guitar – the noise, in turn, sending images (at speeds of up to 60 seconds) to a floor-to-ceiling self-contained LED screen.

Visiting the pavilion in April, I had the impression of being plunged into a war zone: some visitors fled; others sat petrified, fingers in their ears. In Fusinato’s harrowing mix of jarring sounds and high-speed imagery, the war in Ukraine immediately came to mind. Six weeks later, when I revisit it, the noise is still deafening, but a more nuanced delivery of sound and image seemed to speak of a war with no end in sight.

As Fusinato plays the guitar unusually loud, images of conflict appear on screen © Andrea Rossetti

For Fusinato, work is about conflict in general. “Destruction by humans is eternal,” he says, as we settle down to talk in his green room under the pavilion. “But I’m interested in keeping the meaning open, so anyone who walks in will see something in these images that the person next to them might not.”

The starting point of the project was the idea that video walls are the backdrop Nowadays for stadium gigs but as bands evolve they tend to outsource the visuals to a third party. “I said to myself: wouldn’t it be interesting to focus on the background, with the musician responsible for what is happening on the screen? said Fusinato.

“The sound refers to very particular underground subcultures: noise music, industrial music, doom and death metal, grindcore. These are particular aesthetics with which I work and the images come from everywhere: art history, natural history, ancient history, press. The only thing I can see is that the violence is perennial. Many of these images from art history are incredibly violent and hundreds of years old. It’s something that has been – and will be – with us forever.

There is a certain poetry in Fusinato representing Australia in Venice. Born in Melbourne in 1964, he is the child of small farmers from the Veneto region who emigrated to Australia in 1960. The family still has a home in the province of Belluno, in the foothills of the Dolomites, a region ravaged by the first World War. During World War II, his father was drafted into the Alpini Mountain Infantry and fought on the Russian front until he was wounded. His unit was wiped out, but he walked home from Yugoslavia. Fusinato’s own roots are at the heart of his raucous meditation on conflict, war, loss and death in the Australian pavilion.

Black and white photographic portrait of a man looking into the camera
Fusinato says “The only thing I can see is that the violence is forever” © Zan Wimberley

The artist often visited Veneto. The contadini the culture of his parents, from the philosophical meanders to the gray woolen jerseys of the men, remains alive for him and he considers Bellunese, an endangered local dialect, as his first language. As a child, having grown up in the working-class district of Noble Park, southeast of Melbourne, he sometimes had to resort to “good Italian” to communicate with his Neapolitan or Sicilian friends, but it always seemed wrong to him: he hilariously mimics the putting on your best Sunday as if “to talk to the Pope”.

His discovery of punk bands such as Crass and the Clash as a teenager, as well as their Italian counterparts Negazione and Wretched, set him on the path to a career as a self-taught and eclectic noise musician, releasing his first recordings on vinyl in 1996. Earlier in the decade he became involved in an artist-run initiative called Store 5 and, through photographic reproduction, design, installation and performance, began to construct a monochrome aesthetic as a visual artist.

Visitors to the pavilion (averaging 1,800 a day) come and go, grabbing a seat on an equipment case or leaning against the wall. With his back to the audience, Fusinato sits apart, next to a formidable stack of amplifiers. He can shape the flow of images, but the images that appear depend on the machine, the creation of his collaborating “digital magician”, Nick Roux.

On the screen is an image of a planet backlit by the sun

Fusinato is seated with his back to the audience. . . © 2022 Andrea Rossetti

A demonic woodcut design appears on screen

. . . where he watches the screen, but also keeps an eye on the control unit near his feet © 2022 Andrea Rossetti

When he arrived in Venice, Fusinato had contracted the Covid, so came the opening, he was still testing the system. “I just went there, the volume was at maximum — Alexie [Glass-Kantor, the pavilion curator] said it was like giving the keys to a Lamborghini to a 17-year-old. The high volume is there for a purpose: to physically impact the audience. Over the years, he has become adept at tilting the sound to save his ears, although he sometimes uses earplugs. He doesn’t make art he expects you to like.

While playing, he watches the screen, but also keeps an eye on the control unit near his feet. It is impossible to predict what form the images will take. They can appear as single images, double exposures, negatives, or eccentrically cropped details, which is how a headless parrot that had intrigued me entered the mix. “I probably caught five parrots in one frame – and the system is making noise and zooming in on that piece,” Fusinato laughs, examining the image on my phone.

Fusinato’s projects are underpinned by a radical sensibility and a keen political awareness. “From the horde to the bee”, commissioned for a previous Venice Biennale, was a sort of Robin Hood adventure that explored the mechanisms of capitalism by raising funds for the Archivio Primo Moroni, housed in an anarchist squat in Milano. Fusinato had produced a DIY anthology of left-wing writing and invited biennial visitors to pick up a copy and leave payment on the table. At the end of the festival, he arrived with the anarchists to take away bags of money – before the biennial organizers could insist they pay tax on them.

Ultimately, however, he is an artist, not an activist. Returning to Venice this year, he “sculpts radiant light and vibrations to create an experience”. He wants us to see and hear – and feel with our whole body – as he watches. “I’m like a crow on the power lines or a cockroach under the barbecue cover,” he says. “Watching.”

As of November 27, labiennale.org

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Music therapy for veterans: an arts group gives back

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When the Muskogee Art Guild received a call from Eastern Oklahoma VA asking if they would like to decorate guitars for veterans, his immediate response was yes.

Knowing that these guitars were going to veterans as part of their therapy was all the inspiration the Arts Guild needed. After three weeks, they had completed 17 guitars.

Guitars were displayed at 17 locations in Muskogee and Tulsa

The guitars are part of a new music therapy program offered in partnership with Challenge America, a non-profit organization that uses music therapy to help veterans cope with traumatic brain injuries and post-traumatic stress. VA began partnering with the group in 2021, and Eastern Oklahoma VA was selected as one of five VA hospitals to participate this year.

Music camp exclusively for women veterans

“We are very proud to also be the only VA site to offer the music camp exclusively for female veterans, which began June 7,” said Dr. Nathan Williams, Director.

After the guitars were decorated, they were displayed for two weeks at 17 locations – 12 in Muskogee and 5 in Tulsa – which included various businesses, museums, government buildings and non-profit groups. The Art Guild even organized a scavenger hunt in the various locations to promote the program to the community.

“I think every artist really thought about their painting and what they hoped their art would bring to the veteran,” said Muskogee Art Guild member Wren Stratton. “Each artist brought their unique vision of what the guitar could look like and the emotion it could bring to the veteran who chose it. For most of us, the opportunity to serve our country is not was not an option. We are very grateful to those who had the courage to do so. To have the chance to offer even a small gift in return was, in turn, a gift for us.

Music therapy helps veterans cope with traumatic brain injury and PTSD

Veterans work with professional music therapists and songwriters

The camp consists of participants working virtually with a music therapist and professional songwriters in a process that teaches veterans how to play guitar and allows them to convey their emotions in a song they write.

“The last day of camp was their concert,” Dr. Williams said. “Veterans’ songs were performed by professional songwriters as an ode to the therapeutic process of camp.”

The veterans were also able to choose their own guitar from the group, choosing the one that meant the most to them.

There was even a beautifully painted guitar with an image of a red-haired woman, and this guitar was chosen by a veteran that looked exactly like the painting. It looks like a self-portrait of her.

Tears of joy and appreciation

Each veteran shared their appreciation for the hard work that went into decorating the guitars and how much the program meant to them, especially because it was a program specifically for female veterans. There were tears of joy and appreciation, and each veteran spoke of how grateful they were to have had the opportunity to participate.

Joan McWilliams, Whole Health Coordinator, was instrumental in the success of the program.

“Being a long-time resident of Muskogee and knowing our community’s strong ties to art, music and VA, the idea of ​​using our local art guild to decorate the guitars was a great way to increase local awareness and involvement in the project,” said McWilliams.

a-ha Announces New True North Album For October 2022 Release, Shares New Song And Video “I’m In”

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a-ha Announces New True North Album For October 2022 Release, Shares New Song And Video







Norwegian synth-pop band a-ha have broken their hiatus for the past few years to announce an upcoming new album titled True North. The release of the project is scheduled for October 21. In promotion of the new album, a-ha released a new lead single and music video “I’m In”.

For this last album, their first album since 2015 Cast steel, intends to be a unique part of the synth-pop band’s discography. Rather than just an album, True North is intended to be released with an accompanying film documenting the recording of all the songs, which originally took place in November 2021 in Bodø, Norway.

In a statement, Paul Waaktaar-Savoy described the process of creating this latest project, explaining that “First, we had the idea to record a live studio session… Then, to film a studio session This turned into a production with the Norwegian orchestra, the Arctic Philharmonic, who we collaborated with.These details and more will be available on the next film for True North. See album cover for True North underneath

Lead single “I’m In” gives fans not only the chance to experience their first track from the new album, but also the new movie, with Bans choosing to use a snippet from the movie as the official music video for the song. A very sweet and uplifting song, the band’s acoustic guitars and piano create a beautiful backdrop for Morten Harket’s emotional vocals.

The track’s songwriter, Magne Furuholmen, explained that it was “a song about total commitment and a show of support for someone who is troubled. True commitment is an act of faith. Everyone knows how hard it can be to offer unconditional commitment and support, but that’s what it takes to make something worthwhile happen – love, friendship, change, self-improvement, careers, a better world. Easier said than done, of course, but it starts with an attitude and then speaking the words. After that, it’s hard work to realize the potential of your engagement in the world. Without this attitude, everything becomes bogged down in contradictory thoughts, doubts and fear. Just say it, “I’m in.”

Watch the official music video for “I’m In” below.

True North is available for pre-order here. A limited-time deluxe version of the project can also be pre-ordered here.











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Getting Away With Musical Comedy Murder at MusicalFare | Arts

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“A Gentleman’s Guide to Love & Murder,” currently playing at the MusicalFare Theatre, is a 2013 Broadway operetta based on a 1907 novel that also inspired the classic 1949 British motion picture comedy, “Kind Hearts and Coronets.” . If you like old movies, you’re already excited.

‘Kind Hearts and Coronets’ is one of the finest ‘Ealing Comedies’, divinely clever and charming films made in Britain’s Ealing studios after World War II. This film is best remembered for the performance of Alec Guinness, who played the nine members of an aristocratic family who are murdered, one by one, by an ambitious relative who seeks to become an earl.

Book and lyrics by Robert L. Freeman, with music and lyrics by Steven Lutvak. While the family name is changed in the musical, the conceit of an actor playing all male and female relationships is maintained. Marc Sacco plays all of the D’Ysquiths, while Ricky Needham as Monty Navarro comically sets out to murder each, while simultaneously juggling potential romances with two desirable women.

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When we meet Monty, he is in jail awaiting the outcome of his murder trial. He spends his time writing his memoirs, which he tells the public, taking us back to 1907, the day of his mother’s funeral. Mom was a laundress who raised Monty in poverty, but always urged him to have aspirations. His ambitions change when Miss Marietta Shingle shows up. Played with brazen excess by that consummate clown, Jenn Stafford, it informs Monty of his aristocratic lineage. He is a D’Ysquith, ninth in line to be Earl of Highhurst.

Immediately, Monty launches into a deliciously comedic kill spree. Murder hasn’t been this entertaining since…well, imagine Monty as a happy child in love with Sweeney Todd and Lady Macbeth.

The production, directed and choreographed by Doug Weyand, is smart and stylish. The challenging score, reminiscent of Gilbert and Sullivan operettas, is led by a talented live band, with skill and wit under the musical direction of Theresa Quinn. The production, with its split characters, reveals a wide range of talent among an attractive cast.

The heart and soul of the show are, necessarily, the actors who play Monty and the lineage of the D’Ysquiths. MusicalFare strikes gold with the cast of Needham and Sacco, each talented, charming and unapologetically silly.

Sacco benefits from the gift of a tour de force ability to create many characters. It deploys every trick in the arsenal of farce, slapstick, drag, deadpan and physical comedy, even employing a moment of lip/ventriloquism sync. I imagine his costume changes backstage are almost as entertaining as what happens on stage.

Needham’s benign and even phlegmatic personality is camouflage for the comically explosive volcano lurking beneath the surface. As he did on his award-winning turn in “The Boys Upstairs” at Buffalo United Artists (where, interestingly, he had the opportunity to play five one-night stands, just like Sacco can play all D ‘Ysquiths here), Needham wastes no opportunity to deepen our bond with the characters he plays, through the bond of laughter. We feel protective of Needham as Monty and encourage him to get away with murder. He also happens to have a surprisingly rich singing voice and rises to the occasion of songs such as the lavishly haunting “Sibella” in impressive fashion.

The brilliance of Sacco’s performance might overshadow the fact that the rest of the company is also called upon to play multiple characters, but without half the weight and prominence. Still, lavish credit is due to this capable crew.

Michelle Holden, Jon May and John Panepinto do a yeoman’s job of keeping the action moving and at the same time punctuating the evening with brilliant flourishes of comedic invention. Everyone is divine.

Solange Gosselin is very funny as the egocentric and calculating Sibella, creating a woman who is both obnoxious and irresistible.

Emily Yancey’s performance convinces me that our theater community has rather underappreciated and underutilized her. She’s notable as Phoebe D’Ysquith (and as a former showgirl who becomes collateral damage in one of the murders). She sings like an angel and is terribly funny.

Kari Drozd’s costumes and Susan Drozd’s hair and wigs set the perfect tone of sophistication and silliness.

The danger of “A Gentleman’s Guide to Love and Murder” is that its tone of elegant sophistication is actually a trick. It’s a night of silly buffoonery dressed in refinement, unbridled burlesque. To fully enjoy the experience, let the actors tell their story with deadpan seriousness, but from the audience, go ahead and laugh your head off!

“A Gentleman’s Guide to Love and Murder”

Presented by MusicalFare Theater at Daemen College through August 7. Performances are at 7 p.m. on Wednesdays and Thursdays, 7:30 p.m. on Fridays, 3:30 p.m. and 7:30 p.m. on Saturdays and 2 p.m. on Sundays. Tickets are $49 (musicalfare.com, 716-839-8540).

Kentucky man sentenced to more than $1.3 million in fraudulent COVID loans | New

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LEXINGTON, Ky. — A Central Kentucky businessman who submitted false information to receive $1.3 million in coronavirus relief loans and used some of it for gambling debts has been sentenced to three years and six months in federal prison.

Randall “Rocky” Blankenship Jr. must also pay a $30,000 fine, according to a press release from the office of U.S. Attorney Carlton S. Shier IV.

U.S. District Judge Karen C. Caldwell sentenced Blankenship on Thursday. He had pleaded guilty to a charge of conspiracy to commit wire fraud.

Blankenship, 49, of Versailles, operated a business called KY Bluegrass RV and Camping LLC, but also owned four front companies, court records show.

The front companies were Blankenship RV Finance Solutions LLC, RSGG Properties LLC, RSGG Holdings LLC and RSGG Investments LLC.

Those companies had no employees, but Blankenship claimed they did and used them to apply for four loans under the Paycheck Protection Program, or PPP.

It was a program Congress rushed into in March 2020 to help businesses weather the economic downturn resulting from the coronavirus pandemic. The loans were intended to keep employees on the payroll and were designed to be canceled if the recipient used them for an approved purpose.

With the help of an accountant, Blankenship created false documents showing payroll costs totaling $1,323,829 at the companies, when in fact they had no payroll costs, according to his plea agreement.

Blankenship had already secured a $750,000 PPP loan for his RV sales business, so he was not eligible for another loan under the program at that time, according to a court document.

“This crime of wire fraud was a brazen and cynical seizure of money by a greedy businessman…” the prosecutor, Assistant U.S. Attorney Paul McCaffrey, said in a sentencing memorandum. “While some small businesses saw a financial lifeline in these PPP loans, the defendant saw a criminal opportunity.”

The memo said the fraud hurt other small businesses because at the time Blankenship got the loans, the PPP program only allowed one loan per business and it was on a first-come, first-served basis. .

Blankenship used the money from the fraudulent loans for various purposes, including checks for himself; $306,000 for a vacation property in South Carolina; $134,000 for improvements to farmland he owned; and to “feed his insatiable gambling habit,” according to the memo.

Attachments to the memo included a check for $100,000 to Belterra Casino on the Ohio River.

McCaffrey said that in the last half of 2021, Blankenship also convinced customers to trade in their used RVs for newer ones, promising it would refund any existing liens on their old vehicle, but then told the employees not to refund the liens.

At least 10 customers were burned in the scam, with balances totaling more than $365,000, according to the memo.

“At the same time, the defendant was lying to customers and keeping money he was not entitled to, writing bad checks and markers to Nevada casinos, incurring at least $325,000 in gambling debts nothing than in Las Vegas,” McCaffrey wrote.

Blankenship eventually sold its business and repaid the $1.3 million in PPP loans and liens on customers’ vehicles, according to the memo.

A Nicholasville accountant, Tammy Jo Goodwin, pleaded guilty last month to participating in the scheme with Blankenship.

Blankenship paid him several thousand dollars to help him set up fake payroll records, according to his plea agreement.

She is expected to be sentenced in September.

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Prime Day Sale on Garmin watches

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Runner’s World; Courtesy of Garmin

First day, Amazon’s massive two-day annual sale, may not be here yet, but there are still some great bargains to be had before the much-anticipated shopping holiday officially begins. This year, Prime Day starts on July 12 and ends on July 13, but you don’t have to wait until then to get some serious discounts on the products you’ve been coveting all year.

Right now, the mega-retailer is offering incredible deals on Garmin GPS watches, which are loved by runners and non-runners alike for their features, workout tracking capabilities, and unmistakable style. There are options ranging from advanced GPS watches for runners to stylish smartwatches to basic GPS options.

Right now, Amazon is offering Garmin GPS watches for up to 36% off, which means there’s no better time than the present to score one for yourself or grab one like thoughtful birthday or holiday gift for a loved one. To help you choose, we have selected our favourites. Take a look at our top picks before Prime Day kicks off below. Be sure to check back once Prime Day has started for more great deals, as we’ll update this page with current sales.

For more amazing Amazon deals you can get now, check out the best Prime Day running gear sales.

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The most stylish smartwatch

Venu GPS smartwatch with touchscreen

If you want a smartwatch that’s as stylish as it is functional, this sleek Venu might just be faster. It has a touchscreen and a bright AMOLED display. It can last up to 6 hours in GPS and music mode, and lets you download music as well as track activities like yoga, swimming, Pilates, and more.

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GPS with additional features

Vivoactive 4 GPS smartwatch

The Vivoactive is basically a basic GPS watch with a few extra features. It tracks all of your basic running stats along with other niche metrics, such as your energy level, breathing, menstrual cycle, stress, sleep, estimated heart rate, hydration, and more. It also lets you download music and can last up to 8 days in smartwatch mode.

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For the serious athlete

Forerunner 945 Premium GPS Smartwatch for Running/Triathlon

This watch was designed for data-driven triathletes and runners. It provides in-depth performance monitoring features including Vo2 Max and training status with adjustments for heat, altitude acclimatization status, training load focus, recovery time and the effects of aerobic and anaerobic training. It also has safety and tracking features to help keep you safe when you’re alone, and it can last up to 60 hours in UltraTrac mode.

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The strongest

Instinct Rugged Outdoor Watch with GPS

Any avid outdoor adventurer will want a watch that can withstand the elements and hold its charge through long battles in the wilderness. This one is shockproof and waterproof, and in addition to using GPS, it has Glonass and Galileo navigation technologies to give you the most accurate tracking wherever you are. It even has a backlink feature that can help you get back to where you started if you get lost.

This content is created and maintained by a third party, and uploaded to this page to help users provide their email addresses. You may be able to find more information about this and similar content on piano.io

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BITS & BYTES: Music Mondays Begins, Member Art Show, Plays in Process series, Youth music program, Authentic movement workshop, The Mount lecture series

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Beginning of Music Mondays at the Berkshire Botanical Garden

STOCKBRIDGE, Mass. – Berkshire Botanical Garden Presents Music Monday 2022 Live Concert Series July 11 to August 29, 5:30-7:30 p.m.

Berkshire Botanical Gardens

July:

11 — Gina Coleman & Misty Blues (jazz, funk and soul steeped in blues).

18 — The O-Tones (six swing, soul and blues tracks).

25 — The Greystone Quartet (original jazz compositions and pieces from the Great American Songbook).

August:

1 – Zikina (East African folk music with flavors of reggae, rock and Caribbean dance beats).

8 — The Lucky Five (jazz group that mixes the swing of the 30s and 40s).

15 — Union Jack (with the sounds of the British invasion of the 1960s).

22 — Robin Gerson Wong (performing music from The Great American Songbook, with music by Rogers & Hammerstein).

29 — Wanda Houston Band (R&B and jazz from the 40s, 50s and 60s).

Tickets are $10 for BBG members and $15 for non-members. Registration is recommended. For this, meet BerkshireBotanical.org/music-mondays-2022. The public is invited to bring a picnic, blanket or lawn chairs, walk around the grounds and dance.

BBG has partnered with Berkshire Picnics to provide a picnic experience for Music Mondays. Book a picnic at www.berkshirepicnics.com.

Music Mondays will take place rain or shine, but in case of bad weather, concerts will be canceled and refunded. In case of doubtful weather, please consult the website, www.berkshirebotanical.orgor call 413-320-4794 for up-to-date information.

—SB

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“Chatham Train Station” by David Lesako (oil painting, 12″ x 16″)

Spencertown Academy Arts Center Members Art Exhibit

SPENCERTOWN, NYThe Spencertown Academy Arts Center presents its 7th Annual Member Art Exhibition, featuring works by 80 members of the Academy community. The exhibition will be presented on the weekends of From Saturday 9 July to Sunday 7 August. On July 10the public is invited to a festive welcome with the artists from 3 p.m. to 5 p.m.

Admission is free and most works are for sale; a portion of the profits benefit the Academy.

Gallery hours are Saturdays and Sundays from 1 to 5 p.m. For more information, please see www.spencertownacademy.org.

—SB

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Music Adventures Program for Young Music Lovers at Berkshire Music School

PITTSFIELD, Mass. — Berkshire Music School announces Adventures in Music youth program. Designed for young music lovers aged 5 to 9, children will take group lessons in world music, choir, puppetry and creative movement. Participants will also have small group workshops on piano, percussion, opera and visual arts performance.

Session 1: July 11 – July 22, 10 a.m. to 4 p.m.

Session 2: July 15 – August 5, 10 a.m. to 4 p.m.

For more information and to register, visit our website: www.berkshiremusicschool.org/summer-youth-program or call us at 413-442-1411.

Adventures in Music will be conducted in accordance with guidelines established by the Commonwealth of Massachusetts, the CDC and local public health officials, with an emphasis on the health and safety of BMS students, faculty and staff. In the event that the program cannot be conducted safely in person, it will be moved from online programs and conducted via Zoom, Skype and/or FaceTime.

—SB

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Photo caption: Bonita Jackson’s play This Soil, These Seeds… will open the Plays in Process series at Shakespeare & Company on Saturday July 9. Photo by Giancarlo Osaben.

Shakespeare & Company presents the Plays in Process series

LENOX, Mass. – Shakespeare & Company offers insight into the process of creating plays through the Plays in Process series. Five weekends of shows from July 9 to August 7 will feature new and classic works in development. All shows will be held at 1:30 p.m.in the air-conditioned Tina Packer Playhouse.

The inaugural titles are:

July 9 and 10 — This soil, these seeds

July 16 and 17 — Tilly No-Body: Disasters of Love

July 23 and 24 — That’s it

July 30 and 31; August 6 and 7 — All this fall

For more information, visit shakespeare.orgor call the box office at (413) 637-3353.

—SB

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Authentic Movement Workshop Open to the Public

HOUSATONIC, Mass. — An authentic movement workshop, organized by dance and movement artist Paula Josa-Jones, is held on Sunday July 10 from 1 p.m. to 4:30 p.m. Admission is $75 per person. The workshop will take place at Berkshire Pulse, 420 Park Street, Housatonic, Mass.

Authentic movement is a meditative, intuitive and improvised movement practice involving a motor and a witness. It is a practice of listening, harmonizing, slowing down and opening to a deeper perception of the body and the psyche. It was developed by renowned dancer and psychotherapist Mary Starks Whitehouse.

For more information call 508-627-1752

—SB

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The Mount Begins Summer Lecture Series with ‘Tastes Like War: A Memoir’

LENOX, Mass. — The Mount’s summer conference season begins on Monday July 11 at 4 p.m. & Tuesday July 12 at 11 a.m.

The first lecture in the series is given by Grace M. Cho, titled Tastes Like War: A Memoir. Half food memory, half sociological investigation, Tastes Like War is a hybrid text on the search for a girl, through the intimate and global story, of the roots of her mother’s schizophrenia.

The mount was designed and built by famed author Edith Wharton in 1902. A National Historic Landmark, today the mount is a cultural center that celebrates Edith Wharton’s intellectual, artistic and humanitarian legacy.

All lectures will take place in an open-sided outdoor tent. Rain or shine.

Tickets are $25 for Mount members, $30 for general admission, available here.

The complete list of summer conferences is available here: https://www.edithwharton.org/summer-lecture-series/

Six people charged with fraudulently obtaining loans intended to help small businesses during the COVID-19 pandemic | USAO-NJ

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NEWARK, NJ – Six residents of Essex County, New Jersey, were arrested today for conspiring to fraudulently obtain Paycheck Protection Program (PPP) loans, U.S. Attorney Philip announced. R. Sellinger.

Nyan Terry, aka “Racks,” 23, of Irvington; Samir Jefferson, aka “Tank Jeffe,” 23, of Newark; and Nasir Williams, aka “Harlem Pete”, 29, Hymeen Reynolds, aka “Meen”, 21, Brian Brown, aka “Bizz”, 40, and Cadece Lapread, 35, all of East Orange, are each accused by complaint of a bank fraud account. Terry, Reynolds, Brown, Lapread and Jefferson are also each charged with one count of bank fraud conspiracy. The defendants made their first appearances today before US Magistrate Judge Jessica S. Allen.

According to documents filed in this case and statements made in court:

The CARES Act (Coronavirus Aid, Relief, and Economic Security) is a federal law enacted in March 2020 and was designed to provide emergency financial assistance to millions of Americans suffering from the economic effects caused by the COVID-19 pandemic. . One of the sources of relief provided by the CARES Act was the authorization of hundreds of billions of dollars in small business forgivable loans for job retention and certain other expenses, through the PPP.

To obtain a PPP loan, an eligible small business had to submit an application and provide information about its operations, including the number of employees and expenses. In addition, companies generally had to provide supporting documents.

In April and May 2021, Terry, Jefferson, Williams, Reynolds, Brown and Lapread conspired to defraud PPP lenders by submitting fraudulent PPP loan applications on behalf of non-existent small businesses, along with false tax forms. Based on the defendants’ false statements, the lenders approved at least three fraudulent PPP loans and disbursed more than $62,000 in federal COVID-19 emergency relief funds.

The bank fraud and bank fraud conspiracy counts each carry a maximum sentence of 30 years in prison and a maximum fine of $1 million.

U.S. Attorney Sellinger credited FBI Special Agents, under Special Agent in Charge Jesse Levine in Newark; Department of Homeland Security Special Agents, Homeland Security Investigations, under Special Agent in Charge Jason J. Molina in Newark; and IRS-Criminal Investigation Special Agents, under Acting Special Agent in Charge Tammy Tomlins, the investigation leading to the charges. He also thanked the Bloomfield Police Department, Essex County Sheriff’s Office, Essex County District Attorney’s Office and Newark Department of Public Safety for their assistance in the investigation.

The government is represented by Special Assistant US Attorney Timothy Shaughnessy and Assistant US Attorney Sarah A. Sulkowski of the US Attorney’s Organized Crime/Gang Unit in Newark.

The charges and allegations contained in the complaint are charges only, and the defendants are presumed innocent until proven guilty.

Composer Daniel Fisher’s new album “Places Far Away” debuts at #3 on the Billboard “Traditional Classical Album” chart.

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Daniel Fisher – “Places Far Away” Classical Music Album

The album features the London Philharmonic Orchestra, London Symphony Orchestra, Royal Philharmonic Orchestra and renowned solo artists.

I am grateful and touched by the response to Places Far Away. I’ve worked on the music for Places Far Away for many years, and this recognition of my music lifts my heart.

—Daniel Fisher

HOLLAND, MI, USA, July 7, 2022 /EINPresswire.com/ — MGFB Music announces that composer Daniel Fisher’s new album ‘Places Far Away’ has reached No. 3 this week on Billboard’s ‘Traditional Classical Album” chart. The record was released on June 24, 2022 and is Mr. Fisher’s debut album.

“Places Far Away” offers a listening journey from the Mediterranean-inspired “Amicizia” to the cherry blossoms of Japan in “Sakura Prelude,” and the epic adventure of the title track “Places Far Away.” Mr. Fisher also guides the listener through passionate and romantic pieces like “Silk Stone Heart”. and “Not Even the Rain” (written for his wife).

“Places Far Away” is currently playing on classic radio stations around the world and was featured on Spotify’s official editorial playlist, “Classical New Releases.” The 14-track album features the London Philharmonic Orchestra, London Symphony Orchestra, Royal Philharmonic Orchestra, as well as renowned solo artists on piano, violin, cello and classical guitar. It was recorded at the legendary Abbey Road and Air Studios in London, UK, and took six years to produce. The compositions include a range of music from full orchestras to solo piano.

Daniel Fisher’s musical journey has been a path less traveled. In his youth, Daniel played keyboards in a Rock & Roll band. He then pursued a professional career in engineering. His work required him to travel the world visiting many countries where he welcomed and cherished the experience of other cultures. A true artist at heart, Mr. Fisher is also a photographer. His experiences have been documented and showcased not only in his music, but also in his photography (his photographs are also featured on his website). Wherever his work has taken him, Mr. Fisher has always had music in his head. For decades he has worked on the pieces that tell his stories that he now shares with the world.

“I’m grateful and humbled by the response to ‘Places Far Away.'” says Mr. Fisher, “The idea that the album reached No. 3 on the Billboard charts is just incredible. I’ve worked on the music for ‘Places Far Away’ for many years and this recognition of my music lifts my heart.”

Since 2007, Mr. Fisher has been working on a project in Vietnam for children living with HIV/AIDS in desperate situations. With a focus on health, a safe home, food security, discrimination, education, counseling and family economic stability, the team strives to address social and life issues for children and their care families, giving them hope for a better life.

“Places Far Away” is available on all major streaming platforms, including Spotify, Amazon Music, and Apple Music. Downloads are available on iTunes and Amazon Music. CDs are available on Amazon and on Daniel’s website at: DanielFisherMusic.com.

Daniel Fisher
MGFB Music
+1 616-283-9449
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Theater review “Pretty Woman: The Musical”

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Segerstrom Center for the Arts – PRETTY WOMAN: THE MUSICAL – Adam Pascal and Olivia Valli – Credit: Matthew Murphy for MurphyMade

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“Pretty Woman: The Musical” closely follows the story beats of the original 1990 film material. Many famous moments and memorable dialogue are played live on stage. Adult audiences will have a better time if they already experience this popular romantic comedy from Richard Gere and Julia Roberts.

The first act focuses a lot on dance and choreography. And in search of the Hollywood dream to make it come true. The colors and set design distract from the adult beginnings of the story. Another element that perpetuates the fantasy dream ideology is the Happy Man character filling small roles throughout the series. From selling cards to celebrity homes, running a hotel, and matching expensive outfits. The hunter has sporadic bursts of dancing on the spur of a moment. A walk down “Rodeo Drive” becomes a fashion show. The second act focused more on the emotional grip of the characters. The showdown between their feelings based on their actions and their occupation.

Not all musical numbers are winners. But those are worth the time it takes to reach them. I really enjoyed “Welcome to Hollywood”, “Something About Her”, “Freedom”, “You and I” and “I Can’t Go Back”. I could easily listen to these song snippets all day.

“Welcome to Hollywood” proclaims itself as the land of dreams waiting to be realized. The only way to make those dreams come true is to keep believing in them, even if they don’t come true. Dreaming keeps the spirit alive.

“Freedom” establishes the glamorous life Edward has built for himself still leaves him unknowingly empty. What he thought would make him happy, lots of money, doesn’t really give him the kind of freedom he thought he had. The emotional takes a look at the physical achievements.

