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Egypt’s ban on 19 singers tests the power of the old guard

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CAIRO — The song begins as standard Egyptian pop music fare: a secret infatuation between two young neighbors who, unable to marry, give each other mischievous glances and engage their hearts in a bittersweet dance of nostalgia and waiting.

But then the lyrics take a radical turn.

“If you leave me,” lambasted the singer, Hassan Shakosh, “I’ll be lost and gone, drinking booze and smoking hash.”

The song, “The neighbor’s daughterbecame a massive hit, garnering over half a billion views of its video on YouTube alone and catapulting Mr. Shakosh to stardom. But the explicit reference to drugs and alcohol, substances culturally banned in Egypt, made the song, released in 2019, a lightning rod in a culture war over what is an acceptable face and subject for popular music and who decided.

The battle, which pits Egypt’s cultural establishment against a renegade musical genre embraced by millions of young Egyptians, recently escalated after the organization that licenses musicians banned at least 19 young artists from singing and performing. produce in Egypt.

The organization, the Egyptian Musicians Syndicate, accused Mr Shakosh and other singers of the genre, known as the mahraganate, of normalizing, and therefore encouraging, decadent behavior, distorting Egypt and spoil the taste of the public.

“They are creating a chaotic movement in the country,” said Tarek Mortada, the spokesman for the union, a professional union that issues permits for artists to perform on stage and which, although technically not an arm of the state , is governed by state law and its budget is supervised by the state. “What we are facing right now is the face of depravity and regression.”

Banned singers were barred from clubs, concerts and weddings. Some continued to perform overseas or at private parties, but had to say no to publicity deals and other income opportunities. The union’s stance has also cast a cloud over Egypt’s cultural scene, sending a strong message that artists are not free agents and must always respect the restrictive lines set by civil and state institutions. The musicians see the union as an old-fashioned entity clinging desperately to a strictly organized vision and image of Egyptian culture that is crashing against an inevitable wave of youth-led change.

“They can’t convince themselves that we’re here to stay,” said Ibrahim Soliman, 33, manager and childhood friend of Mr Shakosh. “How can you say that someone like Shakosh is distorting Egypt when his songs are heard and shared by the whole country?

The fans were furious. A meme depicts the syndicate leader, a pop singer of 1970s romance classics, ordering people to stop singing in the bathroom.

The battle reflects cultural conflicts across the region where autocratic governments in socially conservative countries have attempted to censor any expression that challenges traditional mores. For example, Iran arrested teenage girls who posted videos of themselves dancing, which is a crime there. And in 2020, Northwestern University in Qatar has canceled a concert by a Lebanese indie rock band whose lead singer is openly gay.

But online streaming and social media platforms have gouged giant holes in this effort, allowing artists to bypass state-sanctioned media, like television and record labels, and reach a generation of new fans hungry for what they see as more authentic and relevant content.

Iran’s draconian restrictions on unacceptable music produced a thriving underground rock and hip-hop scene. The question facing Egypt is who now has the power to regulate matters of taste – the 12 men and one woman who lead the syndicate, or the millions of fans who stream and download mahraganat.

Mahraganat was born from the dense and rowdy working-class neighborhoods of Cairo more than a decade ago and is still generally made in low-tech home studios, often with no equipment other than a cheap microphone and pirated software.

The raw and candid genre – with candid lyrics about love, sex, power and poverty – reflects the experience and culture of a large segment of the disenfranchised youth who live in these neighborhoods on a dancing and haunting rhythm.

But its catchy rhymes and electronic beats quickly became mainstream and now resonate from the glamorous wedding ballrooms of Egypt’s French-speaking elite to the exclusive nightclubs of Mediterranean resorts to the concert halls of Qatar and Egypt. oil-rich Saudi Arabia.

“Mahraganat is a true representation of this moment in time, of globalization and information technology, and of social media in guiding our tastes,” said Sayed Mahmoud, culture writer and former editor of a weekly called “Alkahera” published by the ministry. of culture. “If you remove the reference to drugs and alcohol, does that mean they don’t exist? The songs represent real life and real culture.

They are certainly more direct, avoiding the sanitized euphemisms and poetic allusions to sexuality that characterize traditional lyrics.

“We use the words that are close to our language, without embellishing or embellishing, and it reaches people,” said Islam Ramadan, who calls himself DJ Saso, the 27-year-old producer of the smash hit Mr. Shakosh.