“You and Me” is perhaps the only scene that actually improves the film version. A musical segment from a non-musical film that turned into a musical segment with the main character watching and revealing himself to the audience. The live opera bars received the loudest applause for good reason.

“I Can’t Go Back” is undoubtedly Viven’s anthem. It is her empowerment statement that she controls her thoughts and actions. Adapting from your past, fighting for the future, while navigating the present.

A pretty woman
Segerstrom Center for the Arts – PRETTY WOMAN: THE MUSICAL – The Company of Pretty Woman: The Musical – Credit: Matthew Murphy for MurphyMade

“Pretty Woman: The Musical” shows the right curves for the soft rock gig you’ll want to spend the evening with. The songs are well produced and performed like a rock concert. But only a few will have an everlasting effect that can connect with audiences on a personal level. These shining gems shine and earn their stamina in the classic story of overcoming self-doubt and defying norms. Musical and lyrical contributions by Bryan Adams and Jim Vallance. Bringing in the soft rock flair of the late 80s and early 90s that helps set the tone for the show.

The stunning cast is made up of Broadway’s best and brightest when it comes to powerful rock vocals. Olivia Valli (Wicked, Jersey Boys) as Vivian Ward. Adam Pascal (RENT, Chicago) as Edward Lewis. Jessica Crouch (We Will Rock You) as Kit De Luca. Kyle Taylor Parker (Kinky Boots, NBC’s Jesus Christ Superstar LIVE) as Happy Man. Matthew Stocke as Philip Stuckey.

Garry Marshall directed the original 1990 film and eventually merged his passion for live theater to write the book for the stage musical adaptation alongside original screenwriter JF Lawton.

Pretty Woman: The Musical

On show until July 17, 2022 at the Segerstrom Center for the Arts. Tuesday to Friday at 7:30 p.m. Saturdays at 2 p.m. and 7:30 p.m. Sunday at 1 p.m. and 6:30 p.m.


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‘Hamilton’ returns to the Fisher Theater, November 15-December 4

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DETROIT (WXYZ) – Broadway In Detroit has announced the return of Tony, Grammy, Olivier and Pulitzer award-winning musical “Hamilton” to the Fisher Theater in Detroit from November 15 through December 4.

“Hamilton” is the story of America then, told by America today. With a score mixing hip-hop, jazz, R&B and Broadway, “Hamilton” took the story of American Founding Father Alexander Hamilton and created a groundbreaking moment in theater – a musical that had a profound impact on culture, politics and education. With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, musical supervision and orchestrations by Alex Lacamoire, “Hamilton” is based on the acclaimed biography by Ron Chernow,” Broadway In Detroit organizers said of the musical’s return to Detroit.

Visit the official “Hamilton” website and social media pages below:

The performance times for “Hamilton” at the Fisher Theater located at 3011 W. Grand Blvd., Detroit are:

  • Performances from Tuesday to Saturday evening at 8:00 p.m.
  • Matinees Saturday and Sunday at 2:00 p.m.
  • Additional show on Monday, November 21 at 8:00 p.m.
  • No show on Thursday, November 24 on the occasion of Thanksgiving.
  • Open Caption Special Performance on TBD

Broadway In Detroit subscribers can purchase ‘Hamilton’ tickets now as part of 60e Anniversary season subscription. Single tickets will be available for purchase at a later date.

For more information on Broadway in Detroit, subscriptions, group sales and more, please visit www.BroadwayinDetroit.com.

12 bands who took a break – Billboard

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There’s nothing like a band. Whether they have two members, seven members or more, music groups provide a shining example of how the creative process can be collaborative. While some groups were formed by childhood friends and others were assembled on talent competition shows such as The X Factorthey all bring to the stage a multitude of personalities and talents.

It’s a story as old as time with a cultural heritage that spans from The Jackson 5 and The Beatles to BLACKPINK and Imagine Dragons. Fans can latch on to their favorite individual member and join the group on a journey that may include leaving or replacing members. Favoritism and friendly competition in bands adds a dynamic to the fan-artist relationship that doesn’t necessarily exist with solo stars. Fans may line up with certain members based on their individual talent, good looks, or charm, but ultimately it all comes back and builds love for the group as a whole.

However, there comes a point in many bands’ lives when things come to a (temporary) end. Call it a break or call it a break, it’s not uncommon to see band members take time out to focus on solo endeavors or other projects outside of the band’s boundaries. origin. Sometimes those breakups result in the emergence of a big-name solo star like Beyoncé or Harry Styles. Other times, the break never quite ends.

From Destiny’s Child to BTS, here’s a list of music groups that have announced hiatuses, temporary or otherwise.

The Des Moines Young Artists’ Theater presents HEATHERS The Musical this month

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The Des Moines Young Artists’ Theater presents HEATHERS THE MUSICAL July 22-31 at the Stoner Theater at the Civic Center.

Westerberg High is run by a junta with padded shoulders and wearing darlings: Heather, Heather and Heather, the hottest and cruelest girls in all of Ohio. But misfit Veronica Sawyer rejects their evil scheme for a new boyfriend, dark and sexy stranger JD, who plans to put the Heathers in their place – six feet under.

Brought to you by the award-winning creative team of Kevin Murphy (Reefer Madness, “Desperate Housewives”), Laurence O’Keefe (Legally Blonde) and Andy Fickman (Reefer Madness, She’s the Man), HEATHERS THE MUSICAL is a hilarious, heartfelt spectacle and murderer based on the greatest teen comedy of all time.

The musical is led by award-winning creative team Megan Helmers (director/choreographer) and Brenton Brown (music director) with stage design and lighting by Alex Snodgrass, sound by Christopher Williams, costume design by Caitlin Corbett, props by Deb Korte, scene management by Kyle Bochart and intimacy direction by Stephanie Schneider. Apprentice performers include Emma Feldhans (assistant music director), Abby Mayo (assistant stage manager), Lindsay Amundson (assistant choreographer) and Olivia Palmer (lighting and stage design associate).

“HEATHERS is funny, subversive, daring and shocking,” said director/choreographer Megan Helmers. “It’s a dark comedy with fantastic music, but it also uses camp and satire in a very smart way to tackle thorny issues like bullying and school violence. DMYAT never shied away to empower young artists to tackle tough subject matter, and I’m thrilled for audiences to see how much our cast of mostly high school and college-aged actors have bonded with these characters and this We can’t wait for audiences to join us and experience this exhilarating and entertaining production.

DMYAT’s HEATHERS cast includes Tayden Baccam, Payton Boesch, Ben Clark, Caitlin Como, Levi Cooper, Me’Lisa Dudley, Abby Fickbohm, Dan Haymes, Sage Johnson, Audrey Krukow, Tatum Lowell, Charlotte Proctor, Madison Pulica, Alex Siegle , Charlie Reese, Canaan Richardson, Nyabhan Teny, Tanner Tillotson, Aaliyah Trimble, Gracie Valerio-Garsow, Hunter West and Tyler White.

HEATHERS THE MUSICAL premiered September 13, 2010 at Joe’s Pub in New York City, followed by a tour at the Hudson Backstage Theater in Los Angeles in September 2013. In March 2014, HEATHERS THE MUSICAL returned to New York City in an Off-Broadway . production at New World Stages, under the direction of Andy Fickman. The show won the Off Broadway Alliance Award for Best New Musical and ran until August 4, 2014. With memorable songs like “Big Fun”, “Candy Store” and “Seventeen”, the musical is become cult.

‘A Midsummer Night’s Dream’ still casts a spell over the Synetic Theater

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If “A Midsummer Night’s Dream” isn’t as enchanting as the vision of a production about mischievous fairy Puck and goofy actor Bottom, then Synetic Theater is lucky to count the spellbinding performances among its assets. by Ariel Kraje and Vato Tsikurishvili.

Although the “Silent Shakespeare” production was first staged at the Kennedy Center in 2009 and later staged at Synetic’s Crystal City space in 2013 and 2015, the spellbinding cast breathes new life into the latest revival of the troupe based on dance and movement. The production is devoid of dialogue, like most synetic shows. But the timeless tale of love’s bliss and magical interference proves fitting for such an interpretation, thanks to disparate storylines that lend themselves to a refreshing range of visual and sonic aesthetics.

Celebration is truly a tragedy in ‘Red Velvet’ at the Shakespeare Theater

Sprinkling the proceedings with pixie dust, pantomime prowess, and loose limb contortion, the blue-painted Kraje makes for an endlessly appealing Puck. She’s at her best twisting on the ends of invisible puppet strings or goading other fairies with Puck’s antics. But Kraje charms even watching from afar, reveling in the craziness of others while perched on the crescent moon in the glowing woodland setting by set designer Anastasia Rurikov Simes.

The son of “Midsummer” director Paata Tsikurishvili and choreographer Irina Tsikurishvili, Vato Tsikurishvili imbues Bottom with wide-eyed intensity and impressive acrobatics, as well as uncanny control over seemingly every muscle in his face. Tsikurishvili’s comedic timing is particularly on point in the climactic playing of a piece, when he bounces off Katherine DuBois’ charming rendition of Flute. The main turn has been a long time coming for Tsikurishvili, who has played other members of the ill-fated cast of actors in past stagings of Synetic’s “Midsummer,” but commands the stage here with such authority that he it’s hard to imagine him ever taking a back seat.

With each “Midsummer” storyline comes new flourishes. The otherworldly feuds of Oberon (Philip Fletcher, reprising his role) and Titania (Stella Bunch), the king and queen of the fairies, are staged with animal vigor. This contrasts starkly with the elegance of the ballroom and the raunchy, brutal heartbreak delivered by the lovesick Lysander (Lev Belopiletsky), Hermia (Nutsa Tediashvili), Demetrius (Aaron Kan) and Helena (Anna Tsikurishvili, a master wading flirtation). Bottom’s cast of actors, meanwhile, deliver low comedy of the highest order, as bickering performers rehearse their piece with a healthy dose of vaudevillian slapstick.

The balm of ‘Midsummer Night’s Dream’ during this terrible week

The Simes’ immaculate suits, ranging from steampunk chic to black-tie attire and rustic outerwear, further differentiate the three sons. The same can be said for Andrew Griffin’s savvy lighting, grand for magical beings but grounded for mere mortals, and Konstantine Lortkipanidze’s genre-bending score, which includes dubstep, ragtime piano and instrumental pop covers. a la “Bridgerton”.

That final musical touch is particularly fitting for this feat of sensual storytelling, as Synetic reimagines one of Shakespeare’s most popular plays with wordless elegance. A decade after first attempting this tricky dance, this “Midsummer” still knows how to cast a spell.

Dream of a summer night, by William Shakespeare. Directed by Paata Tsikurishvili. Choreography, Irina Tsikurishvili; Ben Cunis fight choreography; set design, costumes and props, Anastasia Rurikov Simes; lighting, Andrew Griffin; music and sound design, Konstantine Lortkipanidze. With Irene Hamilton, Kim Ahn Aslanian, Alissa Zagorski, Nathan Weinberger, Pablo Guillén, Josh Lucas and Bengt Erik Nelson. Through July 24 at the Synetic Theatre, 1800 S. Bell St., Arlington. About 110 minutes. $20 to $60. synetictheater.org.

The Diversity València music festival will host Medellin artist Karol G in July

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Karol G from Medellin has announced that she will be performing at the Diversity València music festival this July 23. This will be his only show in Europe in 2022.

The music festival celebrates diversity and will take place from July 21-23 in the iconic ‘Ciutat de les Arts y les Ciències’ in València. Festival organizers say Karol G’s journey is representative of the inclusive values ​​of the international event.

Tickets for the Diversity Valencia Festival can be purchased at: www.diversityvalencia.es.

Karol G is one of the most iconic artists in the world, her most recent recognition being the 2022 HEAT Latin Music Awards for Best Female Artist, an award which is chosen by popular vote.

“Bichota” “has become the best-selling female presence in the Latin music industry and also the most-streamed on all platforms around the world.”

With his single, Karol G also surpassed his own record on the Billboard Hot Latin Songs list, which together with MAMIII simultaneously occupied the first two positions of the same.

The Festival Diversity València will celebrate diversity from July 21 to 23 in the emblematic ‘Ciutat de les Arts y les Ciències’, and in addition to the exclusive show of Karol G in Europe, it will present two unique shows for Spain of musical phenomena as powerful as SHE

The Rise of Gru’ Soundtrack is the funniest album of the summer

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With all due respect to Lizzo, Calvin Harris, and yes, even Beyoncé, album of the summer has arrived, and it’s courtesy of the Minions.

Of course, the whole internet (this site included) fried Jack Antonoff when he dropped the track listing in May for the soundtrack of Minions: The Rise of Gruthe fifth part of the Minions franchise. But in the face of that mockery – and against all odds or any shred of common sense – the animated movie managed to deliver the funniest and most enjoyable album of the summer so far.

Of course, this should not shock those familiar with the Despicable Me cinematic universe. No matter what you think of the yellow, gibberish-spitting creatures invariably adored by meme-loving Facebook moms, the music in the world of Minions has always been on point. Mike Knobloch, president of global music at Universal Pictures, attributes the achievement to the “slightly left-wing musical identity” he helped build at Illumination, the studio behind the films. It was Illumination, remember, that enlisted creator Tyler to direct the soundtrack for the 2018 CGI version of the grinch— a collaboration that worked surprisingly well, not least because it managed to not totally water down Tyler’s style.

For Minions: The Rise of Gru, the music was somewhat predestined. The film is largely set in San Francisco in 1976, chronicling young Gru (voiced by Steve Carell)’s quest to become the world’s most notorious supervillain. There’s music embedded in the plot – Gru’s evil lair is hidden under a record store called Criminal Records, and the track that unlocks the hatch entrance is, aptly, “You’re No Good” by Linda Ronstadt.

When it came time to arrange the film’s soundtrack, Knobloch brought on pop music’s favorite producer Antonoff, who had worked with the studio a few times before, including recording a Paul Simon cover for The secret life of pets 2 and the production of Taylor Swift and Zayn fifty shades darker collaboration “I don’t want to live forever.”

“We were kind of already in a groove, and always on the lookout for something we could sink our teeth into together,” Knobloch said of his work with the Bleachers frontman. “And then that Minions The film offered a great opportunity to go beyond “Let’s just put 70s songs in the film”. There was an opportunity to say, “Okay, what can we do with these songs, and do they have to be the authentic article or is there an opportunity to do covers, updated interpretations , song refreshments?”

He continued, “And so, it all started with, ‘What do we have to do for the movie? and then it was built, since we play in the sandbox of songs from the 70s, why not do something new? Let’s create this lineup of 70s songs and tracks covered by the coolest artists of all time who show up because they want to work with Jack and they want to be part of this project.

The concept behind the album is quite simple: a collection of songs from the 70s reinvented by contemporary artists. But the execution is anything but predictable, with a roster of collaborators that includes rappers Brockhampton and Tierra Whack, indie it girls Caroline Polachek and Phoebe Bridgers, and more classic rockers like Gary Clark Jr. and the Alabama lead singer. Shakes, Brittany Howard. Among the most stunning cuts are St. Vincent’s fuzzy, vocoder-heavy version of “Funky Town” and Thundercat’s scintillating, goofy rendition of “Fly Like an Eagle,” both of which lend an air of futurism to a also a retro album. And with his bilingual version of “Born to Be Alive”, Jackson Wang, a Hong Kong-based rapper and member of South Korean group GOT7, lends some credibility to the global street to make the album even more modern. Ditto for Kali Uchis, who slips through a cover of João Gilberto’s bossa nova standard “Desafinado”.

Knobloch admits there were a lot of artists they approached for the soundtrack who said no, as well as those who were convinced, but ultimately he thinks the appeal to most musicians was a chance to experiment outside of their own sounds, like St. Vincent, whom he met while visiting Antonoff at a Los Angeles studio while making his album daddy’s houseand which most music fans would probably have deemed “too cool” for a Minions soundtrack.

“We were talking to her about the project and talking about songs, and ‘Funky Town’ came up in the conversation. It was just to have the opportunity to introduce her in person and have her say, ‘I love this song’ I want to do this cover,” Knobloch says, adding, “This soundtrack is a way for them to do something that they’re excited to do, that they might not otherwise have the right platform. or the right outlet to release that genre of a song as part of their artist brand or the music cycles they release.

And then there’s what Knobloch calls the “crown jewel” of the soundtrack: “Turn Up the Sunshine,” an original song by Tame Impala and living icon Diana Ross that plays in the film and in the credits. the end. It’s an unlikely team, but one that ultimately gives the album its brightest, sunniest and friendliest moment for songs of the summer. Think of it as a sort of cousin to Pharrell’s equally effervescent “Happy,” easily the biggest hit to date since the Despicable Me world, and one that is hard not to imagine as a role model for Knobloch and his team.

Already, Minions: The Rise of Gru is a box office hit that shattered Fourth of July holiday records with its $127 million opening this weekend. We’ll see if that translates to the soundtrack, which also released on July 1, becoming equally successful on the charts or spawning a “Happy” level hit, but it certainly has a lot going for it. Along with its all-ages appeal and diverse artist roster, the album also taps into one of the biggest music trends of the past two years: the ’70s and disco-inspired dance tunes. This is something Knobloch considers a happy coincidence, given that the soundtrack was made in 2019 and 2020, before the COVID-19 pandemic moved the film’s release to 2022, and before the success of ” Say So” by Doja Cat, by Dua Lipa. nostalgia for the futureor the resurgence of ABBA on TikTok.

“I think what was a bit weird was that if we had released the album and the movie with his music in 2020, with music trends, we felt like we were a little ahead of the game. on the curve,” Knobloch explained. “It felt like we were going to release 70s-inspired music, and some of it was kind of disco and some of it was just 70s pop and R&B. And it felt like the music was going into that direction, but we were ahead of the curve, I think. There was kind of like, ‘Oh, we could have been ahead of that instead of behind.’ I think it’s just that we have a lot of time to live with it and we’re looking too closely.

If anything, that’s a good thing. Maybe the Facebook moms were right and the Minions really do spark some joy. At the very least, Antonoff’s soundtrack certainly does. “We made a record that’s a groovy soundtrack for your summer,” Knobloch says. “It’s the short version that sums it all up.”

Looking back, the winners of the Best Pop Vocal Album Grammys

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The Grammy Award for Best Pop Vocal Album has become a major award in recent years. Lately, it’s been awarded to albums that have profoundly influenced the musical landscape, sometimes even more than the Album of the Year winner. So what does it take to win the Grammys Best Pop Vocal Album?

When people think of pop music, they naturally think of market appeal (pop is short for popular, after all), and that’s true to some extent for vocal pop album winners. All but one of the 29 albums that won this category made it into the top 10 of the Billboard 200. Of those 28, 24 peaked somewhere in the top five and 21 in the top three. Half of the winners were number one albums. Additionally, winning artists are usually among the biggest stars of their winning years. The list of vocal pop album winners includes huge names in pop music history like Adele, The black Eyed Peas, Taylor Swift, Celine Dionand Justin Timberlakeas well as more recent phenomena such as Ariana Grande, Billie Eilishand Doua Lipaand veterans like Sting, Ray Charles, Joni Mitchelland James Taylor.

Acclaim is often a factor at the Grammys, but the Pop Vocal Album category is somewhat lacking in that department. The highest Metacritic score for a pop vocal album winner (excluding reissues) belongs to Dua Lipa’s “Future Nostalgia,” which scored an incredible 87. However, it’s the only album so far over 85 to win the category. The last four albums have all been in the 80s category, indicating universal fame, but albums like The Black Eyed Peas’ “The END” Sam Smith“In the lonely hour”, Ed Sheeran“Divide” and John Mayer“Continuum” had mixed reactions. So a big album can impose itself here without getting the most acclaim.

Another common factor for most winners is producing multiple hits. “Future Nostalgia”, “1989” by Swift, “The END”, Bruno Mars“Unorthodox Jukebox” and Lady Gaga‘s “The Fame Monster” dominated pop radio, which could have helped expose the albums to a wide range of voters. Pop radio is probably most useful with older voters who might be more disconnected from what’s more specialized or popular on the internet.

But perhaps the biggest factor in most wins is the strength of the artist year as a whole. 2015, for example, pretty much belonged to Taylor Swift with the magnitude of “1989” on the charts and on radio. Ariana Grande’s personal life coincided with two major album eras in 2018 and might have helped put her “Sweetener” on top. Or take 2017, which was undoubtedly the year Ed Sheeran’s “Divide” took the world by storm with singles “Shape of You” and “Perfect.” The thing is, many voters might vote for the artist to recognize their success, rather than the music itself. This factor is consistent for the vast majority of winners, ranging from the last (“Sour” by Olivia Rodrigo) to the first winner (The Beatles‘ ‘Sergeant. Pepper’s Lonely Hearts Club Band”).

So if you’re looking to win a Grammy for Best Pop Vocal Album, be sure to have a banner year with a commercially successful album. Even if your album isn’t the best seller of the pack (take Dua Lipa or Ariana Grande’s wins), great radio airplay and massive promotion can easily get you to the finish line.

Make your Gold Derby predictions now. Download our free and easy app to Apple/iPhone devices Where Android (Google Play) to compete against legions of other fans as well as our experts and editors for the highest prediction accuracy scores. Check out our latest betting champions. Can you then top our estimated rankings? Always remember to keep your predictions up to date as they impact our latest racetrack odds, which record executives and music stars are terrified of. Don’t miss the fun. Have your say and share your opinions on our famous forums where thousands of showbiz leaders hide out every day to keep up with the latest awards. Everyone wants to know: what do you think? Who do you predict and why?

‘Celebrating Rich’s Life and Legacy’: Campaign to produce album honoring Christian artist Rich Mullins raises over $170,000

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This year will mark the 25th anniversary of the tragic death of Christian music artist Rich Mullins in a car crash in central Illinois.

Mullins, 41, was killed on September 19, 1997, while on his way to a benefit concert. The shocking news of his death sent shockwaves across the Christian music industry and beyond.

Nearly a quarter of a century after his death, Mullins’ life and music still have an impact.

Friends and fellow artists have come together to create a tribute album titled, Bellsburg…The Songs of Rich Mullins to honor the famous singer and songwriter. They launched a Kickstarter Campaign earlier this year for the project, which ended June 30.

A goal of $60,000 was set for the album, but the campaign nearly tripled that amount, raising $170,582.

The album, which will be distributed by Old Bear Records, features performances from Andrew Peterson, Amy Grant, Ashley Cleveland, Jason Gray, Mitch McVicker and more than a dozen other artists.

The cast of star musicians remembered and recorded music at Mullin’s former home located in Bellsburg, Tennessee.

“This 120-year-old farmhouse in Bellsburg was the perfect setting to make this album,” shared Andrew Greer, executive producer of the tribute album. “We celebrate Rich’s life and legacy, and this is the space he lived in…and quite possibly wrote many songs. Recording with this community, in this special way I think, brings us closer to Rich. barefoot.”

Chris Hoisington, producer of the project and co-founder of Old Bear Records, called Bellsburg “an incredible community effort.”

“When I compare Rich Mullins to great American songwriters like Woody Guthrie, Bob Dylan, or Paul Simon, it’s possible that this simpler, acoustic folk style is the path Rich would find himself in today, musically speaking,” Hoisington said.

Mullins wrote many songs, but is perhaps best known for awesome god and Sometimes step by step.

To mark the 20th anniversary of Mullin’s death, Christian artists Mac Powell, Matt Maher and Ellie Holcomb, gathered to record one of his unreleased songs titled The Joy of Jesusa simple blessing bestowing on us the grace, love and joy of Jesus.

Bellsburg… Rich Mullins songs is scheduled for September 16e. To learn more, click here.

*** Please sign up for CBN newsletters and download the CBN News app to ensure you continue to receive the latest news from a distinctly Christian perspective. ***

13-year-old rock guitarist cuts album in area’s historic recording studio – KIRO 7 News Seattle

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SEATTLE — A Seattle-area teenager is making his mark on the music world. He recorded an album in one of the region’s most historic recording studios.

Nikhil Bagga went from guitar lessons to full-fledged recording artist in just a few years.

Bagga took piano lessons until fourth grade and then moved on to shredding on guitar.

“The rule at home was that we had to play an instrument. So I still really come from a musical family,” Bagga said.

At the ripe old age of 13, Bagga displayed a rather rare mastery of the guitar.

“I crave a lot more adrenaline,” Bagga said.

Bagga also put his talent on the ice by playing the national anthem at a Kraken game last season. It was the first time he played it in front of an audience.

“It was absolutely surreal. I was just like, at first, I was just focusing on the guitar, and I was so nervous because it was almost silent,” the teenager said.

KIRO 7’s Ranji Sinha watched it in the studio, where he said it was clear that Bagga had fallen into music. Bagga’s rendition of the anthem will now lead him to perform it at a NASCAR race, a street performance with the Sounders and a Mariners game in August. It’s because he sent a demo to the Kraken, and they gave him a chance to play.

Bagga is not a guitar beginner. In a nondescript Shoreline building that houses London Bridge Studio, stepping inside is like a trip to Seattle’s Rock and Roll Hall of Fame. It is also the place where the teenager recorded his album, ‘Leap of Faith’, at the age of 11.

“Eddie Vedder recorded in this booth and when Eric told me that, I was so like that, actually?”

Bagga admits that half of his friends probably don’t know who Vedder is, but he does, and his producer Eric Lilavois said Bagga is an encyclopedia of music.

“Jimi Hendrix, Kurt Cobain, Eddie, Pearl Jam, Soundgarden, they were all here and now, sort of, I like to say, maybe, following in their footsteps,” Bagga said.

“He fits in perfectly with magic. He knows it and he comes into himself and it’s really amazing to watch,” Lilavois said.

Bagga’s encyclopedic knowledge was on full display when he gave Sinha a sonic tour through rock history.

“You name a song and he can play it,” Lilavois said.

“I have Ben Smith from Heart and Jeff Raus, you know they’re great players in the Seattle scene and so for him to step in directly and communicate with everyone and really learn along the way , it was fantastic,” Lilavois said.

Bagga’s father says stereotypes about Indian children don’t apply to his son as he has a future that clearly has a guitar in his hand – whether it’s performing in Seatte, taking part in events sportsmen or to riff the greatest.

“Writing music for me, it just gets easier because the ideas kinda come to my head,” Bagga said.

“Deep down, he believes music is universal,” Lilavois said.

“It’s like a simple thing that can do wonders,” Bagga said.

Strongbox Theater presents A FESTIVAL OF STAGE AND SONG

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Strongbox Theater will present several evenings of short one-act plays complemented by songs by live musicians.

According to producer Tony Leone, “After another pandemic year and busy news cycle, Strongbox wants to deliver a fun night of entertainment where audiences can gather, laugh together and enjoy a quality show in a safe outdoor setting. .”

After receiving over 500 plays from writers around the world, the directors of Strongbox have chosen (8) entertaining, well-written plays written by award-winning playwrights to perform at their festival at the East Rockaway Outdoor Theater in Memorial Park. The plays will mainly consist of comedies and the music will be catchy.

The show runs from July 22 through August 7 on Fridays, Saturdays and Sundays at Memorial Park, 376 Atlantic Ave in East Rockaway. Show time is at 7:30 p.m. Tickets can be as low as $1 as this is a “pay what you wish” event. The production lasts 1h45 with intermission. Audience members must bring their own portable chair or blanket; picnic-style seating is available.

Strongbox Theater is a new production company based in East Rockaway, New York that seeks to provide audiences with professional and unique theatrical experiences. The Strongbox Theater will operate from the former East Rockaway National Bank building at 40 Main Street in a renovated performance space with a flexible, modular stage and seating, and state-of-the-art production equipment. technology. With a first scheduled opening in winter 2023, the Strongbox Theater will also house a bar, lounge and art gallery. Construction is underway. Their mission is to build a new audience of theater lovers.

Ciara Signs New Label Deal & Teases New Single – VIBE.com

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Ciara and her label, Beauty Marks Entertainment, have partnered with Republic Records and Uptown Records as revealed by Billboard Wednesday, June 29.

“I’m thrilled to partner with Uptown/Republic Records through my own label Beauty Marks Entertainment,” Ciara shared in a press release. “[Republic co-president] Wendy [Goldstein] and I have been in discussions to work together for some time and the enthusiasm she and the whole team have expressed about this new project marks an exciting new chapter in my career. I am grateful to be able to pursue my mission of making the world dance with a team that I admire, who are at the forefront of empowering artists.

Kicking off her new label deal is “Jump,” Ciara’s first release since her 2019 indie album, Moles. The news also comes on the heels of the “Level Up” singer revealing to ET live that she’s owned her masters since June 2018, citing that she “no longer felt creatively cuffed.”

“It’s an amazing chapter,” she said. “It’s kind of cool to know that you’re here running and hustling and not only performing songs that you wrote, but also owning the masters of those songs. I was dreaming about it when I was signed to a label. I was like, the day I get a chance, I want to own my own masters. I want to do something else.”

Goldstein added of Ciara’s new partnership, “I’ve been a lifelong fan of Ciara. Working with her has been a dream, and she’s now some of the most powerful, undeniable, and innovative music of her entire career. is an amazing creative chapter for her, and we’re all thrilled to be a part of it.

Ciara’s new single, “Jump,” arrives July 8. Listen to the teaser below.

Variety of musical artists to appear at concerts in Toronto | News, Sports, Jobs

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MANY NIGHTS OF MUSIC – The Toronto Coalition for Revitalization has booked a variety of artists to perform at the Toronto Commons Area at North Third and Market Streets every Wednesday night in July and August. George Komar, left, group chairman; and Jon Greiner, his concert coordinator; stand with a banner acknowledging the many sponsors of the free concert series, including the Ohio Arts Council, which has given them grants in years past. –Warren Scott

TORONTO — From country to oldies, rock ‘n roll and swing to rhythm and blues, the Toronto Coalition for Revitalization’s summer concert series will feature a variety of musicians from 7-9 p.m. every Wednesday from Wednesday to August 31.

Area residents are encouraged to bring a lawn chair or blanket to the Gazebo Commons area of ​​the city at North Third and Market streets to catch the latest free performances, which are supported by many businesses and organizations.

Jon Greiner, who books artists for the volunteer coalition, said the response and turnout for last year’s series was great, which is a challenge for this year.

“I thought to myself, how am I going to be in the lead last year, so I thought I could at least reflect that,” he said, noting that he intended to offer many of the same musical styles represented in previous programming.

Concerts scheduled for this year are: The Honkytonk Sweethearts and The Remainders, a classic rock band, Wednesday; the rock and soul sound of Pocket Change on July 13; the standards and other music delivered by Roz and Lynn and the sounds of the 1950s, 1960s and 1970s from Reflections on July 20; country and other music by the Ron Retzer Trio on August 3; the mix of country and rock by Chelsea Householder and local dance group Twice as Nice on August 10; and country and rock ‘n roll from 40 Plus on August 17.

Greiner noted that musical imitators were popular last year, so Bob Morelli returns as Dean Martin, this year paired with Dave Salera as Frank Sinatra, on July 27, while Steve Dorsey and Kurt Nova will appear again. as Roy Orbison and Elvis Presley, respectively, on August 24.

Capping off the streak on August 31 is Jimmy Lee Hook, a Toronto native who pursued a music career in Cincinnati and elsewhere. Often appearing with guitarist Sam Hudnell, the singer-keyboardist performs music from a variety of pop favorites as well as some of his own songs.

In the event of rain, concerts will be moved to the adjacent First Presbyterian Church in Toronto.

Greiner and Komar thanked church officials for allowing the building to be used over the years.

“I think we’ve had 13 concerts in the church over the years,” said Greiner.

To show their gratitude, the coalition organized the installation of a new balustrade along the steps leading to the entrance of the church.

The two also thanked area businesses and organizations for sponsoring the shows.

They include: B&W Complete Auto Repair, Cattrell Cos. Inc., Clarke Funeral Home, Freshwater Cedar One Realty, JE Foster Funeral Homes, Howard Hanna Real Estate Services, Iggy’s Pizza and Pasta, Jefferson County Chamber of Commerce, Wargo Home Improvement, Main Street Bank, Margaret’s Cafe, Repairs Plus , Ridge Machine & Welding, State Farm Insurance agent Toni Moreland, TIMET, the Toronto Apothecary, Toronto Beautification Committee, Toronto Kiwanis Club, US Bank, Valley Converting and White Glove Supply.

Greiner said, “There are 21 sponsors this year, the most we have had. George did a terrific job getting them.

Over the past four years, the concerts have also been supported by nearly $5,000 in grants from the Ohio Arts Council, and Greiner plans to apply for another this year.

Sponsors are recognized on a banner produced by Signs Ltd. at a reduced price to the band and hung from a wooden frame built by the late Richard Bailey, who had been an avid concertgoer.

The Toronto Beautification Committee is responsible for the flowers and American flags used to decorate the gazebo and its grounds.

The concerts also received a boost from local youth, including members of the Toronto Junior High School Junior Honor Society, who helped attendees with their chairs; and members of Cub Scout Pack 41, who pass around a donation can for concerts and sell small snacks there.



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Sugababes Want Leaked MKS Album to Get Official Release E! News UK

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The Sugababes want to officially release their leaked MKS album someday.

The ‘About You Now’ trio – made up of original members Mutya Buena, Keisha Buchanan and Siobhan Donaghy – reformed in 2012 as MKS after being barred from using the band name they came up with in 1998 , and went through a tough time when a planned record was leaked.

Speaking to The Sun newspaper’s Bizarre column, Siobhan claimed: ‘Some people would say it was sabotage.

Admitting the band would love to release the songs one day, she added, “It’s some of our best work. The list of songs we like for it, I think, is just banger after banger, c really is.”

Now they feel stronger than ever after reclaiming the rights to the Sugababes moniker, saying there were ‘people who got in their way’.

Keisha said: “So we went with the name MKS because of the obstruction.

“It was unfair because when it happens and you can’t explain to the masses, it falls on us and then the people who obstruct, they run away at sunset.

“We just had bigger balls. We were like, ‘We’re women in this industry, we’re going to stand up for ourselves and fight.’ We didn’t want to let our fans down.”

Now, the group wants to release more music in the future, with some big name collaborations in mind.

Keisha reflected, “Writing and trying to be creative takes time – even if we say that and when we get into the studio, it’s fast.

“We’re trying to put everything together. We’re just coming out of COVID and stuff, so we’re hopeful.

“The ones we would really like to work with are Mark Ronson, Calvin Harris, Pharrell Williams and Burna Boy. Those are our four.”

Rachel Bertone prepares for her lead role at the Reagle Music Theater

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In total, Bertone spent a decade working steadily at Reagle, serving as Director of Educational Programs alongside her stage work. She then choreographed and directed at Boston’s Lyric Stage Company, Moonbox Productions and Wheelock Family Theater before moving to New York in 2019. For her inaugural season, she directed and choreographed “West Side Story” (July 8-16) and “Pippin” (August 5-13).

“Once I was drafted, I contacted Bob, who said he was happy the team had chosen ‘someone from the family,'” says Bertone.

From 1969 to 2021, Eagle transformed a high school auditorium in Waltham into a summer destination for high-quality Broadway classics, with appearances by the likes of Shirley Jones, Lorenzo Lamas, Donna McKechnie, John Davidson, Rachel York, Patrick Cassidy and Andrea. McArdle, as well as musical revues and a year-round concert series. Along the way, Reagle’s lineup also served as a launching pad for many Boston artists, including Bertone.

“I was first hired as an ensemble performer for the entire season,” Bertone explains, “then I moved up to dance captain, assistant director, and choreographer, and then I took full responsibility for direction and choreography for ‘Carousel’ and ‘Showboat’. I had the chance to work with Gemze de Lappe, who shared the Dream Ballet choreography in ‘Oklahoma’ which she learned from Agnès de Mille, as well as Rachel York [”Kiss Me, Kate”] and Rick Hilsabeck [“Phantom of the Opera,” “Chitty Chitty Bang Bang”]. It was such a gift to be in the room with these experts.

Diego Klock-Pérez and Bianca Rivera-Irions rehearse a number from “West Side Story”. Josh Reynolds for the Boston Globe

What she loves about Reagle, Bertone says, is the opportunity to bring together so many artists.

“We mix talent from New York and beyond, with local professionals and artists from the community,” she says. “It’s an even playing field.”

Bertone says she is thrilled to continue Reagle’s commitment to full orchestras and major casts. “West Side Story” will feature 28 members of the company, many of whom she says are new to her.

“The large cast helps make the show exciting for the audience,” she says. “And I love the opportunity to collaborate and connect with the cast. Every member of the ensemble needs to feel invested because they are critical to the success of the show.

Diego Klock-Pérez, who plays the central role of Bernardo, leader of the Puerto Rican Sharks gang, says that despite the widespread familiarity with the series, he was impressed with the time Bertone spent developing the character.

“Familiarity can sometimes lead to these roles being reduced to stereotypes, and it’s really important to me that Bernardo is not misrepresented,” says Klock-Perez. “Rachel asks us to take a step back and think about why these teenagers joined a gang. The individuals of these two gangs are fighting for the same thing – they are trying to be safe in a world of chaos.

Bertone and Klock-Perez worked together on his Wheelock Family Theater production of “In the Heights” and his Lyric Stage production of “Kiss of the Spider Woman.”

“Rachel has so much respect for the opinions of actors,” says Klock-Perez. “She asks each of us to bring truth and respect to the characters. That’s what helps the audience lean into the story.

“I’m as creative as the people I surround myself with,” says Bertone. “I think my background as a performer and my background as a teacher combine to let me know what actors need to feel empowered.”

Although the challenges of the pandemic made his first season “a year of transition,” Bertone says after the pandemic hiatus, hosting just two shows instead of Reagle’s traditional three seemed right this summer. She is grateful to have her colleague and longtime Reagle musical director, Dan Rodriguez, as a partner on these shows, as they have worked together at other theaters in the area, including in a production of “West Side Story.” at the Turtle Lane Playhouse 10 years ago.

“It’s exciting to mix the familiar with the new,” she says. “Part of my role as artistic director is to reach a wider audience and appeal to younger and more diverse audiences. Nevertheless, we will again present the “Christmastime” show, which is so popular with families. I staged the choreography for children years ago, so I hope to give it a bit of a facelift while respecting the tradition.

She is already thinking ahead and hopes to expand educational programming, add more concerts and reviews, and ultimately provide the opportunity for workshops on new pieces.

“Hopefully we can continue to tap talent from our backyard as well as New York for even more continuous year-round programming,” she says.

A family’s fears

Great Barrington Public Theater presents the latest installment in its series of solo shows, ‘Leave Your Fears Here’, through July 10 at the Liebowitz Black Box Theatre, Bard College in Simon’s Rock. The memoir, by actor James Morrison (‘Law and Order SVU’, ‘The West Wing’, ‘Six Feet Under’), tells the heartbreaking story of his 10-year-old son’s brain cancer treatment and recovery year. ($25 tickets at www.greatbarringtonpublictheater.org.)

WEST SIDE STORY

Presented by Reagle Music Theatre. At 617 Lexington St., Waltham, July 8-16. Tickets $38-$68. www.reaglemusictheatre.org

Terry Byrne can be reached at [email protected].

Broadway’s Into the Woods will sell $50 tickets via digital lottery

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Broadway News

off broadway In the woods sell $50 tickets through the digital lottery

Patina Miller, Brian d’Arcy James, Phillipa Soo, Joshua Henry, Sara Bareilles and more stars of the Stephen Sondheim-James Lapine musical starting June 28.

Patina Miller, Brian D’Arcy James, Phillipa Soo, Joshua Henry and Sara Bareilles


The Broadway revival of Stephen Sondheim and James Lapine In the woodsbeginning performances at the St. James Theater on June 28, is selling a limited number of $50 tickets through a digital lottery.

For weekday performances, entries will be accepted until 10:30 a.m. ET on the day of the performance, with winners being selected beginning at 11 a.m. ET and continuing throughout the day as needed. For weekend performances, entries will be accepted until 10:30 a.m. ET the previous Friday, with winner selection following at 11 a.m. ET and beyond as needed. Winners will have a limited window to purchase and claim their tickets, so entrants are encouraged to keep an eye out for the draw on the dates they enter. Registrations are accepted at LuckySeat.com.

Sara Bareilles, Brian d’Arcy James, Patina Miller, Phillipa Soo, Gavin Creel and Joshua Henry lead Sondheim’s revival as Baker’s Wife, Baker, Witch, Cinderella, Cinderella’s Prince and Rapunzel’s Prince, respectively, with Bareilles and Creel reprising their Encores performances! run last month.

Joining them are Julia Lester as Little Red Riding Hood, Cole Thompson as Jack, David Patrick Kelly as Narrator/Mystery Man, Annie Golden as Cinderella’s Mother/Grandmother/Giant, Nancy Opel as as Cinderella’s stepmother, Aymee Garcia as Jack’s mother, Ta’Nika Gibson as Lucinda, Albert Guerzon as Cinderella’s father, Brooke Ishibashi as Florinda, Kennedy Kanagawa as Milky White, David Turner as Steward and Alysia Velez in Rapunzel. Delphi Borich, Felicia Curry, Jason Forbach, Alex Joseph Grayson, Cameron Johnson, Paul Kreppel, Mary Kate Moore, Diane Phelan and Lucia Spina complete the company as understudy.

Back at the helm after leading the downtown run, it’s Encores! Artistic director Lear deBessonet, who brought together her Encores! creative team: music director Rob Berman; choreographer Lorin Latarro; set designer David Rockwell; costume designer Andrea Hood; lighting designer Tyler Micoloeau; sound designer Scott Lehrer, co-creator with Alex Neumann; puppet maker James Ortiz; and hair and makeup artist Cookie Jordan. The cast is being handled by Craig Burns of the Telsey Office and Cody Renard Richard is the production supervisor. Justin Scribner is production manager and musical coordination is provided by Seymour Red Press and Kimberlee Wertz.

With a book by Lapine and a score by Sondheim, In the woods combines the fairy tale stories of Cinderella, Jack and the Beanstalk, Rapunzel, and more, ultimately going beyond “forever” to explore what happens next. Boasting a score that includes such favorites as “Children Will Listen”, “No One Is Alone” and its title track, the musical has become one of Sondheim’s best-loved and most-performed works, both on professional stages as well as in schools and community theaters around the world. .

“La llama del amor”: Omar Montes surprises with his flamenco art with Jairo Deremache

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In “La llama del amor”, the Spanish urban singer Omar Montes once again demonstrated his talent. Despite the fact that he became famous after his participation in the TV show “Mujer hombres y viceversa” or his relationship with Isa Pantoja (daughter of popular singer Isabel Pantoja), his latest publication exudes rhythm and freshness. The single is a collaboration with Jairo Deremache, who brings his strong voice to this love song.

The music video is fire, palm trees and the pure art of flamenco. In the middle of a wedding celebration, a child dances on the table to the rhythm of the happy family’s guitars and drums. In an alley, Omar and Jairo Deremache sing the song under the heat of a bonfire. Additionally, shots of an attractive woman dancing in a nightclub, illuminated by intense colored lights, are altered.

It is a high-level audiovisual production directed by Guillermo Mendo, which sought to promote the flamenco hype that is spreading among traditional music sung in Spanish. The clip features a sequence: from the beginning of the love story to the wedding reception. The song is divided into two sections, which aim to heighten the emotion of each part of the story.

Guillermo Mendo wanted to portray the couple’s first kiss, their motorbike rides and his family’s joy when they get married. The polished cinematography is accompanied by spectacular dance choreographies, also based on the roots of flamenco. To top it off, the video also includes a cameo of Farruquito and his son.

With this flame of love, Omar Montes managed to expand his range of musical genres. Currently he is recognized as one of the most innovative and successful urban artists in Spain. Beyond the flamenco he displayed in his latest single, he is a great master of rhythms such as afro, trap, hip hop, EDM or reggae. In fact, there are those who classify him as the promoter of “urban flamenco”.

His popularity spread to Europe and Latin America, after the success of his first songs such as “Conmigo”, “Fuego” or “Pantera”. With the release of his first album “La vida martir” (2019), he experienced a boom in popularity, which was combined with his victory in the television show “Survivors”.

Several of his songs went straight into the international top 50, which also earned him gold and platinum records. In 2020 he managed to place four of his songs in the top 50. In addition, he ended 2021 last year being the Spanish artist with the most reproductions on digital platforms.

It is a successful career, given that Omar Montes started recording songs at home for family events. In addition, in recent times he has collaborated with artists such as Camela in “Vete”, JC El Diamante in “Beba qué quieres que haga” or Duki in “Carita Morena”.

Camden County woman admits fraudulently obtaining 30 loans to help small businesses during COVID-19 pandemic | USAO-NJ

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CAMDEN, NJ – A Camden County, New Jersey resident today admitted to conspiring to fraudulently obtain 30 Paycheck Protection Program (PPP) and Economic Disaster Loan (EIDL) loans. totaling more than $3 million, and for laundering the proceeds, U.S. Attorney Philip R Seller’s ad.

Rhonda Thomas, 38, of Sicklerville, New Jersey, pleaded guilty by videoconference before U.S. District Judge Karen M. Williams to an information charging her with one count of conspiracy to bank fraud and one count of money laundering. ‘silver.

According to documents filed in this case and statements made in court:

The CARES Act (Coronavirus Aid, Relief, and Economic Security) is a federal law enacted in March 2020 and was designed to provide emergency financial assistance to millions of Americans who are suffering from the economic effects caused by the COVID-19 pandemic. 19. One of the sources of relief provided by the CARES Act was the authorization of hundreds of billions of dollars in small business forgivable loans for job retention and certain other expenses, through the PPP. The CARES Act also authorized the Small Business Administration to provide an EIDL of up to $2 million to eligible small businesses that were experiencing significant financial disruption due to the COVID-19 pandemic.

To obtain a PPP or EIDL loan, an eligible small business had to submit an application and provide information about its operations, including the number of employees and expenses. In addition, companies generally had to provide supporting documents.

In 2020 and 2021, Thomas submitted at least 10 PPP applications and three EIDL applications for companies she controlled. She told lenders her businesses had employees and payroll expenses they didn’t. In fact, many of his businesses were nominal businesses with no employees or payroll charges.

Thomas also conspired with other alleged business owners to submit at least 20 fraudulent PPP and EIDL loan applications. She prepared and submitted these loan applications, which falsely stated the number of employees, payroll and business expenses.

Thomas falsified tax forms and altered bank statements she submitted to lenders as part of loan applications.

Based on Thomas’ misrepresentations, lenders approved about 30 PPP and EIDL loans and disbursed more than $3.1 million in federal COVID-19 emergency relief funds to struggling small businesses in Thomas and to his conspirators. Thomas has personally received over $330,000 from lenders based on the fraudulent loan applications for his businesses and received kickbacks of over $700,000 from other business owners for his role in preparing and submitting fraudulent loan applications.

Thomas used the proceeds of the fraudulently obtained PPP and EIDL loan to pay for his personal expenses. In March 2022, Thomas withdrew approximately $60,000 of cash loan proceeds from a Camden County credit union.

The bank fraud conspiracy charge carries a maximum sentence of 30 years in prison and a $1 million fine. The money laundering charge carries a maximum of 10 years in prison and a fine of $250,000, or double the gross gain or loss of the offense, whichever is greater. higher. As part of his guilty plea, Thomas agreed to return the full amounts of the PPP and EIDL loans. Sentencing is scheduled for November 1, 2022.

US Attorney Sellinger credited Special Agents from the Federal Deposit Insurance Corporation – Office of Inspector General, under Patricia Tarasca, Special Agent in Charge of the New York Regional Office; Social Security Administration Special Agents, Office of Inspector General, New York Field Division, under Special Agent in Charge Sharon MacDermott; special agents of the FBI’s South Jersey Resident Agency, under Special Agent in Charge Jacqueline Maguire in Philadelphia; Special Agents of the United States Department of Labor, Office of Inspector General, New York Region, under the direction of Special Agent in Charge Jonathan Mellone, the investigation leading to today’s guilty plea.

The government is represented by Assistant U.S. Attorney Daniel A. Friedman of the Criminal Division of the U.S. Attorney’s Office in Camden and Senior Litigation Counsel Jason M. Richardson of the Civil Rights Division of the U.S. Attorney’s Office in Camden.

Former Hackettstown businessman admits fraudulently obtaining $1.8m in COVID-19 loans

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hackettstown

A Warren County businessman today admitted to fraudulently obtaining nearly $1.8 million in loans from the federal Paycheck Protection Program (PPP), U.S. Attorney Philip R. Sellinger and Assistant Attorney General Kenneth A. Polite Jr. of the Justice Department’s Criminal Division.

Federal officials say Rocco A. Malanga, 50, a Hackettstown elder, pleaded guilty to an information charging him with bank fraud and money laundering.

According to documents filed in the case and statements made in court:

From April 2020 to August 2020, Malanga submitted false documents to three lenders to fraudulently obtain approximately $1.8 million in federal COVID-19 emergency relief funds for struggling small businesses.

He submitted at least three PPP loan applications on behalf of three different business entities in which he fabricated the number of employees employed by each business entity, as well as their average monthly payroll.

Malanga then diverted some of the loan proceeds to fund a company that did not receive PPP loan funds.

The CARES Act (Coronavirus Aid, Relief, and Economic Security) is a federal law designed to provide emergency financial assistance to millions of Americans who are suffering the economic effects resulting from the COVID-19 pandemic.

One of the sources of relief provided by the CARES Act was the authorization of up to $349 billion in small business forgivable loans for job retention and certain other expenses through the PPP.

In April 2020, Congress authorized over $300 billion in additional PPP funding.

The PPP allowed small businesses and other eligible organizations to receive loans with a term of two years and an interest rate of 1%.

Businesses must have used PPP loan proceeds for payroll costs, mortgage interest, rent and utilities.

The PPP allowed interest and principal to be waived if companies spent the proceeds of these expenses within a set time frame and used at least a certain percentage of the loan for payroll expenses.

Four plead guilty to obtaining nearly $5 million in fraudulent PPP loans | USAO-SC

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Charleston, South Carolina — Lori Hammond, 53, of Summerville, Catherine (“Cassie”) Needham, 36, of Manning, Jontrell Wright, 35, of Holly Hill, and Christopher Conrad, 39, of Holly Hill, all pleaded guilty of conspiracy to commit wire fraud and wire fraud, in connection with their role in fraudulently obtaining millions of dollars in PPP loans.

Evidence presented to the Court showed that from June 2020 or around January 2021, Lori Hammond caused several materially fraudulent PPP loan applications to be submitted to federally insured financial institutions on her behalf and on behalf of her co-conspirators. . In these loan applications, Hammond used the identity of a deceased person, misrepresented the number of employees and salary expenses of the entities applying for the loans, attached fraudulent tax documents, and made numerous other false and misleading statements. As part of the conspiracy, Hammond aided Needham, Conrad, and Wright by filling out loan application documents with materially false and fraudulent information and then submitting them to someone in California. The individual in California would in turn submit the fraudulent loan applications to financial institutions in exchange for a commission. Based on the misrepresentations and submissions in the applications, approved PPP lenders funded the PPP loans. Once the funds were deposited into the respective accounts, Hammond, Wright, Needham and Conrad used the funds for non-qualifying, non-business purposes, including homes, property, cars and other personal purchases.

In total, the conspiracy members fraudulently obtained $4,721,638.50 in PPP loan funds.

The defendants all face a maximum sentence of 20 years in federal prison. They also face a fine of up to $250,000, restitution and 3 years of supervision following the jail sentence. United States District Judge David C. Norton accepted the guilty plea and will sentence the defendants after receiving and reviewing a sentencing report prepared by the United States Probation Office.

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 about 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 NCDF’s online complaint form at: https://www. .justice.gov/disaster-fraud/ncdf-disaster-complaint-form.

This case was investigated by the Federal Bureau of Investigation (FBI). Assistant US Attorney Emily Limehouse is pursuing the case.

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FKJ created the perfect post-pandemic summer album with Vincent

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You collaborate with big names on this album, like Carlos Santana. How did it go remotely?

Little Dragon was all online. All of this while WhatsApping back and forth and transforming the song as you go. And Santana was the very last. The album was finished – the album was even sent to the vinyl press. It was really different because he’s a legend, so it’s more like the managers talking and he sent me 10 takes he did on “Greener.” Then I just cut it out and did my own thing and sent it back, approved.

Why did you first train as a sound engineer for the cinema before embarking on the creation of your own music?

I was learning to write music on my own, and it was a language that I learned very easily. But the sound is another thing. The sound is more like science, it’s more complicated. I thought the best way to learn it was to go to a sound engineering school and learn the science of sound: why sound is so important in music and how sounds affect and influence us our way of listening, how a well-mixed sound triggers emotions in us more than a badly mixed sound.

How do you maintain a soulful touch in your music, while using many high-tech tools to manipulate the sound?

I’m really passionate about both – composition as well as more technical sound design. I don’t see myself running out of ideas, because there’s just too much, with those two things combined, that can be done. It’s infinite. The sound design is one hell of an inspiration. If I only have a classical guitar for a month and don’t have another instrument, at some point I’ll probably get bored and lose my inspiration. But if I just put a pedal on this guitar that has a vibrato effect, coupled with a chorus or whatever the pedal does, then that opens things up. This creates a whole new wave of inspiration with this same instrument.

Has your style changed since you moved to the Philippines, living away from the city?

The only reason I really like going back to Paris is that I really like dressing up [in outerwear]. In the Philippines, I can never wear a jacket, for example. Since I’ve been here, I’ve just been trying to find lighter materials, focusing more on t-shirts, a bit of jewelry and pretty pastel colors. When I get back to Paris, I just pack my suitcase with all these different jackets that I haven’t worn in so long, and I can finally put them back on.

Edinburgh’s historic theater will take center stage in new STV musical show

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Leith Theatre, which previously hosted concerts by AC/DC, Kraftwerk, Slade, John Martyn, Thin Lizzy and Dr Feelgood, will partner with STV to broadcast a series of shows performed in the venue. The Live in Leith programme, which will be released on the STV Player platform, will be hosted by broadcaster Vic Galloway.

Artists include former Nova Scotia Scottish Album of the Year winner, teenage sensation Conor Fyfe, the youngest performer due to appear at next month’s TRNSMT festival in Glasgow, and Lizzie Reid, who has supported Paolo Nutini last month during his long-awaited return.

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The new partnership, described as ‘a dream come true’ by the Leith Theater Trust, which is leading efforts to secure the building’s long-term future, was revealed after the building was chosen as the new home of the series of BBC day The Bidding House.

Lucia & The Best Boys will appear in STV’s new Live in Leith series.

The building opened in 1932 but was nearly destroyed in a World War II bomb blast before being revived for music, theater and as a weightlifting venue for the Commonwealth Games, before falling into decline in the 1980s and threatened with sale by the council.

Kae Tempest, Neneh Cherry, Gerry Cinnamon, Jarvis Cocker, Teenage Fanclub, The Fratellis, The Snuts and Young Fathers have all taken to the stage since it was commissioned for Edinburgh’s Hidden Door festival in 2017.

Audiences will return to concerts at the Leith Theater for the first time in three years in August, when the venues host the Edinburgh International Festival (EIF).

Arab Strap, The Cinematic Orchestra, Ezra Furman, Princess Nokia, Sons of Kemet, Squarepusher and Jeff Mills are among the artists who will perform during the festival.

The Leith Theatre, which will host STV’s new Live in Leith series, dates back to 1932.

The five-part STV series, which will launch on July 2, will also include Retro Video Club, Ransom FA, The Ninth Wave, Lucia & The Best Boys and LOTOS.

Richard Williams, Chief Digital Officer at STV, said: “STV is passionate about championing grassroots talent, so we’re delighted that these amazing local performances at the iconic Leith Theater are now being shown on STV Player for a wider audience can benefit from it. ”

Leith Theater Trust chief executive Lynn Morrison said: “It’s a dream come true to bring our first-ever in-house production of Live in Leith to STV Player.

“These recordings from our grand auditorium and intimate backstage allowed us to shine a light on this incredible place.

The new Live in Leith series was performed at the Leith Theatre. Photo: Ryan Buchanan

“One of our main goals is to deliver the renovation of this historic 1930s art deco building into a premier concert venue for local and international artists.

“Living in Leith is such a powerful way for us to tell this important story.”

Callum Jones, Program Curator and Coordinator at Leith Theatre, said: “It is a joy to share these fantastic performances with national audiences at home thanks to our friends at STV Player.

“If Live in Leith is a pulse on the health of revolutionary Scottish music, then we’re in a really healthy place.

The Nova Scotia rapper will be featured as part of STV’s new Live in Leith series. Photo: Ryan Buchanan

“We look forward to exploring further opportunities to celebrate Scotland’s vibrant music sector in the beautiful setting of the Leith Theatre.”

The composer of ‘Beavis and Butt-Head’ has hired a 69-piece orchestra

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When director Mike Judge was working on “Beavis and Butt-Head Do the Universe” (now airing on Paramount+), it was only fitting that he called in composer John Frizzell to work on the score. Judge needed the film’s music to reflect the emotional and physical journey the duo would embark on. To do this, Frizzell recorded an epic score with a 69-piece orchestra in Vienna.

In the new film, Beavis and Butt-Head reunite at space camp because of a “creative condemnation” from a 1998 youth judge mistaking a docking simulator for something else. Beavis and Butt-Head excel at it and are invited to join the space shuttle mission as part of a public relations move. After ruining the mission, they are left for dead in space and end up traversing a black hole and reappearing on Earth in 2022, only to discover a very different world – and find themselves deemed Buttholes of Interest by the NSA, the governor of Texas, and a highly intelligent version of themselves from a parallel universe.

Frizzell worked to provide clues ranging from the emotional to the comedic. In all, he ended up with 60 minutes of music for the film using powerful bass trombones and brass to accompany the cartoon duo on their new adventure.

How did this movie Beavis and Butt-Head vs. score the last? What made this score unique and are there any familiar themes you brought from your last Beavis and Butt-Head score?

While both films feature a large orchestra, the new film has a lot more music. The 1996 film has around 30 minutes of score and the new film has almost 60 minutes. The sci-fi aspect of the new film allowed me to really up the intensity of the score, as dealing with time travel and parallel universes allowed the music to be even more dynamic and expressive. than the spy/action subject matter of the 1996 film. In particular, I wrote a lot for brass and was able to include a lot of powerful bass trombones in addition to a few passages that feature trumpets. There’s a brief quote from the 1996 movie in the opening credits where I used the “Butt-kong” theme. The new score also features a love theme and quite a few theremin solos. My goal was to have virtually no comedy in the new score. The only time I broke this rule was when the unicorn appeared.

You and Mike Judge have worked together on several projects over the years. How do you two collaborate?

Mike and I have a definite shortcut to working together. We still did a traditional location scouting session. I usually throw out a few ideas about the vibe I’m thinking of and if Mike is actually laughing, I know it’s on the right track, but more often than not I just have to dig in and write and see where it leads. This score took me about three months to write. Very little was revisited or rewritten, most of the time was spent refining ideas and fine-tuning details and orchestration. I’ve had plenty of time to refine the score and it really helps it feel cohesive and cohesive.

Although the score doesn’t look like a comedy score, it is meticulously timed so that the image hits very precise moments. At the same time, I didn’t want it to feel so intentional and tightly synchronized. It was a difficult thing to achieve. Also, the score has a lot of tempo variations with big accelerandos and rallentandos. I wanted the music to be very smooth and natural, like there was no precise click, but it had to be kind of an illusion because it had to be precise. It took a long time. As for the pandemic, I think by the time we started I was pretty acclimated to zooming. I do very well in isolation, so maybe the lack of social contact worked to my advantage. I just go to the studio for long periods of time, and I completely lose track of time and write and write and write.

How was your first music experience with the Vienna Film Orchestra? At the end of the process, what do you think of this score and what makes it special?

Vienna was wonderful. We had a lot of music to record and we had to go really fast. It took a top-notch team and near-perfect organization to achieve this. Nick Cimity from my team set the tone for this organization with his precision and perfectionism and the Vienna Film Orchestra team, including Bernd Mazaag, our sound engineer, followed suit. The sessions were precise but always very creative. Great organization and precision are required to have a creative and enjoyable recording session of this complexity. The Synchron team in Vienna nailed it and each player put their personal mastery of their instrument into this score.

I feel really good with this score. It’s by far my favorite thing I’ve ever written and I’m thrilled that it’s now part of the world. Beavis and Butt-Head have been a big part of my life for a long time and I feel like they’re practically family. I am very protective of them. Mike has given the world an incredible piece of humor and satire and I’m truly grateful to be a part of it. Above all, I really appreciate that we really make people laugh. The whole earth really needs a good laugh these days and the boys are back to help take the stupidity to a new level out of this world.

Local artist releases new music – Germiston City News

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Yanga Nxele, popularly known by his stage name Yanga ManNMZ, from the informal settlement of Makause, is about to release his second EP.

READ ALSO : Historic auction of works by Irma Stern, South Africa’s foremost female artist

The hip-hop sensation will release his long-awaited EP, titled 2003 Flows The Narrator, on July 2.

Following the success of his debut EP, released in 2018 and titled Reading Between the Lines, the Kwa-Zulu Natal creator is confident his latest project will take him to new heights.

Yanga Nxele, known as Yanga ManNMZ, is a hip-hop artist who is about to release his second EP titled 2003 Flows The Narrator.

“I grew up listening to motivational speakers and reading motivational quotes and messages,” Nxele said.

“I started to believe in the power of words. Words have the power to change the world,” he said.

“Music has been part of me since I was young, but first I fell in love with poetry.

“In poetry, it is important that you know how to put your words together. Poetry and music have become my form of expression.

“In 2015, my friends were involved in drug use and other risky behaviors. The only way to reach them was through music,” Nxele said.

He started recording with a cell phone.

“In 2018, I met music producer Hopeson ‘Mr One’ Dzampana from Malawi. We worked together and released a single called Legendary,” Nxele said.

Yanga Nxele, known as Yanga ManNMZ, teases his new EP, titled 2003 Flows The Narrator.

“The single was well received. I played around Germiston. The EP then followed the single, with five tracks. We recorded the EP in one day,” Nxele said.

He collaborated with singer Angel on the song My hot spot.

READ ALSO : Artists – you could be the next winner of a top art contest!

Sonneke Pypers, known by her stage name as MystiQ the Mysterious, played a pivotal role in Nxele’s musical career.

“She taught me the business side of music. I didn’t know I could generate income without being signed to a record label,” he said.

“I am now a registered artist in online music stores thanks to MystiQ,” Nxele said.

Roisin Murphy on her new album “slab of gold” and her acting debut at Glasto

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Róisín Murphy spoke to NME behind the scenes at Glastonbury 2022, telling us what to expect from her upcoming headlining performance, new album and acting debut.

The former Moloko-turned-solo star headlined the West Holts stage last night (Saturday June 25), but was taking it easy on the spot ahead of her performance.

“I stood watching Larry David on the tour bus last night,” she said. NME. “I watched quite a few episodes of braked. I’m trying to save my energy for the big game tonight.

Bringing a touch of David to Worthy Farm, she continued: ‘I was hoping they’d have Mick Lynch here, you know – the trade unionist. You could have it on the pyramid stage.

Murphy was the last here to film her spectacular dance as part of last year Live on the dignified farm event broadcast live. Reflecting on what it was like to be on the festival site while audiences were kept at a distance due to lockdown restrictions, she said: ‘It was weird but brilliant. The production was amazing with the filming and the way it was all done, but it was weird because it was winter. It was even colder than now!

“We didn’t see anyone else and we shot our bits in isolation, but it was fun and I stayed in a fancy hotel – which I won’t this time!”

Roisin Murphy backstage at Glastonbury 2022. Credit: Parri Thomas for NME

Meanwhile, Murphy was also recently confirmed to star in the new Netflix series half bad – an adaptation of Sally Green’s trilogy of books, following 16-year-old Nathan, the illegitimate son of the world’s most feared witch.

“I play a witch, what my mother says is no exaggeration!” murphy said NME in Glasto. “It’s his way of being modest. It was interesting. I shot it and it comes out in the fall. My character is a glamorous witch called Mercury. She’s a real bitch.

After directing her own music videos and visuals, Murphy said she got into acting “out of curiosity”, adding, “Maybe I could do a movie someday, or maybe I could do more. of actor.”