Many lawyers and experts say the union has no legal right to ban artists, insisting that the Egyptian Constitution explicitly protects creative freedom. But these arguments seem academic in the authoritarian state of President Abdel Fattah el-Sisi, which has stifled free speech, tightened control over the media and passed laws to help monitor and criminalize so-called immoral behavior. on the Internet.

The executive members of the union have adamantly defended their decision, saying that an essential part of their job is to protect the profession against substandard work which they say is done by uneducated impostors who tarnish the image of the country.

And government officials have reinforced the message.

In 2017, a special police division that targets moral crimes arrested the creators of a mahraganat song and vowed to continue to search for works that “present content that is offensive to the Egyptian viewer or contain sexual innuendo”.

In 2020, after a video emerged showing dozens of students at an all-girls high school singing along to “The Neighbor’s Daughter”, the Ministry of Education warned schools against the “noticeable” broadcast of songs that incite “bad behavior”.

Shortly thereafter, the Minister of Youth and Sports pledged to “combat depravity” by banning the playing of mahraganat music in arenas and sports facilities.

Union leader Hany Shaker defended the banning of a late-night TV show, saying, “We can’t be in the age of Sisi and allow this to be the main art.”

So far, the union claims to be winning the fight.

“We actually arrested them because they can’t perform in Egypt,” said the organization’s spokesperson, Mr. Mortada, adding that it had gone so far as to ask YouTube to remove the videos. videos of banned singers. He did not receive a response from YouTube, he said.

But who will win in the long run remains to be seen.

The very structure of the union is reminiscent of a bygone era. To be admitted and allowed to sing and perform on stage, a performer must pass a test which includes a classical singing audition. The test is anathema to a genre that relies on autotune and prioritizes rhythm and fluidity over melody.

Although the union’s efforts may prevent the mahraganate from entering clubs and concert halls, the music has never stopped.

Mr. Shakosh’s popularity continues to rise. He has over six million followers on Facebook and over four million on Instagram and TikTok, and his music videos have surpassed two billion views on Youtube.

He is one of the greatest performers in the Arab world. Since his ban, he has performed in Saudi Arabia, Qatar and Iraq, and “The Neighbors’ Daughter” has become one of the biggest Arab hits to date.

“These are not the same old love songs,” said Yasmine el-Assal, a 41-year-old bank executive, after attending one of Mr Shakosh’s concerts before the ban. “His stage presence, the music, the vibe, it’s fresh and it’s all about having fun.”

Mr Shakosh would not agree to be interviewed, preferring to keep a low profile, his manager said, rather than appear to publicly defy the authorities. The ban has been tougher on other artists, many of whom don’t have the means or the international profile to tour abroad.

They have mostly remained silent, refusing to make statements they fear could ruffle more feathers.

Despite the pressure, however, many are convinced that their music is beyond the grasp of any single authority or government.

Kareem Gaber, a 23-year-old experimental music producer known by the stage name El Waili, is still burning tracks, sitting in his bedroom with a double mattress on the floor, bare walls and his instrument, a computer staff with a $100 MIDI keyboard.

“Mahraganat taught us that you can do something new,” he said, “and it will be heard.”

Three women plead guilty to receiving nearly $800,000 in PPP loans under false pretences | Crime News

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Last week, three women who allegedly applied for and received nearly $800,000 in Paycheck Protection Program loans pleaded guilty in federal court, Acting U.S. Attorney Clint Johnson announced.

Aleta Necole Thomas, described as the leader of the scheme, pleaded guilty to two counts of making false statements to a financial institution. Co-conspirators Katrina West and Pepper Jones pleaded guilty to making a false statement.

Thomas, 43, admitted in her plea agreement that she submitted false statements and reports to Cross River Bank when she applied for a Paycheck Protection Program loan – guaranteed by the Small Business Administration under of the CARES Act – for “Coming Correct Community Ministry,” which she said has an average monthly payroll of $35,000 and had been in operation since February 15, 2020. The organization’s address was listed as a home in east of Tulsa near 41st Street and Garnett Road.

Thomas further claimed that she had 26 employees for whom she paid payroll taxes or independent contractors and falsely certified that all information in the application and supporting documents were correct, even submitting false bank statements and a fake IRS form.

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She made a similar request to First Electronic Bank, according to a press release.