Back to music, Murphy told us that work is “almost done” on the follow-up to his acclaimed 2020 album “Róisín Machine.”

“I’ve been working on and off for the past five years with DJ Koze on my next album,” she said. “It’s in the final stages now, I haven’t played it to anyone and I’m not signed. Now I’m just sending that gold plate and seeing how it goes from there .

She added: “It’s really good! If you put the two things together and add another 22.5% more expectation, you’re pretty close.

Roisin Murphy backstage at Glastonbury 2022. Credit: Parri Thomas for NME
Roisin Murphy backstage at Glastonbury 2022. Credit: Parri Thomas for NME

Focusing on his Glasto set, Murphy promised “lots of spice”.

“It’s really nice to do a long series of an hour and a half,” she says. “We don’t need to condense the energy too much. We have all the latitude to express ourselves.

“It’s full of songs to sing along to. ‘Familiar Feeling’, ‘Fun For Me’, ‘Forever More’, ‘Overpowered’, ‘Let Me Know’, plus the new songs fans know like ‘Something More’ and “Let Me Know” – it kicks off! It’s supposed to be a very happy set. I don’t always make it that easy for people; especially if I’ve just done an album.

She added: “I feel like I’m an artist who tests her audience as much as possible. I take it at what I think is the limit, and sometimes I overstep the limit. Now is not the time for that. Few doesn’t matter if I play Glastonbury or not, coming back to play these shows that have been postponed for two years, I just want to do a happy set – for me as much as for them.

And what will Róisín Murphy do after hours at Glastonbury once his set is over? “I’m going out, I’m going to go tonight,” she said. “I’m supposed to sleep in a yurt, but I don’t think that will happen. I’ll find a place to lay my head around 6 or 7 in the morning.

“All the old faces are out tonight so I’m probably going down to the old block 9. I’ll try to keep it pretty cool because I have a little pop-up show at NYC Downlow tomorrow.”

Go back to NME here for the latest Glastonbury 2022 news, reviews, interviews, photos and more.

‘A Beautiful Noise’ Neil Diamond Broadway Musical: Who is Will Swenson?

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When Neil Diamond revealed to fans that he had Parkinson’s disease, another explosive announcement soon followed: he would be retiring from concert tours.

The news broke in 2018, after a remarkable 50-year career filled with hit after hit. Diamond reassured fans that while performing was difficult for him, he would remain active in other endeavors, including writing and recording, the Deseret News reported.

Which makes what happened a few days ago all the more special.

In a rare post-retirement appearance, Diamond showed up at Fenway Park, home of the Boston Red Sox, to give a live performance of “Sweet Caroline” in the eighth inning – a long-standing tradition at the stadium. baseball.

It was the first time he had performed the song at the stadium since 2013, when the Red Sox played their first home game after the Boston Marathon bombing, Variety reported.

Wearing a Red Sox jacket, the 81-year-old continued his 1969 hit, sending Red Sox fans into a frenzied chant. Right next to him, singing and grinning from ear to ear, was Will Swenson, a Utah native and Broadway star.

And it’s a moment Swenson will never forget.

“I haven’t quite come down to earth yet. Wow,” Swenson shared on Twitter June 19. “Sir, it was the thrill of a lifetime to be asked to sing alongside you!”

The unique moment for Swenson comes as he takes on the role of Diamond in an all-new musical that is now premiering in Boston before hitting Broadway in the fall, Billboard reported.

And of all the musicals Swenson has sung in, this is probably the one he feels most confident about.


A Family Love by Neil Diamond

Swenson hasn’t always been confident when it comes to his vocals.

“His confidence in his singing isn’t as strong as it is in acting,” Swenson’s wife, Broadway superstar and six-time Tony winner Audra McDonald, previously told Deseret. News. “He asks my opinion. It’s hard for me. I think he has a fantastic voice. He doesn’t feel safe about it; I would like him to just trust that his voice is good.

The irony is that the Utah native, who starred in Latter-day Saint-themed movies like “The Singles Ward” and “The RM” in the early 2000s, made a name for himself in the over the years performing in a range of Broadway musicals – including ‘110 in the Shade’, ‘Hair’, ‘Priscilla, Queen of the Desert’, ‘Les Miserables’ and ‘Waitress’.

But “A Beautiful Noise” is different – and Swenson has his dad, a die-hard Diamond fan, to thank for that.

Swenson grew up knowing just about every Diamond song. One of his earliest memories is listening to Diamond’s 1972 live album “Hot August Night” on the eight-track in his family’s van, according to the Boston Globe. In eighth grade, the actor learned Diamond’s ballad “Play Me” in an effort to woo girls.

“I used to sing it around the campfire. And then I started doing a Neil Diamond voice on top of that,” Swenson, a graduate of BYU and Cottonwood High, told the Boston Globe. “The other day, my best mate from high school said to me, ‘Will, you’ve been training for this role your whole life!'”

Broadway producer Ken Davenport had heard of Swenson’s Diamond impression and approached the actor to do a reading.

Will Swenson appears at the 74th annual Tony Awards in New York on September 26, 2021, left, and Neil Diamond appears at the MusiCares Person of the Year tribute for him in Los Angeles on February 6, 2009. Swenson conducts ‘A Beautiful Noise, The Neil Diamond Musical” this summer at the Emerson Colonial Theater in Boston.

“I came in and I knew all the songs by heart, and I’m not even exaggerating,” Swenson told The Associated Press. “I had all of that in my DNA because it was so much part of my upbringing, constantly in the car and constantly at home.”

The minute Swenson landed the role, he called his father in Lehi, Utah, who congratulated him and immediately gave him some advice: “Make sure ‘Red, Red Wine’ is in this show,” according to The Patriot Ledger.

And while Swenson brings a solid love and knowledge of Diamond to the production, he’s adamant that he hasn’t set out to strictly impersonate the singer.

“Neil has a low, gritty sound. If you go for absolute imitation, you run into problems,” he told the Patriot Ledger. “What we need to do is honor his sound and honor his music.”


What is “A Beautiful Noise” about?

“A Beautiful Noise: The Neil Diamond Musical” explores Diamond’s rise to stardom, recounting how “a poor Jewish kid from Brooklyn became one of the most universally adored showmen of all time,” according to Broadway World. The musical features some of Diamond’s biggest hits, including “Sweet Caroline,” “America” ​​and “Cracklin’ Rosie,” according to the production’s website.

But according to Anthony McCarten, the musical’s writer, it’s not “all singing, dancing and turning on the lights”.

McCarten came up with the idea of ​​centering the show on a series of 1970s Diamond therapy sessions — and he reportedly did hours of interviews with Diamond to develop that concept. In the opening scene of “A Beautiful Noise”, Diamond struggles to make progress in therapy, leading her therapist to pull out her songbook in an attempt to encourage her to open up.

“I wanted it to be about something, and Neil, to his great credit, wasn’t afraid to go for it,” McCarten told The Boston Globe. “My job is not to flatter. It’s getting to the bottom of something. And Neil was happy that I asked the questions, and he was nothing but honest in his answers.

“That’s what made him an extraordinary artist,” he continued. “If you look at his songs, even though they were pop tracks, there’s a lot of depth and introspection to them.”


When will ‘A Beautiful Noise’ premiere on Broadway?

“A Beautiful Noise” had its official premiere at Boston’s Emerson Colonial Theater on June 21 and will run through July 31 before having its Broadway opening night on December 4, according to Theatermania.com.

And like fans at that recent Red Sox game, viewers were treated to a rare appearance from Diamond, who attended the show’s premiere, CBS Boston reported. Of course, the evening ended with an enthusiastic singing of “Sweet Caroline”.

It’s unclear if Swenson will continue the role of Diamond on Broadway, as Broadway casting will be announced at a later date, according to Broadwaynews.com. But as a lifelong Diamond fan, Swenson is enjoying every moment.

“If you want to talk about a surreal moment, try singing 30 Neil Diamond songs while playing Neil Diamond, 10 feet from Neil Diamond,” Swenson told The Associated Press. “It was the craziest, craziest experience of my life.”

Dissident artist, rapper sentenced to prison in Cuba

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Diplomats from several countries wait outside the court building where a trial is underway for Cuban artists Luis Manuel Otero Alcantara and Maykel Castillo in Havana, Cuba, Monday, May 30, 2022. The artists were arrested and imprisoned in connection with alleged public disorder at a community event they held in April 2021. (AP Photo/Ramon Espinosa)

PA

Two members of a dissident group of dissident artists have been sentenced to prison terms in Cuba, the country’s prosecutor’s office announced on Friday.

Maikel Castillo was sentenced to nine years for attacks and defamation against the country’s institutions and Luis Manuel Otero Alcántara, 34, to five years for insulting national symbols.

Both were involved in the so-called San Isidro movement – ​​named after the neighborhood where Otero Alcántara lives – which had attracted unusually wide support among prominent Cuban artists and musicians in 2020.

Their arrests had been denounced by international human rights organizations as well as by the US government, which viewed them as political persecution. The government said it was simply applying the law as it would anyone else.

Prosecutors had sought 10 years for Castillo, better known as the “Osorbo” performance, and seven for Alcántara, according to their friends.

The same court also handed down a five-year sentence to Félix Roque Delgado and three years to two women who were convicted of beating police officers in an effort to prevent the arrest of Castillo, a 39-year-old rapper.

He was among the composers of the song “Patria y Vida” – “The fatherland and the life” – whose twist on the communist government’s slogan “The fatherland or death!” turned it into a sort of anthem for opposition figures. It won a Latin Grammy award this year.

Otero Alcántara’s artwork depicting the Cuban flag was considered disrespectful.

In November 2020, the police broke up a sort of sit-in at Otero Alcántara’s home in support of another rapper, Denis Solís, who had been sentenced to prison for insulting a police officer. Castillo was among the participants in the sit-in.

Officials said they were enforcing pandemic restrictions on gatherings, but the movement prompted around 200 people to stage a larger and near-unprecedented protest outside the Culture Ministry. It broke after members of the group said they had won an unusual government wish for greater tolerance for independent art.

Otero Alcántara has also been the subject of protests from other artists after his arrest last year. He was hospitalized – apparently during a hunger strike – to demand the return of the works that the authorities had confiscated during his arrest.

Human Rights Watch and Amnesty International had issued statements calling the case against the two artists a “farce”.

Their arrests were not directly linked to the large-scale protests that erupted later in 2021 over economic hardship and government policies.

Hamilton’s Michael Luwoye to play Nelson Mandela in New London Musical

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Ancient hamilton Star Michael Luwoye to play Nelson Mandela at world premiere of new musical mandelafrom November 29 to February 4 at the Young Vic in London.

With a book by Laiona Michelle and music and lyrics by Greg Dean Borowsky and Shaun Borowsky, mandela is directed by Schele Williams. Luowye will star alongside DAnielle Flamanya, who will play Winnie Mandela.

Also appear on the show Gregory Armand as Vusi, Zion Battles as Bongani, Earl Carpenter as Prime Minister, Stewart Clarke as Director, Hanna Dimtsu as Nomsa, Lerato Gwebu as Adelaide Tambo , Prudence Jezile as Praise Singer, Akmed Junior Khemalai as Walter Sisulu, Blue Makwana as Gugu, Kayleigh McKnight as Barbara, Posi Morakinyo as Thembi Mandela, Sneziey Msomi as Albertina Sisulu/Maki Mandela, Ryan O’Donnell as Joe Slovo, Adam Pearce as Kobus, Shiv Rabheru as Ahmed Kathrada, Will Richardson as Piet, Leanne Robinson as Zindzi Mandela and Ntsikelelo Nicholas Vani as Oliver Tambo. Other castings will be announced.

It has additional music and lyrics by Bongi Duma, with choreography by Gregory Maqoma, set design by Oscar winner Hannah Beachler, costumes by Fay Fullerton, sound design by Paul Gatehouse, lighting design by Jon Clark, orchestration and musical supervision by Benjamin Kwasi. Burrell and cast of Pippa Ailion CDG and Natalie Gallacher CDG.

Rounding out the creative team are Associate Choreographer Dickson Mbi, Assistant Director Becca Chadder, Associate Scenographer Debbie Duru, Associate Music Director Sam Young and Associate Casting Director Richard Johnston.

The show will also air live as part of Young Vic’s streaming system, with further details to be announced.

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East Tennesseans charged with Paycheck Protection loan fraud

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A Chattanooga man who was federally convicted as a drug trafficker 20 years ago is now charged in US District Court with submitting false forms to the Small Business Administration to dupe the federal government on nearly 12 $000 in Paycheck Protection Program loan funds.

Antonio Dewayne Menifee, a convicted Chattanooga drug dealer, is accused of submitting false forms to the agency in April 2021 to secure a loan for a non-existent construction business as part of a COVID-19 relief plan of $800 billion authorized by Congress to help small business owners continue to pay their employees during the pandemic.

Menifee is charged with wire fraud in connection with the badly obtained loan, as well as new federal drug charges associated with a search, according to court records.

When officers in September 2021 sought to search Menifee’s home as part of an investigation into the $11,485 loan he had received, they discovered cocaine, a stolen gun, ammunition, plastic bags used to package drugs, digital scales used to weigh drugs and $15,000 in drug money, FBI Agent Coley Vincent Warner wrote in a criminal complaint.

(READ MORE: Chattanooga business owners got a lifeline with pandemic aid, but remain cautious)

Menifee was convicted in 2002 in U.S. District Court in Chattanooga for conspiracy to sell cocaine and firearms. He served about a decade behind bars before being released, but then repeatedly violated the terms of his probation by using drugs, lying to authorities and threatening violence against his wife, records show.

Menifee was returned to prison in 2017 following these violations and served an additional 27 months. It’s unclear from the court record whether he was still on federal probation when he applied for and was granted a Paycheck Protection Program loan in 2021.

His attorney, assistant federal defender Myrlene R. Marsa, was in court Thursday and could not be reached for comment.

(READ MORE: Fintech Paycheck Protection Program loans pose higher risk of fraud, study finds)

Menifee wasn’t the only East Tennessean trying to cash in on the pandemic.

A Surgionsville, Tennessee woman who was already on probation in a federal fraud case is also accused of getting a Paycheck Protection Program loan for a bogus business and using the money to get plastic surgery in Florida and spend a week recuperating at the Trump International Beach Resort, according to court records.

Leslie Danielle Bethea, 40, of Surgionsville, Tennessee, was charged in United States District Court with wire fraud and money laundering in connection with a loan she obtained under the plan to COVID-19 relief.

According to the indictment, Bethea filed false tax documents with the Small Business Administration in March 2021 to obtain a $20,805 loan.

(READ MORE: The price of a pandemic: Scenic City businesses grapple with demand to cancel stimulus loans, suing for more help)

“On the e-application…Leslie Bethea fraudulently stated that she was the sole proprietor of a marketing consulting services business which made $99,865 a year when in truth and in fact, as she well knew, Leslie Bethea had no company that reported that amount,” US Secret Service Senior Special Agent Thomas Whitehead wrote in a criminal complaint.

“Leslie Bethea has fraudulently stated that in the past five years she has not been convicted, pleaded guilty or started any form of parole or probation for fraud,” Whitehead wrote. “In fact, Leslie Bethea pleaded guilty and was found guilty of conspiracy to commit wire fraud and wire fraud on September 26, 2019 … (and) was actively serving a supervised release sentence for this conviction at the time of the information electronic. application.”

Bethea was on federal probation for identity theft and creating fake credit cards when she tricked the US Small Business Administration into giving her a Paycheck Protection Program loan for a bogus business.

Whitehead said in the complaint that Bethea obtained the loan with no questions asked and deposited the loan proceeds into its bank account in Knoxville. She then used that money to travel to Aventura, Florida in April 2021.

While at Aventura, Bethea “received elective cosmetic surgery services totaling $5,500” from Dolls Plastic Surgery over a three-day period, Whitehead’s complaint said. The agent did not disclose details of this operation in the complaint.

Bethea spent five days at Trump International Beach Resort, a luxury hotel in Sunny Isles, Florida, while recovering from surgery, using the disaster plan loan to pay the $2,834 bill, wrote the agent.

The agent wrote that Bethea lied to the US probation office during the same period, claiming that “her only monthly cash inflow for April 2021 was $200 from her ex-husband… (and) has said “none” when asked to identify any expenses in April 2021 that exceeded $500.”

“Bethea said she did not travel outside the (East Tennessee) district without permission in April 2021, even though she traveled to Florida for elective plastic surgery and stayed in a luxury hotel in Florida for five days using the proceeds of the fraudulent fraud obtained a PPP loan,” Whitehead wrote.

Bethea was on federal probation after serving a two-year prison sentence for her role in a 2018 fraud scheme in which she and “unindicted co-conspirators” stole the identities of dozens of people, used “machines to emboss plastic cards” to create credit cards using these stolen identities and have used these credit cards to pay for over 100 flights across the United States, hotel bills, restaurant trips and shopping sprees, according to court records.

Bethea’s court-appointed attorney, Douglas L. Payne of Greeneville, Tennessee, did not return a phone message seeking comment on the case.

Bethea and Menifee are now behind bars awaiting further legal action in their respective cases.

Their cases are part of what the Justice Department has called an “epic scam” of COVID-19 relief funding that has taken place since Congress began authorizing funds to help businesses and citizens affected by the pandemic. 2020 pandemic.

An NBC News investigation reported last year showed that up to $80 billion of the $800 billion authorized under the Paycheck Protection Program was distributed to fraudsters in the United States and abroad and used to pay for expensive cars, mansions and vacations.

Learn more at TennesseeLookout.com.

Staff writer Ben Benton contributed to this story.

Spoken word, art around a meal or a music concert: Latest artistic affairs around the UAE – News

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Save this date



By Purva Grover

Published: Thu 23 June 2022, 16:50

Last update: Thu 23 June 2022, 17:07

Who said art slows down in the summer? Certainly not. Here’s what you can watch in the coming weeks. Whether it’s getting to grips with NFTs or getting the chance to catch a one-of-a-kind music concert, there won’t be a dull evening.

A symbol of carelessness

At Lucky Fish, West Beach, Palm Jumeirah, you can admire the Babolex of the ‘Warhol des NFT’, the French artist Vincent Faudemer. This creative collaboration combines art with NFTs to create an immersive art experience from the man who is widely considered the Metaverse’s first contemporary artist. Babolex is inspired by the French character Babar, the perfect symbol of childhood, carelessness and dreams. Each of the ultra-limited edition chrome-clad Babolex sculptures is available in two sizes (for collectors to purchase in limited quantities) at the restaurant. Additionally, for each Babolex purchase, the artist will invest 10% of the purchase price in cryptocurrency, with the promise to refund the collector once the investment exceeds the amount originally paid for the purchase by the collector. . Guests who indulge in a meal here can sit down to witness Vincent’s incredible artistry while admiring views of Dubai Marina’s famous skyline. Every day, restaurant hours.

feel the music

To celebrate World Music Day, X Culture, a cultural and entertainment institution based in the United Arab Emirates, announced its inaugural concert in Abu Dhabi, featuring legendary Saudi singer Mohammed Abdo. This performance will be the first accessible concert in the region, where hearing-impaired attendees will be able to enjoy the performance through simultaneous sign language translation and specialized vests equipped with vibration techniques to allow the feel of the music. Additionally, audiences will be able to watch the performance from anywhere in the world live and in real time on basita.live or through their mobile apps.

June 25, 8 p.m.

empowerment celebration

The NYU Abu Dhabi Center for the Arts (NYUAD) has an exciting lineup of musical events and performances planned for this month. Don’t miss the world premiere of Philip Rachid’s The Main Circle 7.83 at The Black Box, The Arts Center. A mix of dance, film and spoken word creates a groundbreaking hip-hop performance. A highly physical and multimedia b-boy performance featuring four dancers, two musicians and spoken word, the show will celebrate art, empowerment, resilience, family and collaboration. Written and directed by UAE-based filmmaker and dancer Philip (aka Soultrotter), the work explores the perception of dance across Middle Eastern cultures and traditions.

June 23 and 24, 9 p.m.

[email protected]

SBA seeks comment on COVID grants and loans for small businesses

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The Small Business Administration (SBA) is asking for input from small businesses in an effort to gauge customer satisfaction with Covid-related relief. The SBA had provided relief to small businesses impacted by the pandemic through programs including the Paycheck Protection Program (PPP), COVID Economic Disaster Loan (EIDL), SBA Express Bridge Loans and others.



COVID grants and loans for small businesses

The programs have provided a lifeline through direct disaster loan programs for businesses, homeowners and tenants. This includes loan guarantee and venture capital programs, management and technical assistance training programs, and procurement programs. The SBA is asking small business owners to complete a survey that will be used to monitor and improve the effectiveness of future SBA customer service and communications efforts. The survey focuses on the SBA’s flagship COVID relief, namely PPP COVID EIDL; SBA Express Bridge Loan; Subsidy for operators of closed sites; and Restaurant Revitalization Fund.

How did grants and loans go

During the 2020 global coronavirus pandemic, the CARES Act was signed into law, providing the first round of emergency relief to American workers and small businesses. In addition to traditional SBA funding options, the CARES Act and the US Bailout Act of 2021 established several temporary programs, including grants for COVID-19 relief.

These measures have been implemented to protect small businesses from the negative economic impact of COVID-19. This included productivity losses, supply chain disruptions, workforce dislocation and financial strain on businesses and households. The following programs have been implemented to address these issues:

  • The Paycheck Protection Program (PPP) provided a 100% SBA loan guarantee, a maximum term of 10 years and an interest rate not exceeding 4% to help small businesses and other organizations concerned.
  • COVID EIDL offered Small Business Loans to facilitate the recovery of small businesses from the economic impacts of the COVID-19 disaster by providing accessible and borrower-friendly capital.
  • SBA Express Bridge Loans offered small businesses impacted by Covid-19 up to $25,000 to cover operational expenses.
  • The Shuttered Venue Operators Grant (SVOG) program offers more than $16 billion in grants to closed venues, which will be administered by the SBA’s Office of Disaster Assistance.
  • The Restaurant Revitalization Fund (RRF) provided restaurants with funding equal to their pandemic-related revenue losses up to $10 million per business and no more than $5 million per physical location. Recipients are not required to repay the funding as long as the funds are used for eligible purposes by March 11, 2023.

According to the White House, the support has helped reinvigorate some of the hardest-hit small businesses. In 2021, a record number of Americans applied to start 5.4 million new businesses, more than 20% more than any previous year and more than two-thirds more than the annual average of 3.2 million new businesses. business applications per year over the five years. before the start of the pandemic. Additionally, in the first three quarters of 2021, small businesses with fewer than 50 employees added 1.9 million jobs, the fastest 9-month start on record.

Refine service delivery

Earlier this month, Congress passed seven bipartisan small business bills aimed at improving the operation and oversight of key Small Business Administration (SBA) programs. The bills were designed to promote policies that encourage small business development, hold pandemic small business fraudsters accountable, grow the small business workforce and support small entrepreneurs who do business with the federal government. .

Specifically, the bills include legislation to extend the statute of limitations on small business pandemic fraud cases, improve workforce development offerings, and improve the procurement process for small businesses. businesses.

“These seven bills will help make key SBA programs more secure, accessible, and focused on the most pressing challenges for small businesses,” said Chair Nydia M. Velázquez.

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Image: Depositphotos


Unspoken Tradition celebrates No. 1 song and album release

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Mountain Home Music Company commended Unspoken tradition on the success of their single, “California”, which reached No. 1 on the Bluegrass Today chart, upon their album’s release at 185 King Street in Brevard, North Carolina.

“’California’ comes to us from our pal Thomm Jutz, and was chosen specifically because it’s an extremely well-written song with a feel that we’ve never explored as a band. It immediately stood out for me, and I’m glad it didn’t take a lot of convincing to get the guys on board with this one,” says Unspoken Tradition vocalist and guitarist Audie McGinnis. “Many of us leave the house in search of something. But what happens when you get there and it’s not what you expected? Or maybe the urge to go home is stronger than you imagined. This is what ‘California’ is. This musician moved to Nashville to pursue a dream, and amid all the music, lights, and opportunity, they feel lonely and homesick, lost in the crowds. It’s lonely.

“California” is one of many songs from the band’s new album, Imaginary Lines, out now from Mountain Home. As they have from the start, the band – bassist Sav Sankaran, guitarist/vocalist Audie McGinnis, brother Zane McGinnis (banjo), mandolinist Ty Gilpin and Tim Gardner (fiddle, vocals) – go above and beyond typical lyrical themes for digging into songs about work (“Irons In The Fire,” “Back on the Crooked Road”), crossing borders (“Caroline and Tennessee”), the changing nature of Appalachian communities (“Soldiers of Dust”, “Lookout Mountain”) and more. Rich instrumental work underpins the lead vocals of Audie McGinnis and Sankaran, who take turns harmonizing in a way that, paradoxically, encourages attention to each song’s theme while demonstrating individual versatility. and collective of singers. As Zane McGinnis notes, the result is that “the work featured on this record represents the malleable nature of Unspoken Tradition as a band, with many musical influences coming together to produce our best project yet”.

Rooted in the fiercely distinctive culture and landscape of western North Carolina and deeply committed to forging their own path within the wider music community, Unspoken Tradition have, in the words of the title track, “marketed in the shadows of hard times, waiting for the sun to shine” – and now, this collection announces, the wait is over.

Listen to “California” – and the rest of Imaginary Lines – HERE.

Pride Month Theater and Music Celebration at Tusten Theater

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Delaware Valley Arts Alliance celebrates Pride Month beginning June 24 at 7:30 p.m. with a performance of ¡Oso Fabuloso and the Bear Backs. This faith-based rock musical is akin to Hedwig and the Angry Inch but more risque, according to the Alliance.

The show tells the story of a queer Latin bear named Oso Fabuloso (C. Julian Jiménez), who was recently dumped by a two-stroke daddy bear. Oso enlists the help of his therapist, Dr. Calvo (PK Variance), who convinces him to sing the blues. Oso goes on tour with his therapist and his two best friends, Gummy (Vasilios Leon) and Grizz (Joseph Distl), hoping this will cure him of his love woes. An INTAR (International Arts Relations) production, Oso Fabuloso made its New York debut with performances at Joe’s Pub and the McKittrick Hotel.

The party continues Saturday, June 25 at 7:30 p.m. with Trans-Parent Love: Boys will be Girls, by Maureen Muldoon. This one-woman show explores the journey of transgender coming out from the perspective of the mother of a transgender child. Trans-Parent Love’s goal is to promote conversations that help people talk about the questions, concerns, and commonalities people have with each other. A discussion takes place after the show where a panel of parents can share their stories.

“While our year-round programming regularly features LGBTQ+ voices, it is important to take part in this annual recognition of LGBTQ+ civil rights that has been marked since the Stonewall riots in New York in 1969,” says the executive director of DVAA, Ariel Shanberg.

Parental supervision is suggested.

Covid security protocols apply to participation in DVAA events. For a complete list of current safety protocols and participant requirements, visit delawarevalleyartsalliance.org/covid-safety-policy/

Oso Fabuloso and the bear backs

June 24, 7:30 p.m.

Transparent love: boys will be girls

June 25, 7:30 p.m.

Tusten Theater

210 bridge street

Narrowsburg, NY 12764

Tickets – $25/20 (DVAA members) in advance/

30/25$ at the door

Tickets can be purchased by calling (845) 252-7576 or online at www.delawarevalleyartsalliance.org.

‘MJ’, ‘A Strange Loop’ and ‘Six’ Among Big Post-Tony Box Office Winners – Deadline

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GM and A strange loop saw Tony Awards glory translate to box office increases in the week following the June 12 ceremony, with GM jumping $216,921 from the previous week’s hold to a whopping $1,660,978. A strange loop grossed $845,313 for the week ending June 19, a jump of $168,998 from the previous week.

Both shows were sold out virtual, with over 99% of the seats taken within a week of their Tony wins (among their wins, A strange loop was named Best Musical and GMMyles Frost was nominated Best Actor in a Leading Role/Musical. Both productions gave impressive performances during Tony’s broadcast, with Frost and strange loopJaquel Spivey makes her television debut on the network.)

Another big winner of the week: The musical Six, who brought Tonys home for the original score and costumes and, just as important if not more, delivered a rousing performance at the ceremony. For its seven performances, the musical grossed $1,171,935, filling 99.5% of available seats.

Tony Awards review: The highlights, some lowlights and all the praise for the unstoppable Ariana DeBose

Other Tony winners have seen less notable financial gains, with Company, named Best Musical Revival, issued a closing notice on July 31 tonight after selling out just 77% of available seats in the week following the awards show. The musical, starring Katrina Lenk and Tony winners Patti LuPone and Matt Doyle, grossed $727,178 for the week, an improvement of $86,881 from the previous week.

place of paradise saw a notable jump, up from $124,523 to $387,670, with every penny almost certainly attributable to Tony’s win — and the stunning performance of the anthem “Let It Burn” — for Best Actress/ musical Joaquina Kalukango. Still, the musical, which didn’t impress most critics too much, only filled 64% of its available seats in the post-Tony week.

Jaquel Spivey in “A Strange Loop”
Marc J. Franklin

Overall Broadway box office for the week ending June 19 totaled $29,523,307, down about 7% from the previous week, a drop at least partly due to two shows less on the list – 29 productions compared to 31 the previous week (How I learned to drive and take me out had closed the previous week).

Hugh Jackman’s absence (due to a positive Covid test) from The music man: The wildly popular musical revival dropped $1,631,334, grossing $1,780,050 and only 71% filling its usually sold out house. Still, the revival hit a solid high over the week, with gross ticket sales surpassing $100 million for the engagement so far.

funny girl, another recent production hit by Covid, grossed $1,131,490, rebounding $14,795 as star Beanie Feldstein returned for a partial week of performances while announcing her departure in late September.

In their final weeks of performances, hanged grossed $358,976, while North country girl took $342,228.

Season-to-date, Broadway has grossed $124,014,910, with total attendance of 961,115 at about 83% capacity.

The 29 productions grossing numbers on Broadway last week were Aladdin, American Buffalo, Beetlejuice, The Book of Mormon, Chicago, Come From Away, Company, Dear Evan Hansen, Funny Girl, Girl From the North Country, Hadestown, Hamilton, Hangmen, Harry Potter and the Cursed Child, The Lion King, Macbeth, MJ, The Minutes, Moulin Rouge!, Mr. Saturday Night, The Music Man, Paradise Square, The Phantom of the Opera, Plaza Suite, POTUS, Six, A Strange Loop, Tina and Nasty.

All figures courtesy of The Broadway League.

Sidewalk book sales, live music, art and more!

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Summer at the Wilton Library

Enjoy summer reading, concerts, local artists, poetry and short stories, audio books and more. Please join us!

Oceans of Possibilities:

Wilton Library Summer Reading Club 2022

For children and teenagers

Now until Sunday August 28

or download the Beanstack app and choose Wilton Library (CT) to register

For kids

Read and Bead Rewards

Open to all children up to 6th grade

For teenagers

Read and win prizes

Weekly raffles

Open to students in grades 6-12

Summer Music Concert Series

Thursdays July 7, 14, 21 & 28 at 5 p.m.

Rain or shine in the Brubeck room.

Open to the public. Concerts and refreshments are free. Sponsored by Village Market. No registration required.

Art exhibition and summer reception

Thursdays July 7, 14, 21 & 28 at 5 p.m.

Rain or shine in the Brubeck room.

Open to the public. Concerts and refreshments are free. Sponsored by Village Market. No registration required.

Sale of summer books on the sidewalk

Saturday July 23 from 10 a.m. to 3 p.m.

The sale takes place during the Wilton Street Fair & Sidewalk Sale. This popular book sale has plenty of bargains with something for everyone, from babies to adults.

Click on here to see the many programs taking place at the library this summer!

Korn’s Jonathan Davis Reveals His Struggles Making ‘Untouchables’ Album

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Every artist in the industry always has a moment in their career where they struggled to match the success of their previous releases. Korn is no exception as Jonathan Davis revealed the band’s struggles before the release of their 2002 album.

According to Audacy, the band’s “Untouchables” record was one of the most difficult albums to make as they suffered a lot of anxieties and issues, especially the vocalist.

Speaking to Metal Hammer, the frontman said their fifth studio album includes their Grammy-winning song ‘Here To Stay’ as he wanted to top their previous releases ‘Issues’ in 1999 and ‘Follow The Leader’. in 1998.