In their applications, West, 38, and Jones, 42, each claimed at different banks, Fountainhead Commercial Capital and Harvest Small Finance LLC, in March that they owned a small business that began operations on February 15, 2020 and had a gross annual income. income of $100,000.

The defendants will have to pay $795,158.50 in total compensation. The $209,991.11 the government has already seized from Thomas’ bank accounts will go towards that total.

“For more than a year, (Thomas) applied for and obtained Paycheck Protection Program loans under false pretences,” Johnson said in the statement. “The nearly $800,000 of taxpayer dollars that Thomas and his accomplices stole should have gone to legitimate small business owners who serve and economically improve their communities.

“The U.S. Attorney’s Office and our federal law enforcement partners will investigate and prosecute anyone who misappropriates federal emergency assistance to enrich themselves unlawfully.”

The Board of Governors of the Federal Reserve System and the Office of Consumer Financial Protection Office of the Inspector General; U.S. Treasury Department Inspector General for Tax Administration; Office of the Inspector General of Small Business Administration; and the Federal Bureau of Investigation investigated the case.

Cory Nootnagel, Acting Special Agent in Charge of the Office of Inspector General’s Western Region, praised the perseverance of the organization’s officers and federal law enforcement partners, which ultimately led to their admission. .

“Those who defraud the federal government of pandemic relief funds will be vigorously prosecuted and held accountable for their actions,” Nootnagel said.

Razorlight is working in the studio on their fifth album

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The recently reunited Razorlight have confirmed that they are currently in the studio working on a new album.

Last April, the band confirmed that their original line-up of Johnny Borrell, Andy Burrows, Björn Ågren and Carl Dalemo were reuniting after a 10-year hiatus for a live show that summer.

Borrell, Ågren and Dalemo first formed the band in 2002, with Andy Burrows joining in 2004. Together the quartet have released three studio albums (2004’s debut ‘Up All Night’, the follow-up self-titled from 2006 and “Slipway Fires” from 2008).

To kick off 2022, the band have now confirmed that new music is on the way, with the band hard at work at a studio in Gloucestershire.

“Greetings from 2022, we are here in Gloucestershire hard at work on album 5 of Razor,” the band tweeted alongside a pair of photos taken outside the studio.

See the update below:

Speaking about reuniting last year, Burrows said: “It’s amazing. We spent the last week or two rehearsing. Playing these songs was an absolute joy. The emotions that were going through me when we started playing ‘America’, I forgot to play the first half of the song – it was absolutely crazy. It was amazing. It’s so powerful to play those old tunes. It’s very very special.

Borrell added: “I’m really enjoying reconnecting with Andy and Carl, it’s like reconnecting with people. I’m enjoying it because you never want to lose friends. It’s a horrible thing to think about. That doesn’t really make sense. It definitely makes me feel good on a personal level.

“Creatively – amazing. We’ve been in the studio rehearsing and recording. As soon as the four of us are in the room, it just sounds amazing, straight away.

Before the full reunion, guitarist Ågren joined Razorlight last year alongside Borrell, while the band’s last full album came in the form of “Olympus Sleeping” in 2018.

Reviewing this album upon its release, NME wrote: “Razorlight isn’t here to save rock – they never were, and they’re more than aware of that. They are not reinventing the wheel, but pulling the Harley out of the ditch.

Opening Night Approaches For NDA’s ‘Footloose: The Musical’

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By Josh Staloch
Personal editor


GREEN BAY — After an unprecedented 2021 forced Notre Dame Academy (NDA) in Green Bay to present its musical for an online-only audience, the school will present its production of “Footloose: The Musical” for an audience live this year, and the excitement is building.

Co-directors Andrea Gilson and Chris Salerno said last year’s experience made the kids even more excited to put on a full production this time around.

“I think after a year of the pandemic, even though it’s still going on, we needed something fun,” Gilson said. “We wanted to do something with a stronger dance, to involve more students who were dancers. We knew we had a strong group.

Gilson said that once she had an idea of ​​the type of students who were going to take part in the 2022 musical – which runs at 7 p.m. from January 20-22, as well as 2 p.m. on Sunday 23 January – it made perfect sense to choose “Free from any ties.”

“There are a lot of students in this production who have never been in a musical before,” Gilson said. “Kids who may have been dancing for a long time, but never tried acting. They were excited to do ‘Footloose,’ and now they say they regret not having (acted) more in high school.

Between the cast and production crew, there are about 75 Notre Dame students taking part in this year’s musical, a number Gilson said far exceeds the number of people involved in producing “The Show’s Online” in 2021, which she wrote herself.

The students recorded individual recorded parts, which were then posted online.

“We were still able to give the kids a musical experience, but it definitely wasn’t the same as what we’re doing right now,” Gilson said of last year’s remote performance.

She said the excitement within the team was coming to a head as opening night approached.

“We’ve never had such turnout,” said Molly Kukiela, who plays Ariel Moore, the female lead. “Especially with people who have never done a musical before. It’s great to see how many kids have joined the theater program and now love it.

During a recent rehearsal for Notre Dame Academy’s performance of the musical ‘Footloose,’ Reverend Shaw Moore, played by Joey Bonadonna, left, and Ariel Moore, played by Molly Kukiela, work on a stage. Josh StalochPhoto

A Joey of all trades

NDA’s Joey Bonadonna is a very busy young man.

Not only is the Triton eldest awaiting a response from the University of Wisconsin-Madison, hopefully via an acceptance letter officially welcoming him as the new badger this fall, he’s also preparing to flex his chops one last time in the NDA as Reverend Shaw Moore in “Footloose: The Musical.”

And that’s not all.

Bonadonna manages the boys’ basketball team and calls games for the school radio network, the Triton Sports Network, which he started.

He is also a sports editor for the school newspaper.

In the fall, he leads the schools football team and plays on the golf team in the spring.

Bonadonna also does play-by-play for the Green Bay Blizzard at Resch Center, as well as for the Rockers, formerly Green Bay Booyah, at Capital Credit Union Park.

Joey Bonadonna, founder of the Triton Sports Network, broadcasts commentary for a Notre Dame boys’ basketball game on Tuesday, January 11. Josh Staloch Photo

“I’ve always been interested in sports,” Bonadonna said. “But, being the non-athletic type, I try to find other things to get involved in.”

He said he hopes to study journalism at UW-Madison, and his dream job is to one day do play-by-play for an NFL team — with a career emulating that of another local legend.

“I would love to be the next Wayne Larrivee,” Bonadonna said. “Kevin Harlan just released an NFL Films thing, he kind of did a high school throwback, and that’s where he started his broadcasting career. Here with the radio station that was here in the 70s. He got his start here, and obviously he went on to do great things. He was someone I really looked up to and had the chance to interview my sophomore year. It was my first time doing an interview, so I would say I was nervous, but it went well.

Tickets

Tickets for NDA’s performance of “Footloose: The Musical” are $14 for adults and $10 for students and children, and can be purchased online at ndmusical.ludus.com.

All performances will take place in the school auditorium.

For more information, visit the Notre Dame Academy Musical and Theater Facebook page.

Kanye West denounces Pete Davidson on a new song with the game

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Fans can always press play donda, but Kanye West is already back with new music.

At midnight Saturday (January 15), Yeezy delivered on their promise from the start of the week and released a new track with The Game titled “Eazy” which is produced by Hit-Boy, Mike Dean, Big Duke, DJ Premier and Cash Jones. .

On the record, Ye raps, “God saved me from this accident/Just so I can beat Pete Davidson’s ass (Who?),” referring to ex-wife Kim Kardashian’s boyfriend.

Ahead of the song’s release, Game spoke on the track and said, “Life should be easy for everyone, we make the choice to make it harder for ourselves and others. Change your perspective and change the world.”

The song is a Spotify exclusive which is available for 24 hours from its release tonight at midnight.

In video footage shared on social media by designer Tracey Mills earlier this week, Kanye was on FaceTime with DJ Premier and revealed the song was coming. Ye, who was in the studio at the time with Game and Pusha-T, said during the video call, “We have a song we’re releasing on Friday that we wanted you to scratch on, if possible.”

Ye also told the legendary DJ, “We’re starting a whole…we’re about to control the sound of the music, it’s up to us now, period.”

Kanye’s follow-up to donda, which Steven Victor recently revealed is in the works, rumored to drop soon. Following Victor Victor Worldwide’s head offering the update on Ye’s new music, Moneybagg Yo shared a screenshot of a conversation between him and Kanye where Ye talks to Bagg about a verse that will likely appear on the LP, tentatively titled 2.

While there’s no current release date for the effort, it’s unclear when it will drop, especially given the delays to the initial offering.

However, check out The Game and Kanye’s new track “Eazy” below.