Since most of the band members are successful after the release of their previous albums, Davis said everyone was partying and drinking and he was the only one “sober”.

“At that time it wasn’t all booze and girls and drugs, it was just money. We could do whatever we wanted,” he said.

Because he had the will to work on a new project for his band, the singer locked himself in the master bedroom and wrote the album.

To work on the record, they rented three houses in Arizona. He then recorded vocals and melodies in Canada.

However, he didn’t like it there so they moved paying for “housing for everyone”.

READ ALSO: DC Music Festival Deadly: Moechella Ends With Boy Dead, 3 Shot; Rapper Yaddiya Quiet

The album is now celebrating its 20th anniversary and Davis recalled that he wanted the album to be their “Dark Side Of The Moon” era.

When he pitched the idea to Michael Beinhom, the producer told him it was “cool” but they should take note that it would take “a long time” to finish and could be expensive.

Davis said their producer wasn’t kidding because it did indeed take time and the final cost came in at $4 million.

“I would say 3.1 of that kept our entire touring team under mandate for two years. It was a *** blow; we should have listened,” he added.

Today, the group is preparing to go on tour again after its successful concerts last spring.

The upcoming tour will feature songs from their latest album “Requiem”. Their special guest will be Evanescence.

Korn’s first show will kick off in Denver, Colorado on August 16 before heading to various cities across the United States.

Their last show will be on September 16 in Washington State.

READ MORE: FKA Twigs says chasing ‘aggressor’ Shia LaBeouf and staying graceful makes her proud

© 2015 MusicTimes.com All rights reserved. Do not reproduce without permission.

Whatever your biggest boat, is Jaws good material for a musical?

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First comer The shark is broken – an Olivier-nominated sword-loop trio who took a behind-the-scenes look at a troubled blockbuster Jaws.

Now, across the Atlantic in Seattle, Bandstand creators Robert Taylor (book/lyrics) and Richard Oberacker (music/book/lyrics) attempted to pull off a similar trick by planning the piecemeal production of the legendary film, which seemed doomed when conceived.

But just because the movie was an old-time hit story doesn’t mean the musical would be too. The principle of the stage show is relatively simple: bruce (named after the nickname of the shark) “follows the development of Jaws from the original form to the long and troubled six-month shoot. Steven Spielberg (Jarrod Spector) is a young director with childlike wonder and is ready to do the “Big One”, as expressed in the opening number. Fresh out of a low budget movie, Jaws is his chance to prove to Universal and the public that he has what it takes to be as good as his cinematic heroes.”

So far so simple – a “fearless creative succeeding against all odds” kind of show – as Sunday in the park with Georgebut more Six months in the ocean with Steve.

Unfortunately, the creators might have something of a sinking feeling after opening night: our reviewer in Seattle said the show is “musically uninteresting”, and that “we have little time to worry about what happens”.

This is Spector (Beautiful) as Spielberg who seems to receive the most praise: “bruce is told through the eyes of Spielberg, who often makes asides to the audience, both sung and spoken. Although Spielberg’s childlike view of the world is directly referenced throughout, his passion and enthusiasm are heightened by Spector’s sprightly performance.”

There may be light at the end of the tunnel – if our critic is certainly critical, he does not denounce either the attempt or the form, but rather the result. With a longer runtime and greater focus on the character, there may still be life for the show.

Read the full review here

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East Tennesseans charged with Paycheck Protection loan fraud – Tennessee Lookout

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An East Tennessee woman who was already on probation in a federal fraud case is now charged with deceiving the Small Business Administration into giving her a Paycheck Protection Program loan for a bogus business and using the money to get plastic surgery in Florida and spend a week recuperating at the Trump International Beach Resort, according to court records.

Leslie Danielle Bethea, 40, of Surgionsville, Tennessee, was charged in US District Court with wire fraud and money laundering in connection with a loan she obtained as part of a relief plan $800 billion Covid authorized by Congress to help small business owners continue to pay their employees during the pandemic.

According to the indictment, Bethea filed false tax documents with the Small Business Administration in March 2021 to obtain a $20,805 PPP loan.

“On the e-application…Leslie Bethea fraudulently stated that she was the sole proprietor of a marketing consulting services business which made $99,865 a year when in truth and in fact, as she well knew, Leslie Bethea didn’t have any company earning that amount,” U.S. Secret Service Senior Special Agent Thomas Whitehead wrote in a criminal complaint.

“Leslie Bethea has fraudulently stated that in the past five years she has not been convicted, pleaded guilty or started any form of parole or probation for fraud,” Whitehead wrote. “In fact, Leslie Bethea pleaded guilty and was found guilty of conspiracy to commit wire fraud and wire fraud on September 26, 2019… (and) was actively serving a supervised release sentence for this conviction at the time of the application. electronic. ”

Bethea was on federal probation for identity theft and creating fake credit cards when she tricked the US Small Business Administration into giving her a Paycheck Protection Program loan for a bogus business.

Whitehead said in the complaint that Bethea obtained the PPP loan no questions asked and deposited the loan proceeds into its bank account in Knoxville. She then used that money to travel to Aventura, Florida in April 2021.

While at Aventura, Bethea “received elective cosmetic surgery services totaling $5,500” from Dolls Plastic Surgery over a three-day period, according to Whitehead’s complaint. The agent did not disclose details of this transaction in the complaint.

Bethea spent five days at Trump International Beach Resort, a luxury hotel in Sunny Isles, Florida, while recovering from surgery, using the Covid Relief Plan loan to pay the $2,834 bill, a writes the agent.

The agent wrote that Bethea lied to the US probation office during the same period, claiming that “her only monthly cash inflow for April 2021 was $200 from her ex-husband… (and) has said “none” when asked to identify any expenses in April 2021 that exceeded $500.

another ppp loan fraud

“Bethea said she did not travel outside the (East Tennessee) district without permission in April 2021, even though she traveled to Florida for elective plastic surgery and stayed in a luxury hotel in Florida for five days using the proceeds of the fraud. got a PPP loan,” Whitehead wrote.

Bethea was on federal probation after serving a two-year prison sentence for her role in a 2018 fraud ring in which she and “unindicted co-conspirators” stole the identities of dozens of people, used emboss the plastic cards” to create credit cards using these stolen identities and have used these credit cards to pay for over 100 flights across the United States, hotel bills, restaurant trips and shopping sprees shopping, according to court records.

FBI: Drug dealer also received COVID money

Bethea isn’t the only East Tennessee felon now charged with deceiving the Small Business Administration and defrauding the agency’s administered Covid relief plan, records show.

Antonio Dewayne Menifee, a convicted Chattanooga drug dealer, is also accused of submitting false forms to the agency to obtain a PPP loan for a non-existent construction company in April 2021. When agents in September 2021 sought to execute a search of Menifee’s home as part of an investigation into the $11,485 PPP loan he received, they discovered cocaine, a stolen gun, ammunition, plastic bags used to wrap drugs, digital scales used to weigh drugs and $15,000 in drug money, FBI Agent Coley Vincent Warner wrote in a criminal complaint.

Menifee was convicted in 2002 in U.S. District Court in Chattanooga for conspiracy to sell cocaine and firearms. He served about a decade behind bars before being released, but then repeatedly violated the terms of his probation by using drugs, lying to authorities and threatening violence against his wife, records show.

drug dealer ppp loan fraud charge

Menifee was returned to prison in 2017 following these violations and served an additional 27 months. It is unclear from the court record whether he was still on federal probation when he applied for and was granted a PPP loan in 2021.

Bethea and Menifee are now behind bars awaiting further legal action in their respective cases.

Their cases are part of what the Justice Department has called an “epic scam” of COVID relief funding that has taken place since Congress began authorizing funds to help businesses and citizens affected by the coronavirus pandemic. 2020.

An NBC News investigation reported last year showed that as much as $80 billion of the $800 billion authorized under the PPP was distributed to fraudsters in the United States and abroad and used to pay for fancy cars, mansions and expensive vacations.

Is inflation driving consumers out of the music streaming market?

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With a cost-of-living crisis potentially threatening millions around the world and inflation rates in some countries exceeding double digits, there are signs that music subscribers are cutting back. But how will this affect the different platforms in the music on demand (MoD) market?

Q1 2022 highlights:

  • Over a million music subscriptions were canceled in the last quarter in Britain, with the desire to save money cited by 37% of consumers as the reason for cancellation.
  • Value for money is still the main driver of new subscriptions in 3 of the 4 regions in our survey, with only Germany having a different main reason (the music platforms my friends use)
  • The number of new music subscribers fell to less than 1% of the population in Britain in the first quarter of 2022, with the United States and Germany also seeing a drop in the number of new subscribers compared to the last year.
  • In Britain, subscriptions are falling fastest among young consumers; the percentage of under 35s with access to a music subscription rose from 57.0% to 53.5% in one year.

Cost of living crisis leading to cancellations

With inflation hitting 9% in the UK and further rises in the cost of living expected, rising music subscription churn rates show that UK households are starting to prioritize spending their disposable income. Over one million subscriptions were canceled in the last quarter, which also saw the highest number of consumers citing the desire to save money as the reason they want to cancel their subscription, at 37%. . This number is up 4% compared to the same period last year.

Q4 2021
Penetration rate

Q1 2022
Penetration rate

Q1 2022
Cancellation rate

GB

39.7

39.5

3.0

WE

48.8

48.8

4.6

Germany

35.9

36.6

5.1

Australia

48.6

Are young streamers cutting back?

These factors have created a slight drop in penetration of the total number of individuals with access to at least one music subscription, now 39.5% of UK adults. This is well below the early 2020 peak of 43.6%. One of the reasons for this drop in penetration is the drop in the number of young subscribers. 600,000 under the age of 35 have access to a music subscription compared to the previous year, with the penetration of students with access increasing from 67% to 59%. Some of the main reasons under 35s are considering canceling and being over-indexed compared to the over 35s group include not having a wide enough music selection, too many ads, or technical difficulties.

The United States saw a steeper decline of nearly 5 million people under the age of 35 no longer having access to a music subscription service, from 69% to 63%. With three of the top 5 reasons across all territories related to saving money, it could show that consumers around the world are looking to cut back on spending during this cost of living crisis. However, the other issues highlighted show areas where platforms can focus to help retain younger users.

Amazon’s unwelcome price hike in May

In the UK, the price of certain Amazon Music Unlimited subscriptions increases in May. The single device and individual plans are both increasing by £1/$1 per month, with the annual price for the latter increasing from £/$79 to £/$89 per year. With 7.1% of current Amazon Music Unlimited subscribers in Britain, the US and Germany already planning to cancel their subscription, the price hike could lead to an increase in the number of cancellations over the next coming months in all global markets.

When examining why consumers are considering canceling their music subscription in the next quarter, the top reason is that they plan to save money, with 37% of Amazon Music predicted cancellations Unlimited in GB citing this as one of the main reasons. This is above the market average, with only Spotify having a higher percentage of cancellations citing this reason at 41%.

Spotify rejects Rogan criticism

After Neil Young was among a group of musicians who deleted their music libraries due to continued support from the Joe Rogan Experience podcast platforms, Spotify hasn’t suffered much of a ill-effect over the past quarter. . In the first quarter of 2022, Spotify saw its share of new subscribers increase compared to the last quarter, reaching 22%. The percentage of new subscribers who were driven to sign up by the variety of artists available on Spotify also increased from last quarter and from the start of the previous year, rising to 35.5%. The variety of artists available is one of the top three reasons subscribers sign up for Spotify, 1st in the US (31.5%), 2nd in Britain and 3rd in Australia (33.2%) and in Germany (27.7%). This highlights the importance of artists available on Spotify globally, but shows that a platform that loses a handful of artists won’t affect a new subscriber’s thirst to sign up.

In contrast, one area where Spotify has suffered over the past three months has been in the satisfaction of its current subscribers. Spotify’s record of having the highest Net Promoter Score since our UK recordings began is under threat, with their score of 33 being the lowest the platform has recorded since the first quarter of 2020. From a global perspective, Spotify’s NPS index relative to the average decreased in the UK, US and German markets compared to last quarter, suggesting competitors are improving their service quality.

Welcome Australia!

In Q1 2022, Kantar’s on-demand entertainment service expanded to Australia, enabling us to provide longitudinal insights into the video and music streaming industries. Early figures show that 49% of Australians subscribe to at least one music streaming service, or 9.92 million people. This number is similar to the United States and higher than that of Great Britain and Germany. The market is dominated by Spotify, with 74% of MoD consumers using the platform, with Amazon Music Unlimited and Apple Music rounding out the top three. A similar trend is also seen for new subscribers, with almost half of them in Q1 2022 going to Spotify (43%), the second highest being Amazon Prime Unlimited (13%). With the addition of new territory to the on-demand entertainment service, it will be exciting to see the long-term trends that emerge in the Australian music streaming market over the next few years.

If you would like to learn more about our on-demand music services, please contact our experts.

DC organization honors Juneteenth with performances by local black artists

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As the bass slaps and drum beats of DC go-go by the Ambition Band set the mood and the smell of fried fish wafted through the air, a group of youngsters from the creative school Southeastern nonprofit offered free fresh juice to passers-by in exchange for a few written words about what freedom means to them.

They were among hundreds of people gathered Sunday for the Chocolate City Jubilee at DC’s Freedom Plaza to commemorate June 19, the federal holiday symbolizing the end of slavery in the United States – a day Nee Nee Taylor described as centered on black joy, black freedom and black liberty. people.

“It’s a day of recognition…the purpose is to educate people on what it’s going to take to save ourselves and continue to work for our freedom,” said Taylor, co-conductor of Harriet’s Wildest Dreams, a self-help and advocacy organization that hosted the event.

While a few streets away thousands paid hundreds of dollars a head for a three-day pass to the Something in the Water music festival hosted by Pharrell Williams, Harriet’s Wildest Dreams held an event with free food and performances by local black vendors, artists and musicians.

“It’s all free because it’s freedom day,” Taylor said.

Juneteenth is a mash-up of “June 19” and marks the day in 1865 when slaves in Galveston, Texas were told they were free – more than two years after the Emancipation Proclamation was issued. Generations of black families have commemorated the date, but the celebration gained national visibility following social unrest following the 2020 killing of George Floyd.

Emancipation Stories from June 19: How Slaves Won Their Freedom

For some, Juneteenth was a time to reflect on the scope of the conversation about racial injustice and the legacy of slavery.

Michael Brown, 56, a fundraising professor at the North American Division of the Seventh-day Adventist Church, said he first heard of Juneteenth in his 30s. Brown said that in New Orleans, where he was born, his high school never taught him the day, but he wasn’t surprised.

“You don’t really want to deal with the history of slavery because then you have to talk about the injustices. Whether or not these injustices happen now, you must be prepared to address them,” Brown said.

He still doesn’t see a real dialogue about the legacy of slavery, which is a very difficult conversation to have, he said, but “we’re getting closer.”

The recognition of Juneteenth as a national holiday has sparked mixed feelings among some black organizers.

Juneteenth is growing. Some Texans worry it’s losing its meaning.

Qiana Johnson, 41, founder of Life after liberation, a Prince George’s County organization that supports formerly incarcerated women, is feeling bittersweet now that Juneteenth is a federal holiday. She worries a day meant for conversations about slavery and commemorating her ancestors and their struggle is being commercialized by corporations.

“They do things like have ice cream flavors, T-shirts to sell, and do other things that leverage real black liberation,” Johnson said.

Ice cream and paper plates Juneteenth: companies keep getting the holidays wrong

After advocates gave speeches, which included a call to stop the displacement of black residents in the city, artists from across the DC area gathered around music, “an essential part of the joy black and black love,” said singer-songwriter Liv Grace. , who also performed at the event.

Grace, 20, started writing and sampling her songs to raise awareness of issues affecting the black community, including incarceration. She said her community has spent a lot of time sad and struggling, but this day is an opportunity to bring everyone together to recognize their accomplishments.

“We have so much love and there’s so much to celebrate in our culture,” Grace said.

Sting shares the Super Deluxe Edition of his latest album “The Bridge”

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Less than a year after its release, Sting fleshes out his fifteenth studio album The bridge for the second time as he shares the super deluxe edition of the rock album. The new edition includes “By Su Amor– the previously released Spanish-language rendition of “For Her Love – plus six live recordings captured at a private concert at the Pantheon in Paris.

Sting made an appearance as part of FIP’s 50th anniversary under Foucault’s pendulum. He played for half an hour in an acoustic set which was made available to broadcast via the Arte Concert official website. “String Live at the Pantheon” racked up over 5 million views within weeks of its release.

The set included performances of “Shape of my Heart”, “Fragile”, “Message in a Bottle”, “If It’s Love”, “Rushing Water”, and “For Her Love”. The super deluxe edition of The bridge featuring these additions is available through digital retailers and will be released in a physical 2CD format on July 8. The bridge.

“What I realized when I watched them all individually was that they were connected in some way. They were all about characters in transition, between one world and another, between relationships, life and death, and that was the connecting fabric,” Sting told Billboard. “Then I wrote ‘The Bridge’ because I realized that all the characters were looking for a bridge to the future that was somewhere different, somewhere safer, somewhere happier.”

He continued, “I think the whole planet is looking for a bridge right now. I am. Everyone is. It’s such a stressful time. No one knows what will happen next year or the year after with all these crises we are facing. A bridge therefore seemed like a useful metaphor that would resonate with people. »

Stream or Buy The Bridge (Super Deluxe Edition).

It’s Not Who I Am Reviewer – All Is Not What It Seems In A Tricky Thriller About Truth And Power | Theater

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Llift the game text cover of That Is Not Who I Am by Dave Davidson and another coin will fall. Long before audiences enter the royal court, this play makes us question the truth. The real game, that is. That Is Not Who I Am is a clever front for Rapture, a brilliantly crafty new production from Lucy Kirkwood.

In an opening statement, we’re told that Rapture is a response to an actual investigation into a murdered couple, after the Home Secretary refused to release the report into their deaths. After legal challenges and threats, Kirkwood decided to publish the piece under a pseudonym for his own safety. Deftly directed by Lucy Morrison, an immediate sense of discomfort is sewn into this remarkably layered and jaw-dropping story, in which reality and sanity are constantly examined.

Stellar performances… Priyanga Burford, Siena Kelly and Jake Davies. Photograph: Tristram Kenton/The Guardian

Celeste (Siena Kelly) and Noah (Jake Davies) meet on a blind date with the Guardian, rating each other 9 and 9.5. As they create a life together, his resistance to technology rubs off on her, and among the fragile scenes of their relationship, they are seen becoming increasingly paranoid about surveillance and data collection. An unrelenting urgency builds as they become entangled in anti-democratic movements and the hoarding of government secrets, turning themselves into dangerous targets.

They’re right to think they’re being watched, and not just by us and their Netflix subscription. Kirkwood nonchalantly leans against Naomi Dawson’s rotating scaffolding set. Played with nervous excitement by Priyanga Burford, she explains how she used Reddit threads, YouTube videos and personal recordings to piece together the story of Quilter – the technology the couple hated to form their archive. Conspiracy theories come to the fore, and the question of what is real suddenly seems very difficult to answer.

Rapture is about truth and power, with visceral frustration with our cruel and incompetent government being just one of many complex layers of this mystery. But in text and direction, this play also revels in the way theater is done, with visible directors constructing the version of reality that Kirkwood wants us to believe. A heady production with stellar performances, Rapture is an absolute thriller, trickster and game.

At the Royal Court, London, until July 16.

Man pleads guilty in case involving $5 million in fraudulent COVID loans

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An Orange County man has pleaded guilty after federal prosecutors say he received more than $5 million in Covid-19 relief loans for three fake front companies. Raghavender Reddy Budamala, 35, used the shell companies to seek a paycheck protection program and economic disaster loans, according to the plea agreement filed in U.S. District Court on June 3.

Budamala pleaded guilty to one count of money laundering and bank fraud; and agreed to return all his “ill-gotten gains” to the government.

His attorney, Diane C. Bass, told news sources she had no comment on the case.

According to the plea agreement, Budamala formed or acquired three front companies in 2019 without any transactions – Hayventure LLC, Pioneer LLC and XC International LLC.

The Paycheck Protection Program (PPP) and Covid-19 Economic Disaster Loans (EIDLs) were offered through the Small Business Administration (SBA) in the early months of the pandemic to help businesses survive shutdowns and quarantines. The loans had minimal interest and were forgivable, as long as the funds were used for specific expenses, like rent or payroll.

Budamala submitted seven applications to the SBA from April 2020 to March 2021, falsely telling banks administering the covid relief business loan programs that his companies employed dozens of people and earned millions of dollars in revenue, and that he needed the money for payroll and business expenses.

Budamala ultimately received six loans totaling $5,151,497, according to the plea agreement. He was charged with using the funds to purchase a $1.2 million “investment property” in Eagle Rock, a nearly $600,000 property in Malibu, a “personal residence” in Irvine and a $970,000 investment in an EB-5 immigrant investor visa program. He then deposited nearly $3 million of the remaining loan money into his personal TD Ameritrade account, according to a press release from the U.S. Attorney’s Office for the Central District of California.

The Orange County resident then requested loan forgiveness on several of the loans, saying the SBA money was all used to pay payroll, the statement said.

However, the addresses listed for the businesses “were false, nonexistent, or residential,” prosecutors said in the statement.

“The states where the Budamala businesses are believed to have operated have no record of these businesses paying salaries to employees, and the businesses’ bank records do not reflect any significant business income or operating expenses,” the statement said. .

Budamala has been in federal custody since his arrest on Feb. 23, when he attempted to flee to Mexico, the statement said. He faces a maximum sentence of 40 years in prison.

The IRS Criminal Investigation, the FBI, and the Office of the Inspector General of the Small Business Administration investigated this matter. Assistant U.S. Attorney Gregory D. Bernstein of the Major Fraud Section is prosecuting the case.

Budamala is among a growing number of people accused of receiving covid-19 relief loans under fraudulent circumstances, according to a Justice Ministry statement.

United States Attorney General Merrick B. Garland established the covid-19 Fraud Enforcement Task Force in May 2021. In a March 10 press release, the United States Department of Justice reported that “efforts to civil application to combat fraud related to covid-19…must-date resulted in criminal charges against more than 1,000 defendants with alleged losses exceeding $1.1 billion; the seizure of more than $1 billion in disaster economic injury loan proceeds; and more than 240 civil investigations of more than 1,800 individuals and entities for alleged wrongdoing in connection with pandemic relief loans totaling more than $6 billion.

TMT was unable to identify exactly which property in Malibu Budamala purchased, but with a price tag of $600,000, it was most likely vacant land.

ArrDee hits out at artists for treating him like a child E! News UK

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ArrDee is tired of being treated like a child.

The 19-year-old rapper – whose real name is Riley Davies – shot to fame after going viral on TikTok, piling on a string of UK Top 10 hits.

But despite his resounding success, the artist feels pushed around by older artists who give him unsolicited advice.

The ‘Cheeky Bars’ star slammed those trying to ‘dictate’ what he should do and insists ‘no one brought me here but me’.

He exclusively told BANG Showbiz: “I feel like because I’m a young artist, a bunch of people, whether it’s artists or people in certain positions who are a little bit older than me, feel like they can dictate what I’m supposed to do or advise me to do this or that – but no one has me here except me.”

He continued, “I feel like just because I’m young doesn’t mean I should be treated like a kid, especially in an industry where you’ve grown up crazy fast, everything is moving at such a fast pace. as you grow. as a fast-paced person.

The Brighton-born rapper has also had to deal with hometown stigma and challenge negative stereotypes as he believes it’s important to represent where he comes from.

He previously said: “I definitely had more to prove coming from Brighton. When we did the freestyle, at 6am in Brighton, a lot of people advised against calling it that. They were like, ‘Brighton has a bit of a stigma.’ I was like, no, you know what, it’s bigger than me, so if I can light up the city…because my whole personality, me feeling good about myself is from Brighton, because there’s has some crazy characters here, but no one is judged, so I wouldn’t be me without being born and raised here, and I want to tell it like it is.

Hank Jr. unleashes Thunderhead Hawkins on bawdy blues record

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NASHVILLE, Tenn. (AP) — Sometimes it’s hard to tell who Hank Williams Jr. really is behind the dark sunglasses and the beard covering the facial scars.

The fact that Williams assumes multiple identities, whether it’s Bocephus or Thunderhead Hawkins, who is the centerpiece of her latest album, further complicates her part of personality — or stage presence. Sometimes he talks about himself in the third person as if he were watching a movie of his life.

“I’m a Gemini,” Williams said, referencing the star sign represented by twins to explain who he is.

Williams often defied easy characterizations. He is the son of an icon, the eldest Hank Williams, whose tragic death left him at a young age with a legacy to uphold and grow. After surviving a near-fatal fall from a mountain in 1975, Williams took his own rowdy Southern rock sound to new heights, changing the sound of country music.

His new record, ‘Rich White Honky Blues,’ his first album since 2016, gives more insight into the Country Music Hall of Famer’s early years and the influences that would eventually make him a unique artist.

The blues has always been part of his musical DNA. His father learned to play guitar in Alabama from a black bluesman named Rufus “Tee Tot” Paynebut his parents kept a boarding house and had few resources.

“They don’t have any money to give him, but they had food for guitar lessons,” Williams said of Payne.

After his father died at age 29, Williams Jr. was to follow in his footsteps early on. By age 8, he was performing his late father’s songs on stage, but driving home he was listening to blues by Bobby Blue Bland and late-night shows from WLAC, a radio station based in Nashville. who played rhythm and blues. “I don’t listen to the Grand Ole Opry,” Williams said. “I’ve never been a member of the Grand Ole Opry. Never will. Period. And I’ve done pretty well.”

Williams moved away from the traditional country his father was known for and began fusing genres – Delta blues, hard rock, country, soul – alongside bands like the Marshall Tucker Band and Lynyrd Skynyrd.

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His No. 1 hits include “A Country Boy Can Survive”, “Family Tradition”, and “All My Rowdy Friends Are Comin’ Over Tonight”, which later became the opening theme song for “Monday Night Football”. He was named Artist of the Year multiple times by the Country Music Association and the Academy of Country Music and won a Grammy for Best Country Vocal Collaboration.

But he also became headlines for his turbidity and brashness, especially in his later years. He is not silent about his conservative political beliefs, loves to sing about God, guns and the South. His comments once cost him the “Monday Night Football” intro spot.

His new album continues to mythologize the boogie-woogie macho man, even though he has reached his 70s. The album is a sexualized adventure through X-rated blues material by Robert Johnson, Lightnin’ Hopkins, RL Burnside and Muddy Waters, as well as Williams’ own original tunes. Recorded at Dan Auerbach’s Easy Eye Studio in Nashville, session musicians include electric slide guitarist Kenny Brown, bassist Eric Deaton, drummer Kinney Kimbrough and Auerbach on guitar.

“We understood each other pretty quickly,” Williams said. “I went there with Kenny and them and Dan, and it was like pouring water into a cup. Everything went well and we eliminated him in two and a half days.

Ken Levitan, Williams’ longtime manager, said Auerbach, a Grammy-winning producer and member of rock duo The Black Keys, was the right fit for Williams, brought together because of their knowledge of the blues.

“There are matches that work very, very well,” Levitan said. “And this one worked extremely well.”

Williams added his own improvised lyrical riffs to the songs, including sometimes rude remarks about women as the band giggled in the background.

“We say a few swear words. Several swear words,” Williams said with a smile. “This is Thunderhead Hawkins, southern Alabama, Mississippi juke joint. And that’s exactly how it sounds and how it feels.

But for all the bravado Williams displays, he cannot escape his own grief as his family continues to suffer tragedy.

Williams’ eldest daughter, Kate, died in a car crash at 27 in 2020, just months before it was announced, he would be inducted into the Country Music Hall of Fame. Then his wife, Mary Jane Thomas, whom he married in 1990, died in March after a medical emergency at a Florida spa.

The album’s final track “Jesus Won’t You Come By Here,” the only religious song on the record and written by Lightnin’ Hopkins, was a song Williams had loved for decades. After all the bawdy blues he sings, “Jesus, won’t you come here/Kneel down to pray,” like a sinner on Sunday.

He can’t bring himself to sing the song live now after his wife’s death.

“I loved that song 40 years ago. And I still love it,” Williams said, her words infectious. I can do a lot I can’t do this now Now you have the answer.

“Hank had a very tough couple of years,” Levitan said. “At least in retrospect, (the song) has huge significance at this point.”

Williams dislikes the promotion of modern country records, having little patience for interviews. He has a private jet waiting to take him home a few hours from Nashville near Lake Kentucky, and he made it clear he was done talking.

“For everything that happened, I adopt a rather positive attitude. But this song is wonderful,” he said. “The whole thing attracts a lot of attention. I guess that’s why we’re sitting here. It’s getting a lot of attention, guys. I guess you would call me an attention grabbing blues man. Goodbye.”

And Thunderhead Hawkins left the room.

___

Online: https://hankjr.com/

___

Follow Kristin M. Hall on Twitter.com at https://twitter.com/kmhall

Bring your dad to Valley Youth Theater HIGH SCHOOL MUSIC for free this Sunday

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The Valley Youth Theater is offering a special Father’s Day treat for all dads: quality family fun without the price tag! This Sunday, June 19, dads are free for Disney’s High School Musical 2 p.m. show at the Herberger Theater Center.

According to VYT’s Production Artistic Director, Bobb Cooper, “This show is fun, there’s energy in the air, and it really has a great message: that we’re all in this together. There’s no better way to celebrate Father’s Day than as a family at the Herberger Theater Center!”

To take advantage of this free dad offer, tickets must be purchased for the 2 p.m. show on Sunday, June 19 by calling the Herberger Theater Center box office at 602-252-8497 and asking for the Father’s Day special.

Produced and directed by Cooper, Disney’s High School Musical stars Valley teens Isabella Quinn and Jack Biddinger as Gabriella and Troy as the hit Disney Channel musical comes to life on stage! Troy, Gabriella, and the students at East High must deal with issues of first love, friends, and family while balancing their classes and extracurricular activities. With high-energy dance numbers and a powerful cast. The Valley Youth Theater production of Disney’s High School Musical is a must see and a perfect way to beat the heat this weekend!

In addition to the Father’s Day performance, public performances include Thursdays, June 16 and 23 at 7 p.m.; Fridays June 17 and 24 at 7 p.m.; Saturdays June 18 and 25 at 2 p.m. and 7 p.m. and Sundays June 19 and 26 at 2 p.m. The Herberger Theater Center is located at 222 ER. Monroe St. in downtown Phoenix, ticket prices vary and can be purchased at the Herberger Theater Center box office or via vyt.com/tickets

Valley Youth Theater’s mission is to inspire young people to be their best through a variety of performing arts opportunities. In addition to their main stage performances, VYT offers eight-week performing arts classes in the fall, winter, and spring, as well as spring break and summer camps. VYT’s ongoing community programs include Literacy and the Arts, Sponsor-a-Seat, and the Nigel Ross Scholarship Fund as well as their annual fundraising event, the VYTal Affair (Valley Youth Theater Applauds Leadership ), in August.

For more information about Valley Youth Theater, visit www.vyt.com.

US Open 2022 scores, takeaway: Justin Thomas in familiar position seeking second straight major

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BROOKLINE, Mass. – Justin Thomas has started the 2022 US Open almost exactly the same way he started the 2022 PGA Championship, which he won a month ago at Southern Hills in Tulsa, Oklahoma. In that event, Thomas played in the toughest wave in the first round and shot 67, two behind Rory McIlroy. In this event, Thomas played in the toughest wave in the first round and shot 69, two backs of McIlroy.

The difference? There is someone ahead from McIlroy this time around, leader Adam Hadwin, who shot the lone 66 from the field on Thursday. However, JT is in the perfect spot to make a run at Major No. 3 just as he was a month ago to make a run at Major No. 2.

Thomas was his usual incredible self with an iron in hand and finished sixth in approach play. His putter also stayed warm and he’s trending toward a week of positive hits for the sixth time in his last seven tournaments.

JT hasn’t let the tournament get away from him either by keeping the heavyweights in his sights. Even though Hadwin is three shots up, JT will be more concerned about who he’s tied with (Jon Rahm, Collin Morikawa) and ahead of him (Dustin Johnson at 2 under, McIlroy at 3 under).

A stable newscast is a scary proposition. At the PGA in May, he was the horse that stayed in the pack all the way before closing like the thoroughbred he proved he was. You can’t always win this way, but it’s been so hot lately that it’s hard to see it fading over the next few days.

At the PGA Championship, he talked about mustering four straight 67s to win the tournament. Four straight 69s could get him close enough here. On Sunday, we could talk about Thomas being the first golfer in the past seven years (Jordan Spieth in 2015) to win back-to-back major championships.

Here are eight more thoughts on the first round of the US Open at the Country Club.

2. No more great champions hanging around: Jon Rahm and Collin Morikawa both played early in the day, shooting 1 under. There were two reasons why it was impressive. First of all, Rahm nearly hit three on the 17th tee and had his ball taken by kids on the 18th. Second, Morikawa has said all week that he’s unable to hit a fade right now, which for the past three years has been the most reliable shot in all of golf.

“I practically only played a draw,” Morikawa said. “That was sort of the game plan. … I didn’t really need to make too many cuts. When I did, I didn’t really make them. The form of the shot today was, and it was really direct, it was like this little 2-meter draw.

“I played a lot of golf last week and a lot of holes to try and be able to trust him. I haven’t played a tie game since maybe freshman year of college. Definitely in high school. That’s different. It’s not the same confidence, but this week I have to trust him. It’s the only way for me to hit shots.”

3. Callum Tarren’s Oddity: An extremely odd part about Thursday is that Tarren, T2 after 18 holes, was above par for 12 of his first 15 holes and only below par for the last three of the day when he went birdie- eagle-by to close. You don’t see many golfers near the lead of the first round who weren’t in red numbers standing on the second to last tee of the day.

4. Hello, Dahmen: Joel Dahmen, who shot 67 on Thursday and also sits in T2, not only had the best quote of the day on Thursday, but also the top two. First, the serious: “I’m very competitive, and I believe in myself, and I hate losing. But it’s also the most fun for me when you play with the best players. I learned to play with [Jordan] Spieth in the final round near the lead twice this year, and in those days, I love that stuff. I love being in this situation. I like to be nervous. I like my hands shaking. That’s why we play the game.”

That’s awesome stuff from someone for whom a win this week would be life changing. And his quote on how he was going to spend his Thursday night sitting up top was even better: “I’ll call him a new best friend, Ben Rector; he’s a musician. I got to meet him at Pebble [Beach] this year, and he’s in town tonight. We’re going to his concert. It’s going to be hard to go to that one and not drink 100 beers like we usually do at shows.”

5. Fitz magic: Matthew Fitzpatrick, who won the 2013 US Amateur at this golf course, provided perhaps the most electric round of the afternoon wave when he shot a 2-under 68. Fitzpatrick apparently took a leap in the majors to the point where he can constantly struggle, which wasn’t necessarily true in the early part of his career. Fitzpatrick is having the statistical best season of his life, and while a final win at Brookline would be almost too on the nose, it would also be a great story.

6. Hey, Mr. DJ: The LIV Golf vs PGA Tour narrative is here to stay. One of the former’s faces, Dustin Johnson, is in the mix for his third major victory after shooting 68 in the first round. A showdown between DJ and Rory or JT – both firmly entrenched on the PGA Tour side – is almost too delicious to consider at the start of the week. This would be the first of what could be many future fights between players from both leagues. The other subplot here is that DJ hasn’t spoken publicly at a non-LIV event, but if he’s leading or near the top on Friday and beyond, he’s going to get a lot of questions about how much. point he changed the landscape of his sport. .

7. Beautiful Brookline: Thursday’s consensus was that the Country Club – which has the ambiguous “it feels like a major” in clusters – was wonderfully set up for Day 1. Thursday’s greens were slower than I expected, but even despite this and the fact that the wind had gone down early, the scoring average for the day was still 2.6 strokes over par.

“It’s very difficult,” Rahm said. “Honestly the first five holes when we had no wind, I thought we were going to blow the roof off this place. Somebody’s gonna shoot 6, 7 under if the wind doesn’t pick up, ain’t- Obviously, a well-designed golf course is always tough. When the crosswinds started coming in, it was tough.

8. Tough day for Lefty: Phil Mickelson shot 78 in the first round and beat just two of 15 amateurs on the court Thursday, which was emblematic of LIV players more broadly. The 15 golfers who play in league rival PGA Tour have fired 53 shots with only DJ and American amateur champion James Piot under par.

9. Max Homa ball strike: The best iron player on the court on Thursday was Homa, who won more than four hits on approach shots and got just one under 69. Homa was adamant about everything he learned about not having to be perfect at majors, and it’s clear from his play in recent games that this leads to playing better on the golf course. He’ll be a sneaky watch over the final three days if he continues to hit like he did over the first 18 holes.

Rick Gehman, Kyle Porter and Greg DuCharme recap Thursday’s action at the Country Club. Follow and listen to The First Cut on Apple podcast and Spotify.

Acclaimed music activist Darrell Kelley introduced the artist at the Black Music Month Conference Awards in Buffalo, NY

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Acclaimed singer, songwriter and music activist Darrell Kelley continues his lifelong quest to deliver powerful messages of protest through original music.

Performance of a new song dealing with the tragedies of the shootings in Buffalo and Uvalde over the weekend of June 19

Buffalo, NY – June 16, 2022 – Acclaimed singer, songwriter, and music activist, Darrell Kelley continues his ongoing quest to bring powerful messages of protest through original music, and will be a featured attendee at the upcoming Black Music Month Conference Awards (BMMCA) in Buffalo, NY.

Kelley will join local radio stations 1UFO 1080 Am/Power 96.5 FM for a number of events during the week of BMMCA activities. This includes bringing his famous demonstration hearse depicting those killed by police to Sankofa Days events, which have become a traditional aspect of Buffalo’s Juneteenth Festival and showcase Afro-centric businesses and culture.

Freelance artist and founder of Viral Records, based in Atlanta, Georgia, Kelley is committed to being a loud and resounding voice against the injustice of police brutality and systemic racial inequality. Over the past three years, Kelley has garnered worldwide acclaim for his unique activism, through writing and producing social justice songs and participating in protests focused on raising awareness for victims of hate crimes. and questionable killings by police and white supremacists in the African-American community.

“It’s outrageous that these killings of innocent black people continue to happen without any accountability and that the community isn’t just going to sit up and accept it,” Kelley says. “What happened in Buffalo, New York and Uvalde, Texas is unconscionable, and I pledge to continue to help raise awareness of the injustices that affect everyone, but especially people of color through this country, thanks to my music activism,” Kelley shared. , who recently released a song titled “Gun Reform.”

Among the WUFO Juneteenth and BMMCA events Kelley will attend as an activist, speaker and performer in Buffalo will be the Juneteenth Parade on the 18the, where Kelley will perform; a children’s workshop on June 20e; a “Meet and Greet” on Friday June 24; a listening party on Saturday, June 25 and as a national judge for the BMMCA Indie competition, on Sunday, June 26e.

For more information on Darrell Kelley, visit: https://darrelkelleyofficial1.com/

For media inquiries, contact Malik Barlow at 404/977-0167 or email him at [email protected]

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PHFL Home Loans and Services Ltd Partners with TeamLease HRtech for Digital Workforce Solutions

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New Delhi [India]June 16 (ANI/NewsSee): TeamLease HRtech, one of India’s largest providers of HR technology, payroll administration, employee benefits and human capital management, announced a strategic partnership with PHFL Home Loans and Services Limited (PHFL), a wholly owned subsidiary of PNB Housing Finance Ltd. Through this partnership, TeamLease HRtech will provide its expertise in digital workforce solutions, such as real-time digital human resource management, and create a vastly superior experience to PHFL.

TeamLease HRtech has been instrumental in leveraging technology to help transform the experiences of its clients’ HR operations and improve the experience of their employees. Organizations today are looking to digitize their HR processes while gaining efficiency and TeamLease HRtech does this on an ongoing basis. TeamLease Services Limited: TeamLease Services is one of India’s leading human resource companies providing a range of solutions to over 3,500 employers for their hiring, productivity and scale challenges. A Fortune India 500 company listed on the NSE and BSE, TeamLease has hired over 18 lakhs+ of people over the past 20 years and has over 2 lakhs+ of jobs open every day. One of India’s fastest growing employers, TeamLease also operates India’s premier vocational university and India’s fastest growing PPP National Employability through Apprenticeship Program (NETAP). The company offers solutions to large, medium and small clients in the 3Es of Employment (2 lakhs+ employees), Employability (5 lakhs+ students) and e-Workforce (1000+ employers) .

This story is provided by NewsSee. ANI will not be responsible for the content of this article. (ANI/NewsView)

(This story has not been edited by the Devdiscourse team and is auto-generated from a syndicated feed.)

Why are small business loans stopping in Australia? | Newcastle Herald

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Economic uncertainty means fewer small businesses are choosing to take out debt to invest in their businesses. Photo: Shutterstock.

This is branded content for Finofin.

With the closure of the SME Loan Recovery Scheme at the end of June, Australian small businesses will have fewer opportunities to raise finance at a time when many factors are weighing on them.

The halt to the SME Loan Recovery Program, aimed at mitigating the impact of COVID-19 by providing government-backed loans to small businesses, comes around the same time local and global instability is making headlines. one of the newspapers.

From global and domestic inflation impacting monetary policy in nearly every country, tech companies bleeding into lower valuations and startups halting growth or even laying off staff, to the strict COVID- 19 in China leading to more supply chain disruptions, the war in Ukraine, the Australian election and its aftermath, there is a lot of uncertainty in the air. And when there is uncertainty, growth is hindered.

Will the end of the SME Loan Recovery Scheme weigh heavily on Australian SMEs?

The shutdown of the SME loan recovery program is not a big deal in itself, says Alon Rajic, managing director of Finofin, which operates the SME finance comparison site Small Business Loans Australia.

“The vast majority of applications [for the Loan Recovery Scheme] are denied anyway,” he said. “Based on a sample of several thousand business owners and sole traders who applied through Small Business Loans Australia partners, only a handful of businesses were found to be eligible.

Mr Rajic, whose company also runs guides for small businesses in the United States, said the Small Business Loan Recovery Program was very different from Paycheck Protection Program loans in the United States.

“For a PPP loan, you just had to make sure your application got through the door before the PPP money ran out, plain and simple,” he said. “When your application was approved – and it was only a matter of when rather than whether – you would become eligible for an instant government guaranteed loan capped at 1.75% per annum with an interest rate .

“This is a very different type of package to the Australian SME Loan Recovery Scheme, which is capped at 7.5% interest per annum. The amount of the loan turns into more of a grant to small businesses than in a small business loan, really.

“The PPP had an incredible impact on the small business economy in the United States during the COVID crisis, while the Small Business Loan Recovery Program did not and still does not. When it will stop soon, few people will notice.”

SME growth stagnates in May

While Mr Rajic doesn’t think the stimulus package has made much of a difference in terms of access to business loans, he thinks the other factors at play such as inflation, elections and global tensions are creating uncertainty for the vulnerable small business sector and fueling reluctance to take out loans to invest in their business.

When small businesses are afraid to borrow money, it’s a bad signal for future growth, he said.

“May is traditionally one of the strongest months of the year for small business funding – many businesses restock during this period leading up to the end of the financial year.

“This year is also the first proper post-COVID year for Australian small businesses, but there were still fewer loan applications and fewer small business loan approvals than expected, adjusted for seasonality.”

Mr Rajic said Australian small businesses appeared to be “sitting on the fence”, preferring to preserve cash and avoid debt as much as possible.

“It’s not a bad thing to do, given the potentially turbulent times ahead, but it does bode a bit ill for the broader economy,” he said.

“This is in line with the latest statement from the RBA’s May monetary meeting, which warned of a halt in growth in the coming months due to inflationary pressures and other global factors discussed earlier.”

Finofin is a content specialist company with over a decade of experience producing successful comparison websites globally, including specialist business loan site Small Business Loans Australia.

This is branded content for Finofin.

Prolific Songwriter Peter Mulvey and Rising Stars SistaStrings Announce New Studio Album “Love Is The Only Thing”

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Singer-songwriter-guitarist Pierre Mulvey and other Milwaukee locals, the in-demand dynamic duo SistaStrings have teamed up again for a brand new studio album, Love Is The Only Thing, which will be released August 12th on Righteous Babe Records. A self-proclaimed anti-fascist record, Love Is The Only Thing keeps kindness and compassion front and center, following a similar musical path to Live at the Café Carpe by Mulvey and SistaStrings, released in late 2020 and, like the new album, features drummer Nathan Kilen to complete the set. Fans can pre-order or pre-register Love Is The Only Thing now at this link and get acquainted with the brilliant sound of Mulvey and SistaStrings by watching Live at Café Carpe here.

SistaStrings – cellist-vocalist Monique Ross and violinist-vocalist Chauntee Ross – bring all the beautiful versatility of their music for cello and violin – as well as strong vocal harmonies for siblings – to Love Is The Only Thing. Classically trained string players who grew up singing in church, Monique and Chauntee were destined to defy gender and racial conventions, blending R&B, gospel and classical sounds. Mulvey met the Rosses in 2016, and all three felt an instant kinship. “Peter has been the complete definition of an ally. We found a home in the folk/Americana realm when we started working with Peter and it gave our career the direction it was missing,” says Monique.

The bright light of the family illuminates this disc and all that contributed to its realization. Its existence depends on how we take care of each other, from its fan-supported funding to the Café Carpe sanctuary to the blood brotherhood of the Rosses and the found fatherhood of Mulvey. “This album is basically a happy family song, then a shit song, then a family song, then a shit song,” laughs Mulvey. And making Love Is The Only Thing at such a tumultuous time in history reinforced Mulvey and SistaStrings’ role as activists just as much as musicians. “Finding refuge and rejuvenation in these songs with this group of musicians was healing and personally kind of a mission statement of why we even make music in the first place,” Chauntee recalled.

Love Is The Only Thing explores the loss, the tension and the love that takes us through this. Folk classic “Shenandoah” yearns for a kinder America, while “Old Men Drinking Seagram’s” is a snapshot of a small town full of hate. “Soft Animal” offers tender sensuality, while “On the Eve of the Inaugural” finds the narrator caring for a baby in a stranger’s car. “Song for Michael Brown” is a humble plea for compassion for Brown and for all of us who live under the threat of violence and hatred. Some songs are more about the loneliness of the pandemic and its downside of love and togetherness. “You and (Everyone Else)” addresses pandemic loneliness and fear for the safety of others, while “Five Hundred Days” promises happy reunions. That promise is kept on “Early Summer of ’21,” a catchy song about a day when it’s sure to hug everyone, line up for tacos, and feel free again.

The disc ends with the title track, a Chuck Prophet cover. With jangly acoustic guitar, driving drums, bold strings and an anthemic chorus, it’s the sound of musicians having fun together. It’s also a reminder that it’s not easy to create a better world, but ultimately this work reveals our humanity. “Love is a thing that hurts / Oh, but love is the only thing,” Mulvey and SistaStrings say in the chorus. It is then abundantly clear that love songs and protest songs have always been pretty much the same thing.

Love Is The Only Thing Tracklist:

Shenandoah

sweet animals

O my dear (the demagogue)

Old men drinking Seagram’s

You and (everyone else)

Beginning of summer 21

five hundred days

On the eve of the inauguration

pray for rain

February too

Song for Michael Brown

love is the only thing

Catch Peter Mulvey on tour:

June 10 – Mio, MI – Northeast 2022

June 12 – Rockford, IL – Meridian Music Shed

June 23-25 ​​– Fort Atkinson, WI – The Shi*unauts Live at The Cafe Carp

July 9-10 – New Bedford, MA – New Bedford Folk Festival

July 28 – Portsmouth, NH – Portsmouth Music Hall with Mark Erelli

July 29 – Brownfield, ME – Stone Mountain Arts Center with Mark Erelli

July 30 – Concord, NH – Capitol Center for the Arts with Mark Erelli

August 18 – Sandwich, NH – John Davidson’s Club Sandwich

For more tour dates and ticket information, please visit petermulvey.com

Catch SistaStrings on Tour:

June 21 – Santa Barbara, CA – Santa Barbara Bowl*

June 24-25 – Los Angeles, CA – Greek Theater*

August 5 – Milwaukee, WI – Fiserv Forum*

August 6 – Chicago, IL – Huntington Bank Pavilion at Northerly Island*

August 11 – Salt Lake City, Utah – Vivent Arena*

August 18 – Columbia, MD – Merriweather Post Pavilion #

August 19 – Bethel, NY – Bethel Woods Center for the Arts#

August 20 – Philadelphia, Pennsylvania – Mann Center For The Performing Arts#

August 24 – London, UK – Omeara ^

September 9-10 – Morrison, CO – Red Rocks#

September 25 – Bridgeport, CT – Sound on Sound 2022*

October 22 – New York, NY – Madison Square Garden*

* with Brandi Carlile

^ performing with Allison Russell

#performance with Allison Russell and Brandi Carlile

State Theater New Jersey Announces 2022-23 Broadway Season

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NEW | FEATURES | PREVIEWS | EVENTS



originally published: 06/15/2022

(NEW BRUNSWICK, NJ) — New Jersey’s newly renovated State Theater announces its 2022-23 Broadway Season, featuring six fantastic shows. The 2022-23 season will feature Tony® Award-winning hits, Broadway fan favorites and a few State Theater debuts. Season tickets for the 2022-23 Broadway series are on sale now. The series kicks off with a Tony® Award-winning musical, Tootsie November 4-6. The other three shows in the series include the Lincoln Center production of the classic musical, my lovely lady January 27-29; the hilarious and sassy musical, Revenge of a Blonde April 28-30, which debuts at the State Theater; and a riveting new production of the iconic musical, Jesus Christ Superstar June 9-11.

Other shows included in State Theater’s 2022-23 season on Broadway are the international all-ages percussion sensation, to crush December 2 and 3; and the State Theater debut of the ultimate musical tribute to the Queen of Soul, Aretha Franklin, RESPECT March 11 and 12.

State Theater New Jersey offers subscriptions for its Broadway series. Season ticket holders can order their series tickets now before single tickets go on sale to the general public on September 2. They can also secure some of the best seats in the historic theater and those seats will remain theirs year after year. , as long as they remain subscribed. Season Passes also offer many additional perks, such as 20% savings off single ticket prices, a Broadway season lidded mug that can be used on all Broadway shows for half-price drinks at our concessions, ticket exchanges within the series and a bring your friends reduction which allows you to add single tickets (once on sale) at a saving of 15% on the price of tickets at the unity.

Tickets for Broadway shows are currently only available through their subscription program. Single tickets for Broadway shows go on sale September 2. For Broadway Season Tickets, email [email protected]; call our Membership Helpline at 732-247-7200, ext. 555; or make an appointment at STNJ.org/Concierge.

After major renovations, New Jersey State Theater reopened and celebrated its 100th anniversary in December 2021 in a completely renovated theater featuring newly renovated lobbies, all new restrooms, upgraded HVAC systems, a new elevator to access all levels, and all new theater seating. Originally built as a silent film and vaudeville palace, the State Theater’s historical significance was honored by PBS by featuring it in its documentary series, New Jersey Treasuresin the fall of 2018. “Treasures of New Jersey: State Theater New Jersey” may be streamed online.

Advertise with New Jersey Stage for $50-$100 per month, click here for more info

Today, the State Theater is the largest performing arts center in central New Jersey and has hosted more than six million people since it reopened as a nonprofit performing arts center in 1988. The State Theater New Jersey is the cornerstone of the cultural vitality of Middlesex County and has an average total economic impact on New Brunswick and the surrounding region of over $18 million per year. Mainstage programs have featured high caliber artists such as Diana Ross, Tony Bennett, Kevin Hart, Ringo Starr, Melissa Etheridge, John Leguizamo, Harry Connick, Jr., Diana Krall and Crosby, Stills & Nash. Programs offered include Broadway, Orchestral, Family, Dance, Comedy, Rock/Pop, Jazz, School Performances and Sensory Performances.

State Theater New Jersey programs are made possible through funds from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts. Funding for the grant was provided by the Middlesex County Board of Commissioners through a grant from the Middlesex County Culture and Arts Trust Fund.

Advertise with New Jersey Stage for $50-$100 per month, click here for more info


From jazz icon John Coltran to pop star Ariana Grande to Mumbai-based a cappella group ‘The Aflatunes’, musicians can’t get enough of Rodgers and Hammerstein’s score

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MUMBAI: More than 57 years after its release in 1965, “The Sound of Music” and its musical notes still linger in the memories of legions of fans. Julie Andrews and Christopher Plummer’s super hit revolving around the von Trapp family boasts one of the most successful musical scores of all time and its resonance over time remains unmatched. The musical continues to inspire musicians across genres and eras and the latest example is ‘The Aflatunes’, a Mumbai-based A cappella group who have teamed up with Zee Theater to celebrate the release of ‘The Sound of Music Live” for the first time. on Indian television. In a remarkable video tribute, “The Aflatunes,” performed memorable songs like “My Favorite Things” and “Sixteen going on Seventeen” without using a single instrument.

Here’s a look back at some more memorable tributes to the unwavering magic of “The Sound of Music.”

1. Ariana Grande – ‘7 Rings’: One of the most famous songs from Rodgers and Hammerstein’s iconic score to ‘The Sound of Music’ is ‘My Favorite Things’ which celebrates simple joys like ‘raindrops. on roses and mustaches on kittens, shiny copper kettles and warm woolen mittens”. In 2019, American pop idol Ariana Grande tweaked the lyrics to the classic in her hit song “7 Rings” where she celebrated that she could “buy” all of her favorite things. The tenor “I want it, I got it” runs through the song as she revels in the power to say, “Put it in the bag”, if anything, no matter the cost, catches her eye. This song from her fifth studio album, “Thank U, Next” showed that her aspirations may be different from Maria’s, but “The Sound of Music” continues to inspire her musical journey.

2. Gwen Stefani – ‘Wind It Up’: Pop and R&B superstar Gwen once admitted ‘The Sound of Music’ was her favorite movie and asked DJ Jeremy Healy to create a mashup of the song’ The Lonely Goatherd’ to include in his own song “Wind It Up”. She had always wanted to include bits of the Rodgers and Hammerstein musical in her songs, and her second solo album “The Sweet Escape” in 2006 seemed to offer the perfect opportunity. After DJ Jeremy Healy finished mixing “The Lonely Goatherd” and “Wind It Up”, Gwen said, “I literally cried, and I’m not exaggerating!” She even went a step further by dressing up as Maria in the video for the song while the accompanying dancers dressed up as von Trapp children. Gwen of course paid homage to Rodgers and Hammerstein for her quirky yet nostalgic tribute.

3. Christina Aguilera – ‘Searching for Maria’: In her super-hit 2018 album ‘Liberation’, American pop and R&B star Christina Aguilera paid tribute to Maria, the fiery protagonist of ‘The Sound of Music including these lyrics, “How do you solve a problem like Maria? How do you catch a cloud and stare at it? How do you find a word that means Maria?” as a prelude and also wrote and sang a song called “Maria” which alluded to the loss of innocence and the search for true authenticity and peace. In a 2018 tweet, she wrote: ‘Searching For Maria’ is a reference to one of my favorite movies, ‘The Sound of Music’ – in which the character Maria, an irrepressible free spirit, struggles to find herself. and regain his freedom. “

4. John Coltrane – ‘My Favorite Things’: In the 60s, jazz legend John Coltrane released a hugely successful album called ‘My Favorite Things’ which in 1998 won the Grammy Hall of Fame. Coltrane may have created more critically acclaimed works, but this one is often described as a “definitive work that everyone knows and everyone can listen to”. That’s not to say it’s a simplistic homage and actually showcases Coltrane’s genius for experimentation perfectly in just over 14 minutes. The talented saxophonist’s hypnotic composition recalled the complexity of Indian ragas and became Coltrane’s most requested song.

5. JLS- ‘The Club Is Alive’: Rodgers and Hammerstein never imagined that in 2010 their seminal hit, ‘The Hills Are Alive’ would be transported to a club! That’s exactly what happened when the English boy band JLS, in a modern version of the famous melody from “The Sound of Music”, wrote a song called “The Club is Alive”. The energetic lyrics described the vibrancy and energy of a club, but still respected the classic song’s famous hook where Maria memorably swirls through the Alps in celebration of her zest for life and her music. It just goes to show that the original, written by Rodgers and Hammerstein in 1959, and sung by Julie Andrews in the Oscar-winning 1965 film is timeless.

6. Outkast – “My Favorite Things”: Outkast, one of the most influential hip-hop duos consisting of Atlanta rappers “Big Boi” Patton and Andre “3000” Benjamin, were known for experimenting with genres such as the funk, psychedelia, jazz and techno but also revisited “My Favorite Things” in 2003. The only difference was that their favorite things were diamonds and rubies, Bentleys, Gucci dresses and drooping compresses! And they added to good effect: “Come and dine me.” Bring those platinum rings. These are some of our favorite things! The zesty version appeared on the duo’s 2003 album, “Speakerboxxx/The Love Below,” and brought an electronic twist to the 1965 version.

7. Panic! At the disco – “Build God, then we’ll talk”: panic! At the Disco is the solo project of musician Brendon Urie and was originally a pop rock band. In 2005, the group released an album “A Fever You Can’t Sweat Out” and the single “Build God, Then We’ll Talk” was their fifth and final official single. The song borrows from the chorus melody of “My Favorite Things” and also includes a fleeting reference to raindrops on roses, though its lyrics are much darker and full of cynicism about relationships and the emptiness of existence. modern.

Former FBI unit chief discusses prosecutors using rap lyrics in court

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The YSL RICO case involving mainstream rappers Young Thug and Gunna delved into the additional legislative argument of whether rap lyrics should be admissible as evidence of criminal intent or action.

300 Entertainment co-founder Kevin Liles and Atlantic Records COO Julie Greenwald distributed a petition against the use of rap lyrics titled Rap Music on Trial: A Petition to Protect Black Art .

Part of Liles and Greenwald’s letter reads: “As you may be aware, currently in Georgia, several artists belonging to Young Stoner Life Records – including famous artists like Young Thug and Gunna – are facing over 50 allegations, including RICO accusations that claim the label is a criminal gang. The allegations lean heavily on the artists’ words, which prosecutors say are “clear evidence of conspiracy.”

“Arming creative expression against artists is obviously a mistake. But what pisses us off so much is what happens to Young Thug, Gunna and YSL is just the most high profile case. In courtrooms across America, black creativity and art are criminalized. With increasing and disturbing frequency, prosecutors are attempting to use rap lyrics as confessions, just as they are doing in this case. Brooklyn rapper Bobby Shmurda supports the petition across the board.

The petition comes as last month the New York State Senate approved S.7527/A.8681, aka the rap music bill on trial. If Gov. Kathy Hochul signs the bill, prosecutors will have to specifically prove that a lyric and/or song is definitive evidence of a crime before going before a jury. In the past, rap lyrics have been used in a detrimental way to show the character of an accused.

Attorney Joseph Willmore, a well-known Southern California family attorney, said of the case, “People are often surprised at what is and isn’t admissible in court right now. Often in divorces etc. one partner will send the other angry messages or act in noticeable negative ways and this can be used in court. They are often surprised.

“The number of times I’ve seen text messages used as character reference is certainly not small. However, artistic expression shouldn’t be used in this way. It’s an archaic thought process of using art as a character tag What’s more troubling is that it’s specifically rap music that’s being targeted… not heavy metal, rock or any other kind of music that has – what some would interpret – as a “meaningful dark language”. Which then brings forward-looking racial implications. This could end up being another example of a huge gap in the understanding of cultures across socio-economic boundaries.

For more context and understanding of where YSL and rap music is seen as reflecting a crime or character, I spoke with former FBI Unit Chief Mark Rossini.

Throughout his career, Rossini has handled complex criminal and counter-terrorism cases. He has worked on international terrorism issues involving the FARC, ETA, Hezbollah and Al-Qaeda. He served as the FBI Representative to the CIA Counterterrorism Center (CTC) at CIA Headquarters and was one of the founding leaders of the National Counterterrorism Center (NCTC).

He was also responsible for producing the Presidential Terrorism Threat Report (PTTR) and the Threat Matrix, which detail emerging terrorist threats.

In releasing a full statement on his thoughts on the matter, Rossini said:

“Artists throughout history have challenged the viewer to reflect. To open their minds to the known and the unknown. Make the observer come out of his 4 walls and enter the universe of the artist. Art should not be repressed or oppressed. Artists have sought to speak to us about themselves or to show us the world in which we live. Their messages were personal and political.

“We see Van Gogh laying bare his depression and pain, and the beauty of the world around him. A study of many great masterpieces by European Renaissance artists reveals many subtle and less subtle political moves. The cartoonists in our newspapers denounce the hypocrisy of our politicians. The list goes on.”

“Art is not just sculptures, paintings and cartoons. It is music, poems and lyrics. Rap and Hip Hop send us a message of the frustration of our youth. Especially those from African American and minority communities.

“We are listening and hopefully opening our minds to understand and interpret the message. Rap like all art offers an outlet. Which brings us to the trial in Fulton County, Georgia.

“In Fulton County, multiple rap artists have been arrested and charged in a 58-count RICO case. What has been covered in the press is that prosecutors are using the rappers’ lyrics against them in a compelling way. This in turn has caused other artists and music industry executives to sound the proverbial alarm bells that African-American rappers are being labeled as criminals for expressing themselves, and the potential for all African-American artists. Americans to be lumped together and viewed by society as nothing more than “thugs”. ‘ just to be a rapper.

“I understand their fears and frustrations, especially in this time of polarization in which we live. It seems that every day there are news reports of neo-Nazi and white supremacist groups committing or planning to commit acts of violence against minorities. The mass murders in Uvalde, Texas, and Buffalo, New York are Exhibit A of this reality. That said, Fulton County prosecutors have not charged those arrested for their words. They were arrested for their violent and criminal acts.

“Prosecutors are seeking to show a potential jury that the arrested rappers used their lyrics to confess to a crime, plan a future criminal act and/or send a message to a victim. The goal (and the challenge for prosecutors) is to use the rapper’s own words to show a jury the direct correlation between the lyrics and the criminal act(s). I don’t think rappers or any other artists have anything to fear by continuing to express themselves and send a message to us listeners.”

“No one is ‘weaponizing’ black music as several industry executives have claimed. There is a clear distinction between an entertainer, black or white, speaking out, and a prosecutor who can show a jury the direct connection between an entertainer’s words and his or her criminal acts or overt acts committed to commit said acts. criminals. All of these activities can be aggregated to determine that an individual or individuals are engaged in a criminal enterprise that is central to a RICO charge. As always, let the jury decide.

Both Gunna and Young Thug were denied bail, with the latter having been denied bail twice. The trial date is currently set for January 9, 2023.

#AM_Equality: June 13, 2022 – Human Rights Campaign

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HRC MARKS SIX YEARS SINCE FILMING PULSE NIGHTCLUB: “We will never forget the lives lost at Pulse – beloved friends, siblings, partners and relatives who danced in the community and celebrated to be slaughtered in a horrific act of violence against the LGBTQ+ community,” said Acting President of the HRC, Joni Madison (@HRC_Presidentshe she). “Gun violence remains an LGBTQ+ issue, with three-quarters of homicides against transgender people – including nearly eight in ten homicides of black trans women – involving a firearm.” More Tallahassee Democrat and HRC.

31 WHITE NATIONALIST PATRIOT FRONT MEMBERS ARRESTED NEAR PRIDE IDAHO EVENT: On Saturday, 31 members of a white nationalist organization known as the Patriot Front were arrested near a Pride event in Coeur d’Alene, Idaho, and charged with conspiracy to riot. More CNN and NPR.

38 BRAZILIAN COMPANIES SCORED HIGHEST IN HRC FOUNDATION’S FIRST BRAZILIAN LGBTQ+ WORK EQUALITY INDEX: “In his first year, Equidade Brazil worked with 60 employers, more than half of which received top marks in the survey, showing the hunger and desire of these companies to create better, more inclusive workplaces for LGBTQ+ employees. Globally, business leaders understand that creating an LGBTQ+ inclusive workplace is not only great for retention and recruitment, but it’s also the right thing to do for their employees,” said Director of the Equality in the Workplace Program at CRH Keisha Williams (her). More HRCs.