See the best hip-hop projects of 2021

What’s your favorite hip-hop album of 2021?

Halifax artist surprised to be featured in new season of HBO’s hit Euphoria

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The music of a Halifax singer-songwriter has officially hit the small screen – in the new season of the HBO hit Euphoria.

18-year-old Jody Upshaw has performed throughout Atlantic Canada and worked with some of Canada’s most experienced and talented artists, including Classified and Owen (O’Sound) Lee.

The R&B and pop artist has been nominated for several East Coast Music Association awards and has been recognized by the African Nova Scotian Music Association.

His song good shooter was played in the first episode of the EuphoriaThe second season of , which premiered on Sunday and stars actress Zendaya.

The first episode also featured a song by Thrillah, a musician from Dartmouth.

In the popular but somewhat controversial teen drama, Zendaya plays Rue, a teenager struggling with addiction, relationships, and her mental health.

Jeff Douglas, CBC Radio host Main Street, spoke to Upshaw on Friday to learn more about this exciting opportunity.

Listen to the song and the full interview with Upshaw here:

NS Main Street9:33Halifax singer-songwriter Jody Upshaw on what it’s like to be featured on HBO hit Euphoria

A Halifax singer-songwriter has been officially introduced to the small screen, in the new season of HBO’s teen drama Euphoria. Jody Upshaw’s song Straight Shooter was played in the first episode of the show’s second season, which features actress Zendaya. Hear Upshaw talk about the artist’s experience and music. 9:33

First of all, did you know your song good shooter was going to be featured on that great HBO show?

Well, that’s pretty funny. I got an email about this a few months ago from Melissa McMaster and she was just asking for information, and she mentioned Euphoria, and I know her from other business experiences and other people in the industry like Quake Matthews.

But you know, when you get something like that, you’re not sure it’s actually going to happen. I thought it was probably a shot in the dark, and honestly, I kind of forgot about it because I wasn’t really expecting it.

I was definitely surprised that night [it aired]. I was literally taking a nap and then woke up to so many missed notifications from everyone saying, “Am I crazy or is your song playing? Euphoria?” so that was really great.

Do you watch the show?

Yeah. I wasn’t watching the season two premiere, but I watched season one and obviously Zendaya – I grew up watching Zendaya on the Disney Channel – and I’m still so inspired by her, so honestly, that was so incredible.

What was it like hearing your song when you went back and watched it?

I think it’s actually good for me too, because I used to focus on looking good growing up. I started making music at such a young age and I was talking to young people and I was just this very young, innocent little pop singer, so packaging my music like that was really important.

But now it’s really important for me to get into what’s about me right now and be true to who I am and to that kind of audience.

So I think that was actually a perfect placement for me because the show is quite mature and for a different audience so it’s nice to really tap into that and that kind of leads me to where I want to take my music.

Where in the episode was the song played?

It’s in the bonfire scene and it’s just in the background of the scene but it was cool because when you look you can see Zendaya’s face all over the screen and I can hear my song in the background, so that was awesome.

What’s something newer than 2018 that you’d like to feature? Main Street listeners?

My latest single — I released it last November — it’s called Wrong, and this one is also produced by Classified and I worked on it with O’Sound also.

Keb ‘Mo’ Shares New Album Preview In ‘Good To Be (Home Again)’

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Keb’ Mo’, five-time Grammy Award winner of American blues, is releasing his new single “Good To Be (Home Again)” today (14 years old) on Rounder Records. It’s the almost title song of his good to be album, which follows January 21.

The new song follows the release last October of the album’s first preview, “Good Strong Woman,” featuring Darius Rucker. The country star is among a number of contributors to the set, including Kristin Chenoweth and Old Crow Medicine Show. Keb’Mo’ co-produced good to be alongside another national hero, Vince Gill, who has overseen three titles, and three-time Grammy winner Tom Hambridge, whose credits include BB King and Boyfriend.

“Good To Be (Home Again)” is a celebration of education from Keb in Compton, California, with the theme of growing old and growing up without forgetting where you come from. He wrote part of the album in the Compton home he grew up in, and part in his adopted hometown of Nashville.

“I believe music has the power to heal,” says Mo’, “and I wanted this album to do people good. I wanted it to bring them joy and maybe think about where they come from and the journeys that brought them to where they are.

Keb’ Mo”s latest album of brand new material, Oklahoma, was released in June 2019 and won the Grammy Award for Best American Album at the 62nd Grammy Awards. He followed it with his first vacation outing, Moonlight, mistletoe and you, in December of this year.

Mo’ will support the release of good to be with an extensive touring schedule in the first half of 2022. His next show will be on January 20, the first of two consecutive nights at Birchmere in Alexandria, Virginia. Two dates are booked at City Winery in New York on January 30 and 31, and he begins a solo European tour on May 6 in Switzerland.

Pre-order good to be.

Tony Winner ‘The Band’s Visit’ Brings Quirky, Melancholic Vibe to Golden Gate Theater

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Kicking off the new year at the Golden Gate Theater is the delayed arrival of The group visit, the touring production of the 2018 Tony Award winner for Best Musical as well as three acting awards and a host of others.

While the Tony Awards sometimes surprise us with unconventional winners, The group visit stands out in a number of ways, having won 10 of the 11 trophies it was nominated for in 2018, despite being a very offbeat, understated and thoroughly modern musical without even a hummable melody. I would say it was perhaps the shrewdest and most original choice of a season of Broadway that was full of pop culture retreads aimed at children – the other nominees for Best Musical that year were mean girls, Frozen, and the although visually stunning and clever Sponge Bob SquarePants musical.

Because during The group visit is delightful in so many ways, it’s certainly a show that’s been lucky enough to make it to Broadway from a home off Broadway thanks to critical acclaim and an excellent book by Itamar Moses based on the 2007 film of the same name. The show unfolds with the same heavy stillness of an indie film, populated by odd characters some of whom only meet for a single scene, or a few short vignettes that add color to the story. And the show’s songs are, for the most part, personal essays or pleas, descriptions of hazy memories, all idiosyncratic and some written in the 24-tone mode of Arabic music that doesn’t always play easily in Western ears. .

In short: barely a shoe in Broadway hits.

The group visit is also, perhaps most importantly, a terrific showcase for actors, and the touring production allows Janet Dacal to shine in the lead role of Dina – the owner of a small cafe in the small desert town of Beit Hatikva , where a ceremonial orchestra from Alexandria, Egypt arrives by mistake and gets stuck for the night.

The central misunderstanding that leads to the band’s arrival serves as the perfect metaphor for the often awkward collisions of culture and language. The group asks an Israeli ticket seller for bus tickets to the historic city of Petah Tikva, where they are to perform the next day for the opening of an Arab cultural center. But they end up – because there is no “p” sound in Arabic and it is often replaced by “b” – in the small village of Beit Hatikva, which sounds exactly the same to their ears. .

Layan Elwazani & Joe Joseph in The Group Visit. Photo: Evan Zimmerman/Murphymade

Dina and several townspeople set up the group for the night after learning that there were no buses leaving until morning – and there were no hotels here. And what happens are subtle, poignant moments of friendship and warmth between strangers.

Sasson Gabay, an Israeli actor who appeared in the 2007 film, reprises his role in this production as the reserved bandleader Tewfiq – who spends a tame but possibly romantic evening with Dina. Joe Joseph does a marvelous job in the supporting role of Haled, the incorrigible flirt and Chet Baker fan who is responsible for the ticket confusion – and his Chet Baker-imitating rendition of “Haled’s Song About Love” is a highlight.

The group visit remains difficult to summarize or categorize with precision. It’s quiet, it’s melancholic, its moments of redemption are smaller and more subtle than your typical Broadway fare. He shares part of his DNA with Come from afar, another modern show about strangers arriving in a small town in which many songs feel like monologues for a diverse cast of characters. But it’s a play in its own right, specific in each of its quiet plotlines and refreshing in its unconventional character.

And while it doesn’t have a conventional grand finale number or major resolution, the show still manages to have some incredibly emotional musical moments in its final minutes – perhaps most notably with a call-in number after the curtain of the whole band, something that doesn’t happen in the show up until then. For a show that won’t be a crowd pleaser, this is a crowd pleaser moment for sure.

“The Band’s Visit” is playing at the Golden Gate Theater until February 6. Find tickets here.

Top plays, Broadway musicals, shows for 2022

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It’s a year of ballet, theatre, musicals and premier concerts in the valley. And there is a show for everyone.

Those in the mood for a night of Shakespeare can watch one of Southwest Shakespeare’s classic plays. Broadway returns to Phoenix for a 2022 season that includes “The Band’s Visit” and “The Lion King,” among others.