REPORT SHOWS SHARP INCREASE IN TRANSGENDER YOUNG PEOPLE IN THE UNITED STATES: An analysis of surveys conducted by the Centers for Disease Control and Prevention found that the estimated number of transgender adolescents in the United States has doubled since 2017. It also found that young Americans, aged 13 to 25, represent a disproportionate percentage of the population. transgender community. “[This change] means a new confidence among a new generation to be authentic in their gender identity. More The New York Times.

ICYMI — HRC SET NEW STANDARD FOR “BEST WORKPLACES FOR LGBTQ+ EQUALITY”: “Companies earning this distinction must have a 100 on the CEI and will need to be barsetters to learn how companies can do even more,” said HRC Acting President Joni Madison (@HRC_Presidentshe she). “It is important to note that to receive this award they will need to be nominated by their workers.” More BNC News.

THE DEPARTMENT OF DEFENSE UPDATE THE HIV+ SERVICE MEMBERS POLICY: More NBC New and HRC.

HOW A MILITARY FAMILY WAS STRENGTHENED BY THEIR TRANS CHILD: HE TEACHED US TO “STAND UP FOR OUR PRINCIPLES”: More People.

REPORTERS’ CORNER: V Spehar (@vitusspeharthey) is the Host/Creator of TikTok @underthedesknews with over 2.4 million subscribers, and recently launched a new podcast titled “V. Interesting” on the Lemonada Network. Known as the “pleasant side of news”, V’s mission is to make news more accessible and to foster opportunities to think critically through the lens of kindness.

Yoko Ono’s Art of Challenge

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But Maciunas was an inveterate organizer – a problem, since he happened to work with avant-garde artists, the kind of people who didn’t like to be organized. For years he tried to collect these cats. He opened FluxShop, where Fluxus art – mostly cheap plastic boxes filled with odds and ends – could be purchased. (The walk-in business was not buoyant.) At one point, he planned to buy an island and build a self-sufficient Fluxus community there.

The island adventure didn’t pan out, but Maciunas eventually realized his idea by buying and renovating derelict buildings – more than 20 of them – in midtown Manhattan for artists to live in. and work there. The company ruined him. He was sued by tenants because the renovations weren’t up to code and the lofts couldn’t pass inspection, and he was badly beaten by goons hired by one of his creditors. In the mid-1970s, he fled the city for a farm in Massachusetts, where he died of cancer in 1978. But he had given birth in SoHo. It will become, in the 1980s, the world capital of contemporary art.

Maciunas’ slogan for Fluxus was “Purge the world of ‘Europeanism’!” and during Fluxus’ debut in West Germany in 1962, a grand piano was shattered. Ono, who was invited but refused to attend, did not like breaking pianos. “I’m not someone who wants to burn ‘La Mona Lisa’,” she once said. “That’s the difference between some revolutionaries and me.” But she shares something with Maciunas. She is a utopian. She would be happy if the whole world could be a Fluxus island.

In 1962, Ono returned to Japan. She discovers that the Japanese avant-garde is even more radical than the New York avant-garde. There were many new schools. The most famous today is Gutai, who was born in Osaka in 1954. Like Fluxus, Gutai was performance art, low-tech, using everyday materials. One of Gutai’s earliest works was “Challenging Mud”, in which the artist throws himself into an outdoor pit filled with wet clay and struggles for half an hour. When it emerges, the shape of the clay is presented as a work of art.

Ichiyanagi had returned earlier – the marriage was breaking up – and he arranged for Ono to perform a concert at the Sogetsu Art Center, Tokyo. Outside the room, she mounted what she called “Painting Instructions”, twenty-two sheets of paper attached to the wall, each with a set of instructions in Japanese. The instructions resembled certain works of art created by young artists in Cage’s New York circle – for example, Emmett Williams’ “Voice Piece for La Monte Young” (1961), which reads, in full, ” Ask if La Monte Young is in the audience, then get out,” and Brecht’s “Word Event,” whose full score is the word “Exit.”

Inside the hall, with thirty artists, Ono performed several pieces, some of which she had done at Carnegie Recital Hall. It’s unclear what the audience’s reaction was -Brackett says he was enthusiastic- but the show received a poor review in a Japanese art magazine by an American expat, Donald Richie, who mocked Ono for being “old fashioned”. “All his ideas are borrowed from New York people, especially John Cage,” he wrote. This was not an attack from an incomprehensible traditionalist. It was an attack from the cultural left. Ono was traumatized. She entered a sanatorium.

But when she left, she picked up where she left off. She remarried Tony Cox, an American art promoter and countercultural type, and in 1964 she published her first book, “Grapefruit”, a collection of event scores and stage pieces. statement:

piece of sun

Watch the sun until it becomes square.

piece of fly

Fly.

Collector’s Coin Ii

Break a contemporary museum into pieces with the means you have chosen. Gather the pieces and put them together again with glue.

They are like Brecht’s “Word Event”, but with a big difference. “Word Event” was meant to be played, and artists came up with various ingenious ways to execute the “Exit” statement. Ono’s pieces cannot be played. They are instructions for imaginary acts.

In an essay for a Japanese art journal, she invoked the concept of “fabricated truth,” meaning that the things we make up in our heads (what we wish we could eat for dinner) are as much our reality than the chair on which we sit. “I think it’s possible to see the chair as it is,” she explained. “But when you burn the chair, you suddenly realize that the chair in your mind hasn’t burned or disappeared.”

What Ono was doing was concept art. When concept artists hit the big time in the late 1960s, his name was hardly ever mentioned. She does not appear in art critics Lucy Lippard and John Chandler’s landmark essay, “The Dematerialization of Art,” published in 1968. But she was one of the first artists to do so.

In 1965, she returned to New York and in March presented another show at Carnegie Recital Hall, “New Works of Yoko Ono”. It was the New York premiere of his best work, a truly awesome piece of art, “Cut Piece.”

The performer (in this case, Ono) enters fully dressed and kneels in the center of the stage. Next to her is a large pair of scissors – fabric shears. Spectators are invited to come on stage one by one and cut out a piece of the artist’s clothing, which they can keep. According to the instructions Ono later wrote, “The performer remains motionless throughout the piece. The piece ends at the choice of the performer. She said she wore her best clothes when doing the job, even when she had little money and couldn’t afford to ruin it.

Ono had performed “Cut Piece” in Tokyo and Kyoto, and there are photographs of those performances. The New York performance was filmed by documentarians David and Albert Maysles. (Brackett, oddly, says the Maysles’ film, rather than a live performance, is what people saw at Carnegie Recital Hall.)

In most Happenings and event art, the performers are artists or friends of the person who wrote the score. In “Cut Piece”, the performers are unknown to the artist. They can interpret instructions in unpredictable ways. It’s like handing out loaded guns to a room full of strangers. Ono is small (five-two); the shears are large and sharp. When members of the public begin to cut the fabric around her breasts or near her crotch, there is a real sense of danger and violation. In Japan, one of the cutters stood behind her and held the shears above her head, as if to impale her.

The score required Ono to remain expressionless, but in the film you can see apprehension in her eyes as audience members continue to take the stage and stand above her brandishing the scissors. , looking for another place to cut. When her bra is cut, she covers her breasts with her hands – almost her only movement in the whole room.

More immediately, “Cut Piece” is a concrete enactment of the striptease that men are supposed to perform in their heads when they see an attractive woman. It militarizes the male gaze. Women participate in excision, but it is because it is not only men who are part of the society that objectifies women. The piece is therefore classified as a work of feminist art (created at a time when hardly anyone was doing feminist art), and it clearly is.

But what “Cut Piece” means largely depends on the audience it’s being played for, and Ono originally had something else in mind. When she made the piece in Japan, a Buddhist interpretation was possible. It was “the Zen tradition of doing the most embarrassing thing for yourself and seeing what you come up with and how you handle it,” she said.

The piece also stems, Ono said elsewhere, from a story about the Buddha giving everything people ask of him until he finally lets himself be eaten by a tiger. Ono offered everything she had to strangers, which is why she always wore her best clothes. “Instead of giving the audience what the artist chooses to give”, as she puts it, “the artist gives what the audience chooses to take”.

In 1966, Ono traveled to London to participate in the Destruction in Art Symposium, where she performed “Cut Piece” twice. It was not read as a Buddhist text during these events. Word of mouth after the first performance led to the second being mobbed, with the men eagerly cutting off all of her clothes, even her underwear. It was Swinging London; everyone assumed the play was about sex. After London, Ono didn’t play it again until 2003, when she did it in Paris, sitting on a chair. This time, she explained that the work is about world peace and a response to 9/11.

Kodak Black teases album with Drake: “We have a lot of songs”

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Kodak Black and Drake prepare.

While speaking with reporters at a press conference for the first Kodak Black Day music festival in his hometown of Pompano Beach, the “Super Gremlin” rapper revealed that he and the 6 God were in the studio for work on music.

“Me and Drake have more music,” Kodak teased, according to iHeartRadio. “It’s really lit whenever bruh feels ready and all.”

It’s unclear how many songs they recorded, but Kodak hinted that it could end up being an entire project. “They say, ‘Did we go and release the album? Are we going to do this? It’s really on him. We have a lot of songs though,” he said.

The two have shown love for each other in the past. “We talk a lot behind the scenes and sh*t,” Kodak told “The Breakfast Club” in February.

Drake, who offered Kodak $250,000 in Bitcoin, praised Yak. “You really have it all for this generation and the next if we’re being honest,” he told her in January.

Before he and Drake drop their collaboration, Kodak prepares his own album Guns N’ Roses. “I’m gonna drop this Guns N’ Roses then,” he said.

He also talked about his collaboration with Kendrick Lamar on Mr. Morale and Big Steps. “I appreciate that boy recognizing me and all that,” Kodak said. “And him, a Gemini like me. I just know it’s real. It’s a real one and I appreciate it.

The week at the theatre: Britannicus; Tony! (The Tony Blair Rock Opera); The Haunting of Susan A | Theater

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OWhen Jean Racine wrote Britannicus in 1669 it was governed by the classical French idea that required a play to take place in real time, in one place, over the course of a day. But for a modern audience, and even with the formidable Timberlake Wertenbaker as translator and adapter, Britannicus proves static drama rather than vividly unfolding drama. Wertenbaker shortened the text but is still necessarily involved in catch-up explanations that block progress. Director Atri Banerjee does his best to face every challenge fearlessly, but until the end the action is so rare that when Nero throws a tantrum two-thirds of the way through and eases his feelings by hitting the cooler of water from the office, it is a high point. At worst, the experience of watching the game is like driving with the handbrake on.

Britannicus is truly the story of Nero: a day in the life of a despot. And there are some great performances here: William Robinson is cast perfectly as the Roman Emperor – he walks around in white tracksuit bottoms, barefoot, like he’s on a casual power trip. He has a way of lighting others up for the laughs to reinforce his own control madness, and given the sobriety elsewhere, you’re grateful for the calculated entertainment it provides. The play focuses on Nero’s relationship with his tyrannical mother, Agrippina. Sirine Saba fiercely communicates her sense of having been neglected by her son (Racine’s maternal power play is in interesting contrast to that other Roman pair: Shakespeare’s Coriolanus and Volumnia).

The role of Britannicus is light, but Nathaniel Curtis (recently celebrated for the Channel 4 drama series It’s a sin) brings to Nero’s adoptive brother the charm of a gentle giant and is plaintively outspoken. Shyvonne Ahmmad is remarkable as his fiancée, Junia, a petite figure in burgundy taffeta recently kidnapped by Nero. In front of an audience with her beloved Britannicus, she exclaims: “I want to register you,” and both of her feet leave the ground as she jumps up to try and match her lover’s height. Through his desperation, Ahmmad brings an emotional center to the production that it urgently needs.

Rosanna Vize’s decor is eerily odd, with a Paul Rubens detail Romulus and Remus suckled by a wolf as a striking backdrop – and a real stuffed wolf lies on stage throughout. The final wedding scene is impressive and suitably funereal. Instead of confetti, ashes regularly fall in front of a single graffiti name scribbled in black: NERO.

‘Don’t expect subtle analysis here’: Holly Sumpton as Cherie Blaire with Charlie Baker as the title role of Tony! (Tony Blair’s rock opera). Photography: Mark Douet

At the Théâtre du Parc, another name, in red capital letters, sits above the stage: TONY! It’s an opportune time to reflect on what makes a prime minister disastrous, and comedian Harry Hill and composer Steve Brown Tony! (Tony Blair’s rock opera) is a fresh new multitasking musical, exuberantly directed by Peter Rowe. The set (designer Libby Watson) is in the colors of New Labor and the actors wear black suits and scarlet ties. Blair is played by Charlie Baker with an engaging, cheesy smile and an insidious, insinuating smile. What makes his performance hilarious and disarming is that it casts Blair as a jerk and not self-doubt – a waddling aspiring rock star obsessed with Mick Jagger (whose last name he constantly gets wrong :Jaggers). Cherie (Holly Sumpton) is a risky floozy that Tone is very afraid of.

Don’t expect subtle political analysis here as Blair’s decade in power is charted – and prepare for weapons of mass destruction that double as effortless gags. But Hill is onto something, as this simple exchange reveals: Tony: “People love me, Gordon. Gordon: “It’s because they don’t know you.” Gary Trainor is perfect as the brooding Gordon Brown, singing about macroeconomics. Howard Samuels is delightfully slick and camp like Peter Mandelson, Rosie Strobel is an extremely musical Osama bin Laden and Madison Swan an entertaining and wise Princess Diana (“There were three of us in our marriage, seven if you count all the guys I’ve dated Steve Brown’s music is hearty and varied, from Sondheim to ragtime – and the final number, The Whole World Is Run By Assholes, is hauntingly beautiful.

With a ghost in sight, there’s no doubt who to blame when the lighting system suddenly turns dangerous, as it did the night I saw Mark Ravenhill’s beautifully written short new play. The Haunting of Susan A. The technical hitch at the King’s Head, where Ravenhill is co-artistic director, meant the show, two-handed, went late, under an unflattering class gaze. Ravenhill, who stars in the series, tried to compensate for this using a cell phone whenever it was in the dark. But those issues have barely meant in what turns out to be the story of a space: a definite haunting in a pub theater that was once, fascinatingly to learn, a private bare-knuckle fight club.

Mark Ravenhill and Suzanne Ahmet in The Haunting of Susan A.
“The most enjoyable cooler”: Mark Ravenhill and Suzanne Ahmet in The Haunting of Susan A. Photography: Rah Peterbridge

The feel of the production, co-directed by Iman Qureshi, is one of premeditated improvisation, rehearsed spontaneity, as Suzanne Ahmet claims (not quite convincingly) to be a random, protesting bystander snatching the narrative reins of Ravenhill and goes on to tell, with beautiful urgency, the story of a Victorian mother who tapped actresses on the shoulders, trying to ask for the help she was doomed never to receive. It’s the most enjoyable cooler – affecting too – and well worth setting aside an hour to see.

Star ratings (out of five)
Britannicus ★★
Tony! (Tony Blair’s rock opera) ★★★★
The Haunting of Susan A ★★★

RZA Announces New Graphic Novel And Soundtrack Bobby Digital And The Pit Of Snakes, Shares New Single “We Push”

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Ph. Owen Ela







RZA will pull his 1998 alter ego Bobby Digital into the present, resurrecting the character using a series of new releases. Coming July 22, 2022, RZA will share a graphic novel and soundtrack, both called RZA Presents: Bobby Digital and The Pit of Snakes. The first single from the soundtrack, “We Push”, was released on June 10, 2022. Both are already available for pre-order, the graphic novel here and the soundtrack here.

The graphic novel will be published through Z2 Comics. RZA says, “The Bobby Digital character getting his first official graphic novel debut is a long overdue achievement. Having grown up as an avid comic book reader, it’s an honor to add my creativity to this amazing storytelling platform. Z2 Comics understands that musical artists resonate in the world of comics and graphic novels and this relationship is destined to grow.

Listen to the song and view the accompanying visualizer here:

The viewer allows for a preview of what the graphic novel will entail, bringing to life a variety of still images drawn in a comic book style. The video shows a Bobby Digital wearing a yellow mask in a predominantly black and white world facing his enemies. His powers and actions are accompanied by traditional comic book onomatopoeia: “kra-ka doom” and “k-sh!” make appearances in the viewer.

The song describes a perseverance shown by those who start from scratch and rise to the top. In the chorus, RZA says, “Take it to me/The Shaolin MC/We get all the money/But we get no sleep/We push.

He also describes the juxtaposed ugliness and glamor found in success: “I kept AKs in my trunk / Diamond chips in the front / Crack capsules in my jaw / My face looked like the mumps/Icy ties on the neck.” Still on deck, he said, “You respect the way we post / Brother Rae kept a closet full of Air Force 1s / How’s it feel to have everything you want? / Except the thing you really want / We grew up to be kings / They thought we’d only be pawns.

He concludes the song by insisting that all is not what it seems, that fame and success are far more imperfect than they claim: “Not everything you see is what you see/There’s more to the story/That shit ain’t easy.

RZA Presents: Bobby Digital and The Pit of Snakes rapidly follows RZA Saturday Afternoon Kung Fu Theateran album product by DJ Scratch released on March 4, 2022.

Photo credit: Owen Ela











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Kimberly Chen sings banned song in China at summit

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WORTH THE BAN:
Many people warned Chen about the loss of potential revenue from the Chinese market, but the Taiwan-based singer said she benefited in other ways.

Taiwan-based Australian singer Kimberley Chen (陳芳語) performed part of a banned song in China at the Democracy Summit in Copenhagen this week, and said her freedom as an artist is more important than the access to the Chinese market.

Chen performed part of the song Fragile (玻璃心), which pokes fun at Chinese nationalist social media users, on a small platform in a space outside the venue’s main auditorium at the end of the first day of the summit on Thursday.

She also released a new English song, Who Says, a song that Chen says is meant to encourage people who feel persecuted.

Photo courtesy of Office of New Power Party Legislator Claire Wang

“I really hope that people who feel repressed and closed off can know that in the free world, we are constantly fighting for them and for their rights,” Chen said.

Fragile, released online last year by Chen and Malaysian rapper Namewee (黃明志), is a Mandarin-language ballad that makes a tongue-in-cheek apology to “little pink,” a derogatory term that describes China’s patriotic “keyboard warriors.” .

To date, the song has received over 51 million views on YouTube and has helped Chen, who moved from Melbourne to Taipei in 2009, pursue a music career and rise to prominence in the global Mandarin music scene.

“I really hope my music can encourage and inspire people to be themselves and not be afraid of self-expression,” Chen said after performing the ballad at the top.

Days after the song was released last year, Chen’s profiles on Chinese social media platforms were suspended and his catalog was wiped from the Chinese internet.

Many people have warned her about the loss of potential revenue due to her ban on the Chinese market, but she believes she has benefited in other ways, she said.

“Actually, I feel like I’ve won so much. Not only am I able to stand up for what I believe in, but I’m also able to do what I think is right, and I feel like as a singer and songwriter, freedom and songwriting are so important to an artist,” Chen says.

The summit, held on Thursday and Friday, focused on uniting democratic forces to repel an authoritarian tide, its website said.

The Copenhagen Democracy Summit began five years ago, with current US President Joe Biden as the keynote speaker.

Comments will be moderated. Keep comments relevant to the article. Remarks containing abusive and obscene language, personal attacks of any kind or promotion will be removed and the user banned. The final decision will be at the discretion of The Taipei Times.

How to Listen to BTS Proof in Spatial Audio Album on Apple Music

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If you happen to have a BTS fan – more specifically, a member of the BTS “army” – in your household, then you’ve probably already heard that today is extremely important for the fans. K-pop superstars. The long-awaited new BTS Evidence The album is finally here, and as I write this, three tracks from the 48-song anthology album have soared to the top three spots on the iTunes charts.

The stunning music video for the album’s first single Yet to come (The most beautiful moment) had already racked up over 10 million views on YouTube pretty quickly – about 2 hours or so after its release last night. And it’s now over 32 million than Friday morning. Apple Music, meanwhile, will be a particularly important destination for BTS fans today. That’s because the third and final episode of BTS’ Apple Music 1 show BTS Radio: past and present started streaming today.

In this article, meanwhile, we want to talk about one specific benefit of Apple Music that anyone streaming Evidence today will definitely want to take advantage of. If you haven’t listened to the album yet with the Spatial Audio and Dolby Atmos audio formats enabled? Well, get ready for a serious upgrade to your experience streaming the band’s new music.

BTS Evidence: New album, now available

When wearing a pair of AirPods, the two aforementioned audio formats will make the sound of music seem all around you. Plus, the music will feel like it adjusts every time you turn your head. Just like you would if you were actually standing in the center of the room when recording the track.

There are two settings you’ll want to toggle to take advantage of both Spatial Audio and Dolby Atmos. Let’s start with spatial audio.

In your device’s “Settings” app, tap Bluetooth, then tap the circled “i” next to your AirPods. Next, scroll down to Spatial Audio, tap it, then make sure it’s enabled on the next screen. This is the setting that will make the sound of the music seem to adjust as you turn your head.


New song Still to come skyrocketed to No. 1 on iTunes

As for Dolby Atmos, this will also require you to open the Settings app on your device.

Scroll down to Music and tap it. Then tap Dolby Atmos. From there, make sure there’s a checkmark next to the “automatic” setting and you’re good to go. This means Apple Music automatically plays songs in Dolby Atmos and other Dolby Atmos audio formats whenever it’s connected to compatible outputs like AirPods and supported Beats headphones.

Now everything is ready, although we have to add an important note about the new album.

As far as BTS fans will appreciate Evidence today on streaming platforms like Apple Music? There is also a part of this album that no one will be able to broadcast today. This is because BTS has included the value of a hardware disc which is only available to fans who purchase a physical copy of Evidence. It’s packed with demo tracks and never-before-seen material — a real gift, in other words, to the BTS army.

Our sister publication rolling stone called the vulnerability BTS shows in this collection of music “the most meaningful gift” the group can give to their fans. “And Evidence shows that whichever direction they take to move forward, a wide-open future lies ahead of them.

Real Estate: It’s That Simple – PPP Loans and Cold Calls

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Hosts: Phil Nordella and Taylor F. Williams-Moniz

Subject: PPP loans and cold calling

Real Estate: It’s That Simple – PPP Loans and Cold Calls – June 10, 2022

In this episode of “REAL ESTATE: It’s That Simple,” Phil and Taylor kick off the show by discussing the potential of “Space Hotels.” After the “By The Numbers” segment, they go deeper with several articles.

Later in the second segment, Phil and Taylor talk about a PPP loan forgiveness scam. Afterwards, they continue the show discussing a class action lawsuit over Realogy’s unwanted phone calls. Listen to them as they address other topics such as harassment cases against female real estate agents.

To watch the podcast: Click here!

The “REAL ESTATE: It’s That Simple” radio show is SCV’s one and only real estate radio show.

Phil Nordella brings his experience of owning one of the largest real estate companies, over the past 25 years, to his listeners.

New guests appear weekly and all topics covered are aimed at educating and saving buyers and sellers money.

Having trained over 500 agents, Phil also pulls back the curtain on some of the craziness that goes on behind the scenes.

Phil Nordelle
Real estate agent
California Real Estate EXP
661 312-3561–Owner Direct
Real estate executives, Valencia
CalDRE#01152653

“REAL ESTATE: It’s as simple as that” Presented by:

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Molly Smith announces her exit after 25 years at the helm of Arena Stage

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Molly Smith, who led Arena Stage for nearly a quarter-century as an American Plays champion and the force behind a sparkling transformation of her southwest Washington resort, announced Friday that she will step down in July. 2023.

Her departure marks a rare change in the artistic direction of one of the nation’s most important nonprofit theaters, a company born by the revered Zelda Fichandler along with two others at the dawn of America’s regional theater movement in the early 1980s. 1950. In 72 years, only three people, Fichandler, Douglas C. Wager and Smith, provided artistic direction, a remarkable record of stability that allowed Arena to maintain its status as a versatile player on the national scene. During Smith’s years at the helm, Arena could spawn a play about conservative Supreme Court Justice Antonin Scalia and a Broadway hit such as “Dear Evan Hansen.”

“As I entered my 25th birthday, the question kept coming to mind: is this the right time to retire?” Smith, 70, said in a Zoom interview. “There are so many things I want to do in my life, and I have all this vitality to do it. Being at the Arena for 25 years, there’s an elegance to that.

“And also the fact that so many things I wanted to do, I was able to do them. I wanted to build the new center. I wanted to bring in tons of writers. I wanted to bring a diversity of voices. I wanted to change the audience base. And we managed to do it. Among his plans: to travel widely and perhaps, at some point, direct again. Her last show as Artistic Director of Arena was the recent revival of the musical “Catch Me If You Can.” (His first show was a September 1998 cover of Tennessee Williams’ “Cat on a Hot Tin Roof”.)

Smith’s decision has shaken many who have come to regard her as a fixture in the Washington theater community. “It was a shock in a way, because we have such a good partnership,” said Edgar Dobie, executive director of Arena, who has worked with it for a dozen years. “I think Molly has gotten the point, and she has so much to highlight, in terms of legacy and real-life accomplishments. And as you know, she’s also an adventurer.

Arena board chairman Decker Anstrom said he and Smith agreed the word for his departure was “bittersweet”. “I think what’s perhaps not understood is the relationship she’s built between Arena and the broader arts community,” Anstrom said. “I’m always amazed at the playwrights it attracts, the actors it can attract. I hope this legacy will be passed on to the next leader.

The search for Smith’s successor will begin next month, Anstrom added, in a process he hopes will allow a new creative director to be appointed and installed before Smith’s departure in just over a year. year. This length of preparatory track is essential today. The word in theater circles is that growing pressures in business – on financial resources, compensation for artistic workers, political sensitivities and attention to racial and gender inequalities – have made leadership positions less attractive to some experienced candidates. (Even though the salary of art directors of Smith’s status can reach six figures; in 2018, his compensation was $424,000, according to tax records.)

Smith, who ran a theater company in Juneau, Alaska, for 19 years before coming to Arena in 1998, is the doyen of artistic directors among DC’s frontline theater companies, and one of the most old of all, big or small. As much as any Washington theater director in recent memory, she has put her own signature on her theater, walking away with a reputation for intertwining Arena’s identity more deeply with that of the nation’s capital. His appetite for American plays on political themes, his desire to find works that speak to diverse audiences in the city, will be aspects of his legacy. It’s no small sign of the bond Smith forged with official Washington that the late Associate Justice of the United States Supreme Court, Ruth Bader Ginsburg – a devoted patron of the Arena – presided over Smith’s wedding in 2014 with Suzanne Blue Star Boy.

“It’s an important moment to be able to pass the baton to someone else, who also has a pioneering spirit and who was really interested in continuing to innovate and bring change and put their own distinctive mark on the organization,” Smith said.

The most concrete of its achievements involves real concrete: the stunning $135 million renovation of the Arena home on the southwest waterfront in 2010. Working with architect Bing Thom, Smith oversaw the precincts of Arena’s two existing theaters, the Fichandler Stage and Kreeger Theatre, and a new third theatre, the Cradle, all under a 45-foot high glass skin. Renamed the Mead Center for American Theater, the redevelopment took a decade to come to fruition and was made possible by an initial $35 million gift from late philanthropists Gilbert and Jaylee Mead.

“We started with 80,000 square feet,” Smith said of the preexisting campus on Maine Avenue SW and Sixth Street SW. “We now have 200,000 square feet. And without the transformational gift of Gil and Jaylee, we couldn’t have done it.

During the renovation, Arena Stage moved to temporary digs in Crystal City and the Lincoln Theater on U Street NW. When the resort reopened in the Southwest in the fall of 2010, Smith opened it with an enchanting cover of “Oklahoma!” by Rodgers and Hammerstein. It was, in a sense, a bold choice, starting a new era under an ultra-modern shell with a fundamental American musical. Although Smith didn’t discover her love of musicals until after she arrived at Arena, the selection was consistent with the mission she had envisioned for Arena, as a platform for American work. And by casting a black actress, Eleasha Gamble, as Laurey and a Latino actor, Nicholas Rodriguez, as Curly in “Oklahoma!” Smith foreshadowed a national movement that would open more roles to artists of color.

“I started thinking, ‘Okay, people don’t talk about Rodgers and Hammerstein the way they talk about Eugene O’Neill; I’m going to start doing that,” she recalls.

Her interest in new American drama led her in 2016 to announce her Power Plays initiative: 25 original plays and musicals – one for each decade of America’s history – to order over 10 years. Some of these pieces, such as Lawrence Wright’s “Camp David” and Aaron Posner’s “JQA” about John Quincy Adams, were subsequently produced elsewhere. A wide range of playwrights, including Katori Hall, Mary Kathryn Nagle, and Karen Zacarías, received key nudges from Smith and Arena.

Not all of Arena’s productions have been hugely successful, of course, but Smith has occasionally found rewards simply by slipping an idea into the public’s consciousness, as she thought she accomplished with Nagle’s 2018 “Sovereignty.” , about America’s controversial history with Native tribal rights.

“One thing I loved about ‘Sovereignty’ was how many people stopped me afterwards and said, ‘I feel so ignorant about Native Americans,'” Smith said. “Or someone who would call me later and be like, ‘Look, I Googled some stuff that was in the room, and I suddenly realized it was true, and I’m shocked and I gotta start reading more. So I felt like it was a quiet revolution.

It will be up to his successor to ensure that the revolution continues.

“Like seeing a sculpture from a different angle”: Max Richter on the rewriting of the Four Seasons – for the second time | Classical music

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I fell in love with Antonio Vivaldi’s Four Seasons when I was very young. It was one of the few classic records my parents owned and I listened to it constantly. I aligned the needle, waited for the crackle, and sat back as the music magically flowed through the room. The work is perfect for a child. There are wonderful melodies, lots of drama, stories and atmosphere. It is a gateway to the world of classical music. I felt like I had discovered a secret and beautiful world.

Vivaldi wrote the four violin concertos that make up The Four Seasons between 1716 and 1720, and they were published in conjunction with four sonnets – one for each season, possibly also by the composer. The works are groundbreaking in many ways. He used all sorts of effects to imitate what the sonnets describe: the buzzing of flies on a hot summer day, the barking of dogs, the cries of birds, and drunken people partying. This idea that instrumental music could illustrate events or nature was completely new.

Since its rediscovery in the 1940s, after centuries of neglect, The Four Seasons has been a staple of concerts and recordings, but it was Nigel Kennedy’s 1989 recording with the English Chamber Orchestra who sent him stratospheric. One of the best-selling classic recordings of all time, it spent 80 weeks on the pop charts. No classical work before or since has reached such a wide audience, but the popularity of the recording has made Vivaldi’s piece ubiquitous. As an adult, I heard the music relentlessly in TV commercials, jingles, and music on hold. I grew up to hate him. Somehow I stopped being able to hear it like music at all.

Netflix’s Bridgerton, one of many shows and events that Richter’s Recomposed has set to music.

I needed to resolve the love/hate relationship I had with the work – call it an exorcism – and reclaim Vivaldi’s original as a musical object rather than a sonic irritant. The best way to do this, I decided, would be to take a trip through the Vivaldi landscape and make new discoveries there.

Looking at the score, I saw that there was a natural meeting point between its baroque language and mine. Vivaldi’s work is very pattern-based and he generates his effects by juxtaposing contrasting types of materials. This is pretty much how post-minimal music and electronic dance music works, and I found many touchpoints that allowed me to dive into its material in a natural, sculptural, and architectural way. The result, 2012’s Recomposed, managed to make me relive The Four Seasons and throw away the ghost of many hours of forced listening to tiny 30-second loops of Spring while waiting to talk to my bank.

Watch The New Four Seasons Spring 1 Video

When creative work leaves your desk, it takes on a life of its own. Recomposed tops the classic iTunes charts in the UK, Germany and the US and to date has amassed over 450 million streams. He’s been on the soundtrack of all kinds of TV and film projects, including The crown and Bridgerton. It has been used in fashion shows and all kinds of artists have connected with it. I think people like to get a new perspective on something familiar, old and new at the same time, but I never expect people to listen to my music: when people tune in to a track I have fact, it’s incredibly encouraging.