“A Soldier’s Play” will be performed by the Black Theater Troupe, and several dance performances will mark the year, including Ballet Arizona’s “Romeo and Juliet” with the Phoenix Symphony and “An Evening in the Desert Botanical Gardens.”

There are also returning shows, including “Rent,” for its 25th anniversary farewell tour, and the Swiss masked theater troupe Mummenschanz will celebrate its 50th anniversary in Phoenix.

Several theaters and venues have COVID-19 protocols in place. Be sure to check venue websites for mask or vaccine requirements and other safety precautions before you go.

More to see and do: Best Art Exhibits, Shows in the Phoenix Metro in 2022

“The Tempest” from the Southwest Shakespeare Company

Southwest Shakespeare is back to live performance and their first show, “The Tempest” is a Shakespeare classic. Head to the Mesa Arts Center for a Shakespeare show with a twist.

Other upcoming shows at the Southwest Shakespeare include “Fairnelli and the King” and “Shall I Compare Thee: The Sonnets.”

Details: From February 25 to March 19. Mesa Arts Center, Nesbitt/Elliott Playhouse Theatre. 1 E. Main St., Mesa. swshakespeare.org.

‘The Hello Girls’ and ‘Singin’ in the Rain’ at the Phoenix Theater Company

With several shows planned for the new year, “The Hello Girls” and “Singin’ in the Rain” are the first of the Phoenix Theater Company lineup.

“The Hello Girls” tells the story of America’s first female soldiers during World War I. A story of the unsung heroes and women who were part of the Signal Corps, this first regional performance invites the audience into a story of strength, determination and the fight for equality.

A classic, “Singin’ in the Rain,” takes viewers back to the Golden Age of Hollywood where Don Lockwood and Lina Lamont perform in the perfect balance of comedy and musical comedy.

Other upcoming shows at the Phoenix Theater Company include “The Color Purple”, “Something Rotten”, and “Always Patsy Cline”.

Details for “The Hello Girls”: January 5-30. Tickets start at $64. Phoenix Theater Company, 1825 N. Central Ave., Phoenix. 602-254-2151, phoenixtheatre.com/.

Details for “Singing in the Rain”: February 2-April 3. Tickets start at $64. Phoenix Theater Company, 1825 N. Central Ave., Phoenix. 602-254-2151, phoenixtheatre.com/.

“A Soldier’s Play” at the Black Theater Troupe

In a Pulitzer Prize-winning story told by Charles Fuller, “A Soldier’s Play” details social issues and systemic racism in the US military throughout World War II. The story – set in 1944 Fort Neal, Louisiana – tells a story of racism in a time of segregation.

Details: February 4-20. 1333 E.Washington St., Phoenix. Tickets start at $44. 602-258-8128, blacktheatretroupe.org/.

“The Band’s Visit” to ASU Gammage

Award-winning Israeli actor Sasson Gabay, star of the original film and Broadway production, is coming to Tempe for “The Band’s Visit.” The musical is the winner of 10 Tony Awards, including Best Musical. The show also won a Grammy Award for Best Musical Theater Album. It is the story of a musician who in a series of wanderings transforms a city through the gift of music.

Details: February 8-13. ASU Gammage Theater, 1200 S. Forest Ave, Tempe. 480-965-3434, asugammage.com.

“Romeo and Juliet” by Ballet Arizona with the Phoenix Symphony

In a dynamic collaboration between Ballet Arizona and the Phoenix Symphony, enjoy choreography from Ib Andersen’s “Romeo and Juliet” alongside Prokofiev’s musical score for the iconic story.

Details: February 10-13, Phoenix Symphony Hall, 75 N. Second St., Phoenix. Tickets start at $35. 602-381-1096, balletaz.org/.

Scottsdale Philharmonic at the Scottsdale Center for the Performing Arts

The Scottsdale Philharmonic will present three shows at the Scottsdale Center for the Performing Arts this spring. In February, March and May, spectators can discover a wide range of classical music, from Beethoven to Chopin via Mozart, Tchaikovsky and Borodin.

Details: February 13, March 27 and May 15. Scottsdale Center for the Performing Arts, Stage 2. 7380 E. Second St., Scottsdale. A donation of $15 is suggested. 480-499-8587, scottsdaleperformingarts.org/.