However, it wasn’t quite the record I had originally envisioned. When I wrote Recomposed, I wanted to record it with instruments as close as possible to those Vivaldi would have heard. I approached specialist orchestras that played period instruments, but there was no enthusiasm. So I recorded my 2012 disc with a set of modern instruments. I was lucky enough to be able to recruit a stellar cast – the marvelous Daniel Hope and the Berlin Konzerthaus Orchestra.

A Chineke violinist recording Max Richter's New Four Seasons
A Chineke violinist recording Max Richter’s New Four Seasons Photography: Meeks

Over the past decade I have had the good fortune to perform the work with a variety of different orchestras and soloists. There’s something special about the textures and tones that period instruments bring to Vivaldi’s score, and I kept thinking about what Recomposed would sound like played on Vivaldi’s period instruments. I felt there was another journey I wanted to take through this material, so I decided to re-record Recomposed.

My record company was, I admit, a little perplexed. My second favorite emoji is the monocle one 🧐and there were quite a few in the beginning – explain again why we are doing this? Yes, it’s been 10 years since the first record, but it wasn’t about anniversaries. The impetus and the raison d’etre were purely musical.

Vintage instruments have a different character from modern instruments and bring out different qualities in musicians. Instruments and bows are lighter, strings – gut rather than steel – are more responsive, so there is a more intimate human connection. They may make a smaller sound, but in that sound there is more light and shadow. You can hear it especially in the extremes; in very slow and tender music you get a very direct feel of the individual musicians, and in very fast, intense and dynamic music you feel that the orchestra is about to explode.

Zurich Ballet's 2015 work Kairos used Richter's Recomposed
Zurich Ballet’s 2015 work Kairos used Richter’s Recomposed. Photograph: Murdo MacLeod/The Guardian

Since we were going back to period instruments, I decided to also use a vintage synthesizer, a Moog from the early 1970s, the decade that is the equivalent in electronic music of the 18th century. They are wonderful instruments, clumsy and unpredictable, but with a huge amount of character and a kind of gravity. Finding one wasn’t a problem – I’m a little obsessed and already have several in my collection.

Every time I play Four Seasons, it’s different. The people, the venue, the instruments, your own feelings that day – each different element creates a unique experience that is the magic of creating live music. This time, with the brilliant soloist Elena Urioste and musicians from Chineke! it was really like a new journey, like seeing a sculpture from a different angle. It was also a process of exploration and learning for most musicians, many of whom were playing period instruments for the first time.

Soloist Elena Urioste
Soloist Elena Urioste Photography: Chris Gloag

Recomposed is chamber music. That means it’s a conversation between equal voices, and I was thrilled to hear what the musicians of Chineke! The orchestra would bring to the work. Besides being a collection of dedicated and talented young players, Chineke! is also a social project. It is a multi-ethnic ensemble with a black majority, and the 24 musicians have brought a wide range of experiences, visions and approaches to musical creation. They are extremely inspiring – the orchestra of the future.

We live today in a period of existential crisis. One of the reasons I do creative work is that my own experience as a reader, listener, moviegoer, is that these things can make my life just a little bit better. Maybe they make my life 4% better than it otherwise would be, but that 4% is precious. It’s a small thing, but it’s a thing. And it’s really important to keep doing creative work, especially in these dark times.

Watch the video for Summer 1 from The New Four Seasons

In all musical cultures, music has been about other music. When I was writing Recomposed, I wondered what Vivaldi would do with it. He was, in fact, a composer who often reworked his music – Spring reappears in a sinfonia in his 1724 opera Il Giustino. He was a deeply serious musician – he had his own orchestra exclusively for young women, orphans and foundlings, but he was also the ultimate showman, a Hendrix-like figure with a huge mane of red hair, a terrific performer, and a violin virtuoso. In 2012, our first performance of Recomposed took place at Berghain, Berlin’s legendary techno mecca. I think Vivaldi would have loved that: seeing the audience dancing to the rhythms of summer.

The new four seasons recorded with the Chineke! Orchestra and Elena Urioste, is out today on Deutsche Grammophon. Max Richter performs at Royal Hospital London Chelsea June 16.

California initiative to demand additional funding for K-12 arts and music education qualifies for ballot – Ballotpedia News

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On June 8, the California Secretary of State announced that an initiative to demand additional funding for K-12 arts and music education had qualified for the ballot. Californians for Arts and Music Education in Public Schools, the campaign sponsoring the initiative, submitted 1,030,221 signatures for verification in April. The counties conducted a random sample and the Secretary of State reported that 711,872 signatures were valid.

To qualify for the ballot, the campaign needed to submit 623,212 valid signatures, equivalent to 5% of the votes cast in the previous gubernatorial election.

The proposed law would require a minimum source of annual funding for K-12 public schools, including charter schools, to fund arts education programs. The minimum annual amount established by law would equal, at a minimum, 1% of the total state and local revenues that local education agencies received under Proposition 98 (1988) during the preceding fiscal year. The minimum provided by the proposed law would be in addition to the funding required by Proposition 98. According to the Office of the Legislative Analyst, the ballot initiative would likely result in an increase in spending of $800 million to $1 billion per fiscal year. .

Of the total amount guaranteed under the 1% additional minimum funding for arts education, 70% would be allocated to local education agencies based on their share of statewide student enrollment in the Kindergarten to Grade 12 in the previous fiscal year. The remaining 30% would be allocated to local education agencies based on their share of economically disadvantaged students. The initiative defines an economically disadvantaged pupil as “a pupil eligible for the national school meals programme”.

The initiative has received the endorsement of former Los Angeles Unified School District Superintendent Austin Beutner, former US Secretary of Education Arne Duncan (D), the California Teachers Association and several celebrities and musicians .

Sir Lucian Grainge, Chairman and CEO of Universal Music Group, said: “Music education underpins all education – it fosters the thinking and skills that are the cornerstone of learning other subjects. This measure is essential not only for education and learning, but also for the mental well-being and even the economic health of the state. Companies like ours, which moved to California to be at the intersection of entertainment and technology, rely on a skilled workforce to fill the high-quality jobs we create here. If passed, this initiative will ensure a future ready workforce and secure California’s position as the world’s epicenter for music and the arts.

Californians for Arts and Music Education in Public Schools has raised over $7 million in contributions. Major donors were Austin Beutner ($2.95 million), Steven A. Ballmer ($1.5 million), and Fender Musical Instruments Corp. ($1.05 million).

The initiative is opposed by the Los Angeles Times Editorial Committee. The council said: ‘It’s a bad idea. At the moment, the state coffers are full. But when revenues become constrained in the future, the governor and legislature need as much flexibility in the budget as possible to ensure critical needs are funded. What if the student population drops in the coming years as the number of older people with disabilities increases? »

Three other citizens’ initiative measures have already qualified for the ballot. Initiatives include in-person sports betting at Native American gaming casinos and licensed racetracks, reducing plastic waste, and banning the sale of flavored tobacco. Another measure related to the cap on medical malpractice suits qualified for the ballot but was scrapped after a legislative compromise was reached earlier this year.

Five other initiatives submitted signatures for verification. The initiatives relate to online sports betting, a pandemic detection institute, requirements for dialysis clinics, an income tax for zero-emission vehicles and forest fire prevention, and an increase in the minimum wage.

Between 2010 and 2020, an average of 87 initiatives were filed in California each year. The average number of initiatives certified during this period was 10.

Further reading:

WINNER is gearing up to release their first album in two years

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WINNER is currently preparing to release their first album in over two years.

Yesterday, South Korean media News reported that the quartet were working on a new album with the aim of releasing it in July 2022. The report was later confirmed by the boyband’s record label, YG Entertainment in a statement to Top Star News.

“It is true that WINNER is filming their music video,” said YG Entertainment, translated by Soompi. However, the agency has yet to provide further details regarding an exact date and nature of the release, saying “we believe we can let you know their accuracy.” [comeback] program soon.

News of WINNER’s upcoming comeback comes shortly after member Mino revealed during his recent appearance on YouTube channel The Game Caterers that “WINNER is gearing up for a comeback.”

This will be the boy band’s first musical release in over two years, and their first since bandmates Jinu and Seunghoon completed their two-year military service. WINNER’s last release as a group was their third studio album “Remember”, released in April 2020, led by a title track of the same name.

During WINNER’s two-year absence, Mino embarked on numerous solo projects, including solo albums titled “To”. Infinity’ in December 2021 and ‘Take’ in October 2020. Mino is also set to make his theatrical debut in the upcoming Netflix movie. Seoul atmosphere.

The film will also star Yoo Ah-in (Hell, voice of silence), Go Kyung-pyo (Response 1988, Private Lives), Lee Kyu-hyung (prison booklet), Park Ju Hyun (Extracurricular) and former Wanna One member Ong Seong-wu.

Review: ‘Anastasia’ takes audiences on a music-filled journey | Arts and Theater

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The first thing you should know about the musical “Anastasia,” now on stage at the Orpheum Theater, is that it’s not exactly like the 1997 animated film.

It’s not uncommon. Most movie-based musicals — animated or live-action — take a few liberties with scripts, songs, and character arcs.

The plot of the film and the musical is based on the legend that one of the Romanov children – Grand Duchess Anastasia – had escaped capture and execution and was alive somewhere.

The musical version of “Anastasia” has a plot somewhat closer – but not close to precision – to historical events. (The Romanov royal family were originally taken prisoner during the Bolshevik Revolution in Russia and left St. Petersburg before their execution.) In the film, the family are cursed by the mad wizard Rasputin, just before the fall of their dynasty. In the musical, it is implied that they were executed at the castle.

So if you’re hoping to see Rasputin and his wacky sidekick, Bartok, who were the film’s antagonists, prepare to be somewhat disappointed. The Russian military acts as the villains for the musical, specifically in the character of Gleb, a soldier who acts as a guard/PR man on the city streets.

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Sam McLellan as Dmitry and Kyla Stone as Anya during the North American tour of the Broadway musical ‘Anastasia’.


JEREMY DANIEL


The show’s two leads, Kyla Stone as Anya/Anastasia and Sam McLellan as Dmitry, have great chemistry and deliver great vocal performances. Their duets in “My Petersburg” and “In a Crowd of Thousands” are sweet and romantic, and the two actors play well against each other.

Stone has a strong and charming voice, which is best represented in the series’ title track “Journey to the Past” at the end of the first act.

But Bryan Seastrom – who plays Vlad, Dmitry’s partner in crime – commands the stage in every scene he’s in. He owns every line he says and every song he sings. He is fun to watch. Especially when he teams up with Madeline Raube’s Countess Lily. These two bring a lot of life — and a bit of pizzazz — to the second act, especially in the song “The Countess and the Common Man.”

Lincoln native Harrison Drake deserves kudos for his portrayal of Count Leopold – a relative usurper trying to get his hands on the remaining Romanov fortune. He brought the right amount of attitude to the role.







Kyla Stone (Anya) and The Company of The North American Tour of ANASTASIA - Photo by Jeremy Daniel (1826).jpg

Kyla Stone as Anya and company in the North American tour of the Broadway musical “Anastasia.”


JEREMY DANIEL


One final note: the show’s costumes are gorgeous and, in the case of Anastasia’s family ghosts, beautifully haunting. They really add something special to the show.

“Anastasia” is a family show, so kids should enjoy it. But be aware that the themes and some scenes are a bit darker than the movie.

The show runs until Sunday and tickets are still available. The show makes for a great family evening (or afternoon this weekend) experience. Enjoy it while it’s here.

[email protected]; 402-444-3118

Go Big or Go Home: Small Covid-19 Loans Denied, Man Asked for $2.5M Loan, Got It; now he faces federal charges

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A former Saugus resident who now lives in Boca Raton, Fla., got a $2.5 million Payroll Protection Plan loan through a scam app and used the money to buy cars, news home and buy cryptocurrency, rather than supporting the 154 employees he didn’t actually have, the US attorney’s office in Boston charges.

Vinicius Santana, 34, was arrested Monday at Miami International Airport for wire fraud, the U.S. Attorney’s Office reports. He was sentenced to flight risk at least until he was flown to Boston for an arraignment and bail hearing, court records show.

Santana, who ran a paint business called Complete Home Care while still in Massachusetts, originally applied for a $25,000 PPP loan on April 10, 2020 based on having five employees and a monthly payroll of $10,000, part of the federal program to help small businesses retain employees as Covid-19 devastated the economy. But his lender, called Lendio, denied the request, according to an affidavit from an FDIC investigator into the matter. About two weeks later, he submitted two new claims, this time for $45,000, based on the same five employees but now claiming a monthly payroll of $18,000. Lendio again rejected his applications.

On the same day he was rejected for the $45,000 loans, the affidavit continues, Santana submitted a fourth request to Lendio. This time, he claimed to have 154 employees and a monthly payroll of $1 million.

On May 11, 2020, Northeast Bank, to whom Lendio forwarded his request, wired $2.5 million to Santana’s account at East Boston Savings Bank — an account authorities say Santana had only opened a week earlier.

But that was based on a fraudulent federal tax form he never actually submitted to the IRS, the affidavit says, adding that tax and other records show Santana never employed more than the five people. which he had originally requested.

Instead of using the PPP funds for payroll, mortgage payments, or utilities, Santana spent the PPP funds on personal expenses, such as cars and cryptocurrencies, and sent money to businesses and individuals who were unrelated to CHC’s payroll.

This included transferring more than $1.3 million to his account at Kraken, a cryptocurrency exchange site, and spending $90,000 on a new Audi at a Burlington dealership, as well as transferring money to businesses he had started years earlier — money that was later withdrawn via checks at a check cashing location in Marlboro, the affidavit states.

According to the U.S. Attorney’s Office:

The wire fraud charge carries a sentence of up to 20 years in prison, three years of supervised release and a fine of $250,000, or double the gross gain or loss of the scheme, whichever is greater. raised. Sentences are imposed by a federal district court judge based on US sentencing guidelines and the laws that govern sentencing in a criminal case.

Julie Andrews’ Story on the Billboard Charts – Billboard

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When Julie Andrews receives the Lifetime Achievement Award from the American Film Institute on Thursday, June 9, she will become the fifth recipient of this prestigious award which is known primarily for music and/or musicals, following Fred Astaire ( 1981), Gene Kelly (1985), Barbra Streisand (2001) and composer John Williams (2006).

Andrews was first announced as the recipient of the AFI Lifetime Achievement Award on September 20, 2019. She was due to receive the honor on April 25, 2020, but on March 7 of that year, the AFI announced announced that due to a strange new pandemic, “the event will be rescheduled for an early summer date.” We all know how it happened. The event was canceled in 2020 and 2021.

Andrews had a very unique story about the Billboard graphics. She starred in two Broadway musicals with cast albums that topped the Billboard 200, as well as two movies with soundtracks that topped that chart, but her only album under her own name to make the chart is Julie and Carol at Carnegie Hall, the soundtrack to a 1962 television special in which she starred with another future legend, Carol Burnett. It peaked at No. 85. (The special won two Emmys, including Outstanding Achievement in a Program in the Field of Music.)

Andrews also had only one entry on the Billboard Hot 100, “Super-cali-fragil-istic-expi-ali-docious”, a new song by Mary Poppins on which she teamed up with Dick Van Dyke and The Pearlies. The single Tongue Twister reached number 66 in 1965.

Andrews had a glorious voice, but for some reason that didn’t translate to the world of pop music. Still, his work in soundtracks and cast albums cannot be denied. In 2011, she received a Lifetime Achievement Award from the Recording Academy. Burnett wrote the appreciation that appeared in the Grammy program book that year, saying, “His talent is unparalleled. She is an accomplished actress and her voice is a gift from the gods.

Andrews is three-quarters of the way to EGOT status. She’s won two Emmys, two Grammys (plus this lifetime achievement award), and an Oscar, but has yet to win a Tony, despite three nominations. She finally seemed headed for a Tony win in 1996 for her starring role in the Broadway adaptation of Victor/Victoriabut despite being the only person on the show to receive a nomination, she notoriously refused the nod, telling a matinee audience two days after the nominations were announced: “I have probed my conscience and my heart and I have found that I cannot accept this appointment, and would rather stand by the side of the largely overlooked.

This rather arching formulation was mocked, but Andrews’ principled stance was admired. Andrews remained on the ballot, but having signaled her disinterest in the award, it was no surprise when she lost to Donna Murphy for The king and me.

Despite this kerfuffle, Andrews remains strongly identified with Broadway. She won an Emmy in 2005 (Outstanding Nonfiction Series) for hosting Broadway: The American Musical on PBS. She received two Grammy nominations for Best Traditional Pop Vocal Performance, both for Broadway Collections – Julie Andrews Broadway / Here I’ll Stay (1997) and Julie Andrews – Broadway – music by Richard Rodgers (1995). (Richard Rodgers, of course, was the composer of The sound of music and Cinderella.)

Andrews has won numerous lifetime achievement awards, including the Kennedy Center Honors (2001), a Life Achievement Award from the Screen Actors Guild Awards (2006), and a Lifetime Achievement Award from the Recording Academy ( 2011). Now, as she receives the AFI Lifetime Achievement Award, pundits are already wondering who the next film score luminary to receive the honor might be.

Here are eight soundtracks or cast albums recorded by Andrews that made waves on the Billboard 200.

Robbie Williams unveils his new album “XXV” – Billboard

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Robbie Williams, one of the biggest British pop stars of this century, or any other, looks back on the successes that brought him here for his next album.

The pop veteran’s 13th studio album XXV is a collection covering his entire career of his great numbers, reworked with the Metropole Orchestra of the Netherlands.

As its title suggests, XXV is a nod to the quarter century since Stoke-On-Trent’s favorite boy released his first album, Life through a lens.

Although Williams has never reached great commercial heights in the United States, he can fill arenas and stadiums across Europe and Australia, and he is a phenomenon in his native country, where he bagged 13 No. 1 solo albums and seven best-selling singles.

All but one of his studio albums topped the official UK Albums Chart (2009 Reality Killed Video Star broke the streak, peaking at No. 2), and he won a record 18 Brit Awards as a solo artist and as part of Take That. This set includes the BRITs Icon Award, which he received in 2017.

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“I’m so excited to announce my new album XXV which celebrates many of my favorite songs from the past 25 years,” he said in a statement. “Each track has a special place in my heart, so it was a real pleasure to record them again with the Metropole Orkest. I can’t wait for you all to hear it.

XXV due out September 9 via Columbia and follows Robbie’s first holiday collection, 2019 The Christmas present.

The tracks from the new album are newly orchestrated by Jules Buckley, Guy Chambers and Steve Sidwell, and re-recorded with the Dutch orchestra.

Williams goes naked for the XXV cover, the track listing and artwork of which can be seen below.

XXV track list:
1. Let me entertain you
2. Undo
3. I love my life
4. Millennium
5. The Road to Mandalay
6. Tripping
7. Body
8. Candy
9. Supreme
10. Strong
11. Eternity
12. No Regrets
13. It’s Her
14. Feel
15. Rock DJ
16. Children
17. Angels
18. Lost
19. Someone Someday

Additions to the deluxe album:
20. Lazy Days
21. Hot Fudge
22. Sexual
23. More Than That
24. Disco Symphony
25. A Better Man
26. Thoughts Home From Abroad
27. The World and Its Mother
28. In the Silence
29. Angels (Beethoven AI)

Camino Band Talks Songwriting And Debut Album Ahead Of Local Show

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The band Camino — Jeffery Jordan (left), Garrison Burgess, Spencer Stewart — are on tour in support of their self-titled debut album. // Photograph by Jimmy Fontaine, courtesy of The Band Camino

AAfter nearly selling out the first leg of their headlining tour, pop-rock trio The Band Camino are back on the road for the second leg of The Way of the Tourwhich includes a June 10 stop at the Royal Oak Music Theatre.

Joining them on their second cross-country tour are Canadian singer-songwriter Lauren Isenberg, known onstage as “The Reinforcer,” and pop-punk band Games We Play.

The Band Camino was conceptualized on the University of Memphis campus in 2015 by vocalists and guitarists Jeffery Jordan and Spencer Stewart. The pair moved to Nashville to pursue their music careers in 2018. There they met drummer Garrison Burgess, immediately adding him to the band’s roster.

Considered “the next big thing in rock” by Billboard and an “act of escape” by Grammy.comThe Band Camino’s discography features a unique pop-rock sound that blends funky synths, catchy guitar riffs and poetic lyrics, featured on their 2019 EP, make an effort. The trio’s long-awaited self-titled debut album, released in September 2021, has garnered acclaim from the media, including alternative press, Peopleand American songwriter.

Ahead of their local show, the three musicians discuss their favorite songs, songwriting processes, musical instruments, and more.

Detroit Time: Your self-titled debut album was released in 2021. You became a band almost seven years ago. How does it feel to have finally released a full album?

Burgess Garrison: Very very good.

Jeffrey Jordan: It’s been a long time coming. We’ve released a lot of music over the years. The make an effort EP was technically on Spotify under albums because it had eight songs, but there were only four or five new songs. “Daphne [Blue]“, “See Through” and “What I Want” had already been released for a long time. It happened at an interesting time because it was right when COVID was hitting, when we were already planning to leave to do our album. We had to cancel two tours which sucked but we were able to make the best of the as****y situation. We stayed in a studio for over a month in El Paso in the desert and tried to do something that would really feel like it was our baby – our first album.

What does the songwriting process look like? Do you focus on lyrics first or do you focus on instrumentals?

Spencer Stewart: It depends on the song, who you’re with, what your week was like that week. We’ve done it in every way you can imagine. We started with a melody, a random voice note, a pair of words. You need to find inspiration wherever you can find it.

NOT A WORD : The more you do it the same way, the more inspiration you lose, so we try to keep it fresh. If we started with lyrics yesterday, we try to start with just a synth part today. We can attack it from a different angle.

Do each of you focus on a certain element of a song when you’re writing?

NOT A WORD : It’s pretty equal. There are scriptures where one of us will be the quarterback of the lyrics or one of us will be the quarterback of a certain game. Obviously, Garrison is the quarterback for drums and many other instruments as he plays the most instruments among all. If it makes noise, it can pretty much make it sound good. It’s everywhere. It’s a real collaboration on all fronts, so it’s kind of fun.

Garrison, since you are master of all the instruments, what is the most obscure instrument you know how to play?

GB: It’s not so dark, but the darkest [instrument] I can actually play is probably a ukulele. I wish I could play accordion or saxophone or something, but I can’t get my hands on it to practice. Can we get a saxophone for the band?

NOT A WORD : Did you play horns or anything in high school or college? I played the French horn for a few years.

GB: I went into the trumpet for a hot second, but fell pretty quickly.

SS: I was into the cello, so maybe we should just do a whole concerto.

Garrison: It would be crazy to have a full orchestra in our band.

Do you each have a song from the new album that you feel personally attached to?

GB: “Who do you think you are.” He has one of those things. Being in a band is really cool, because just because you write certain lyrics doesn’t mean the lyrics you write will be your favorite. Both [Jeffery and Spencer] are amazing songwriters and bring a lot of ideas to the table that I would never even be able to put into words. It’s one of my favorites on the record. This is a message that is very close to my heart.

NOT A WORD : I would probably say “Roses” right now. The energy is really fun, so I would say “Roses” or “Look Up”.

SS: I was going to say, “Look up.” It was a really fun song to write. That one and “I think I love you” is the one I’ve always really liked. It might be the oldest on the record, oddly, but it was one of those songs that, as soon as it was written, just brought a different energy. I like to write songs that extend what people expect of us, and that’s come out of left field.

You collaborated with singer Chelsea Cutler on the song “Crying Over You” and Swedish music duo NOTD on “Never a Good Time.” Is there anyone else you would like to collaborate with in the future?

NOT A WORD : We always say [singer-songwriter and producer] Jon Bellion and Post Malone when we receive this question. Jon Bellion – we are all huge fans of his artist project. He’s been behind so many massive songs lately. Even if we couldn’t collaborate on a feature or anything, just being able to write with him would be really cool. He has the melodies.

You recently started the second round of The Way of the Tour. Was the second leg planned or was it added only in response to the high attendance of the first leg?

NOT A WORD : A bit of both. When we put that [first leg of] tour for sale, our album had just been released a few months before. We hadn’t toured with COVID in two and a half years. We were hoping to do another leg, but we were going to see how it sold. Then every show in the first leg sold out. We could kind of see that we were going in that direction, so we put stage two up for sale. The second stage concerns the B markets, cities in which we have not played much.

I believe this is also your first headliner in the Detroit area.

NOT A WORD : I think the last time we were in Detroit was in 2018, with [the band] Dangerous summer. I don’t think we ever made headlines in Detroit.

Do you research the food or sights in the cities before you visit?

NOT A WORD : A little. We try to find some local food, a cool place to hang out after the show, maybe, if we feel like it. Our tour manager, Brad, is from Detroit so he’s willing to have us there so he can take us to his spots.

GB: Everyone now has a few cities with lots of good suggestions, which is good. You don’t get bored on the road anymore. Find good food. Do fun things if we have time. It’s cool.

NOT A WORD : We are sixteen in our tour group. We have a massive group text. Between the whole team, there is a lot of research going on, I think.

Are there any spots in Detroit that you’ve discovered or that were recommended by Brad?

SS: Last time we were there we went to StockX headquarters which was really cool. It was really doping. They have a big basketball court – half court – in their offices, which is sick.

Hope you can explore much of the city while you are here.

SS: Do you have any suggestions?

I always recommend the People Mover – it’s a surface transit system that takes you into downtown Detroit.

SS: The People Mover!

NOT A WORD : Yes, we will try to check!

Catch The Band Camino at the Royal Oak Music Theater on June 10. Tickets start at $29.50 and can be purchased at axs.com.

iOS 16 Brings Full Screen Music Player Back to Lock Screen

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With iOS 16, Apple brings the full-screen music player back to the lock screen, delivering an all-new view that puts album art front and center with controls at the bottom.

The full-screen music player on the lock screen was last available with iOS 10 and is now back with ‌iOS 16‌ as part of a lock screen overhaul. On ‌iOS 16‌, users will be able to change the lock screen font and colors, add new widgets, entirely new live wallpapers, and more.

It should be noted that in the first developer beta of ‌iOS 16‌, the full-screen music player does not seem to be present.

‌iOS 16‌ and iPadOS 16 are currently in beta testing with developers with a public beta scheduled for both in July. ‌‌iOS 16‌‌, iPadOS 16, macOS Ventura, and watchOS 9 will be available to users this fall.

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Kate Bush Scores First Top 10 Hit With ‘Running Up That Hill’ Cover

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Although Harry Styles’ “As It Was” maintains its run at the top of the Billboard Hot 100 for the fifth week, it’s Kate Bush’s 1985 classic “Running Up That Hill” that’s making headlines as it re-entered the ranking at No. 1. 8. The track’s revival on Netflix’s new fourth season of “Stranger Things” became the song’s launch pad to surpass its 1985 No. 30 peak and became the song’s first breakthrough. Bush in the top 10 of the ranking.

“Stranger Things,” which is set in the late 80s, released the first volume of the new season on May 27 and incorporates the song into multiple episodes. It serves as a focal point in the plot of the character Max Mayfield, played by actress Sadie Sink.

The whole negotiation came as a surprise to Bush fans because the English singer-songwriter rarely approves of his songs being used in other media. In a recent Variety article, Wende Crowley, senior vice president of creative marketing, film and television for Sony Music Publishing, said that Bush approved the song’s participation in the series after reviewing script pages and images depicting how it would be incorporated. Bush also released a rare statement on his website stating that she was a fan of the show and shared her gratitude for the resurgence.

On the US charts, it’s almost unheard of for an older song to break into the top 10, even after a widely celebrated sync or after the death of a celebrity. One catalog track other than Christmas is believed not to have returned to this level in its original recorded form since Queen’s “Bohemian Rhapsody” rose to No. 2 in 1992, after being featured in “Wayne’s World” . In 2020, Fleetwood Mac’s “Dreams” saw a huge surge in popularity in 2020 due to a TikTok meme, but still only reached No. 12 on the chart.

The sync also placed the track at #1 on the Digital Song Sales and on the Streaming Songs chart at #6. As of June 4, “Running Up That Hill” also ranked #3 on the weekly count of song consumption. , as confirmed by Luminate.

The singer-songwriter first appeared on the Billboard charts in 1979, but “Running Up That Hill” was his first top 10 Hot 100. It first hit the charts in November 1985 as part of her fifth studio album, “Hounds of Love,” and landed at #30.

Meanwhile, Styles’ “Late Night Talking” dives 4-9 in its second week on the Hot 100. Jack Harlow’s “First Class” remains at No. 2 on the Hot 100, after three nonconsecutive weeks at No. 1. .for U,” featuring Drake and Tems, is similarly stable at No. 3 on the Hot 100, after spending a week at No. 1. Lizzo’s “About Damn Time” climbed one spot to No. 4 in the ranking. Glass Animals’ “Heat Waves” also climbs 6-5 on the Hot 100, after five weeks at No. 1. “Me Porto Bonito” by Bad Bunny and Chencho Corleone surges from its previous No. 10 spot to No. 7 .

Figures detailing equivalent album units obtained from the Billboard 200 chart come from Luminate via Billboard.

Styles’ “Harry’s House” also holds its No. 1 spot on the Billboard 200 album chart for a second week, after debuting at No. 1 a week ago. The project grossed 160,500 equivalent album units in the United States in the week ending June 2; it originally launched with 521,500 units.

New to the top 10 of the albums chart is legendary English rock band Def Leppard, who mark their eighth top 10 album on the Billboard 200 with the debut of “Diamond Star Halos”. At No. 10, the album enters with 34,000 equivalent album units earned.

Elsewhere on the album chart: Bad Bunny’s “Un Verano Sin Ti” remains at No. 2 with 141,500 equivalent album units, “Mr. Morale & the Big Steppers” remains at No. 3 with 89,500 units, No. Future’s No. 1 “I Never Liked You” is still at No. 4 with 68,000 units and Morgan Wallen’s “Dangerous: The Double Album” climbs 6-5 with 53,500 units.

Thanks to its vinyl release, Doja Cat’s “Planet Her” rebounds 12-6 with 41,500 equivalent album units. Zach Bryan’s “American Heartbreak” drops 5-7 in its second week with 40,500 units and Olivia Rodrigo’s former No. 1 “Sour” lingers at No. 8 with 39,000 units after releasing an edition deluxe one year anniversary of the album. Jack Harlow’s “Come Home the Kids Miss You” slips to 7-9 with 34,500 units.

Realtors landed $3.9 billion in PPP loans: report

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(iStock/Illustration by The Real Deal)

Realtors landed $3.9 billion in loans from pandemic relief loans, a boost made softer by the recent hot streak in the housing market.

Entities in the industry have secured more than 300,000 loans in total through the Paycheck Protection Program, NBC News reported. The outlet compiled the numbers by looking at real estate entities with only one staff using data from the Pandemic Response Accountability Committee, which publicly oversees relief spending.

These real estate businesses received an average of $13,000 in relief loans. Hundreds, however, received more than $90,000 each.

In terms of forgiveness, real estate agents behaved similarly to other American industries. About $3.1 billion in funds were canceled, 83% of loans and 84% of the total dollar amount. For the entire $789 billion program, 80% of the loans and 84% of the total dollar amount have been cancelled.

As sectors like hospitality and retail have buckled under the pressure of the pandemic, residential real estate has rapidly exploded. After an uncertain first few weeks full of screenings and canceled contracts, prices – and therefore commissions – soared.

Sales were up 53% from April 2020 to year-end and 40% since the start of 2020, NBC News reported. Total commissions nationwide were $76.2 billion in 2019, $85.9 billion in 2020, and $98.8 billion in 2021.

The PPP aimed for loans to be canceled if certain rules were met, such as spending 60% of the loans on payroll or spending a certain amount on qualifying expenses. That way it worked more like a grant program and even though the real estate agents didn’t end up needing the help, they were eligible for it.

Erin Stackley, a senior political representative for the NAR, defended PPP loans and agent surrender, telling NBC News that “that’s what the SBA and Congress intended to do.”

Some agents, however, seemed to disagree with the optics of being forgiven on these loans and collecting commissions. Many declined to comment at length on their loans to NBC News. An agent who commented that she was repaying her loan.

“It ended up being a crazy year because I’m in Austin and I didn’t feel right asking for forgiveness,” Phyllis Patek told NBC News.

[NBC News] —Holden Walter-Warner