ZuZu Acrobats at the Madison Center for Performing Arts

A troupe of acrobats based in Tanzania will take the audience through more than 2,000 years of African traditions. The show, celebrating the troupe’s Dar Es Salaam culture, will feature live music, dancing, dish spinning and chair balancing, among more acrobatic and circus-like delights. Each member of the troupe is a graduate of the Baba Watoto School of Performing Arts, an arts school that serves children and young people from the surrounding communities of Dar Es Salaam.

Details: February 18-20. Madison Center for the Performing Arts, 5601 N. 16th St., Phoenix. Tickets start at $19. 602-664-7777, themadison.org/.

‘Revolution: Music of the Beatles’ at Phoenix Symphony

It’s a show packed with over 25 Beatles favorites, including “Ticket to Ride”, “Penny Lane”, “All You Need is Love”, “Get Back”, Here Comes the Sun” and “Hey Jude”. In a symphonic tribute to the iconic band, the show will feature Grammy-winning Jeff Tyzik’s new arrangements from the original Abbey Road recordings. As the music plays, audiences can enjoy photos of ” The Beatles Book Monthly” – as well as a video animation.

Details: March 25-27. Phoenix Symphony Hall at the Phoenix Convention Center, 75 N. Second St., Phoenix. Tickets start at $34. 602-495-1999, phoenixsymphony.org/.

“Sheepdog” at the Stray Cat Theater

In a new bedroom drama, “Sheepdog” tells the story of two police officers in Cleveland. Amina is black and Ryan is white. As the two fall in love, a police shootout separates them. Blending mystery and romance, “Sheepdog” examines police brutality, interracial love, and class tensions in the 21st century.

Details: March 11-26. Tempe Center for the Arts Studio Theater, 700 W. Rio Salado Pkwy, Tempe. 480-227-1766, straycattheatre.org/

‘Rent: 25th Anniversary Farewell Tour’ at the Madison Center for Performing Arts

In March, theatergoers can see Jonathan Larson’s “Rent,” a Tony and Pulitzer Prize-winning musical. The show has toured the country for the past 25 years. This is the last tour of the show.

Details: From March 31 to April 3. Madison Center for the Performing Arts, 5601 N. 16th St., Phoenix. Tickets start at $35. 602-664-7777, themadison.org/.

“An Evening at the Desert Botanical Garden” with Ballet Arizona

Attend a ballet in the heart of the desert during Ballet Arizona’s “An Evening at Desert Botanical Garden”. The show – which will have performances at sunset – will highlight contemporary ballet that embraces and showcases the desert backdrop.

Details: From May 17 to June 2. Desert Botanical Garden, 1201 N. Galvin Pkwy, Phoenix. Tickets start at $60. 602-381-1096, balletaz.org/.

“The Other Mozart” at the Scottsdale Center for the Performing Arts

This unconventional show tells the story of Nannerl Mozart, Mozart’s sister who was also a prodigy, keyboardist and composer. The play – based on facts, stories and lines from the Mozart family letters – takes place in an 18-foot dress designed by Magdalena Dabrowska of the National Theater of Poland. In a show that incorporates ballet movement, music and elegance, a seemingly forgotten story is finally shared.

Details: April 6-10. Scottsdale Center for the Performing Arts, Stage 2. 7380 E. Second St., Scottsdale. $35. 480-499-8587, scottsdaleperformingarts.org/.

“Jurassic Park” at the Phoenix Symphony

See the iconic “Jurassic Park” like you’ve never seen it before. The film – 65 million years in the making – will be screened in HD with the Phoenix Symphony Orchestra performing the musical score as the film plays.

“Jurassic Park” is rated PG-13.

Details: May 13-15. Phoenix Symphony Hall at the Phoenix Convention Center, 75 N. Second St., Phoenix. Tickets start at $34. 602-495-1999, phoenixsymphony.org/.

Beethoven’s 9th Symphony at the Phoenix Symphony

To close the 75th anniversary season, the Phoenix Symphony will perform two masterpieces: Aaron Copland’s “Fanfare for the Common Man” and Beethoven’s Ninth Symphony.

Details: May 20-21. Phoenix Symphony Hall at the Phoenix Convention Center, 75 N. Second St., Phoenix. Tickets start at $34. 602-495-1999, phoenixsymphony.org/.

“The Lion King” at ASU Gammage

Tickets for Disney’s “The Lion King” are on sale now. The show will run for four weeks at ASU Gammage in Tempe from July 5, 2022 through July 31, 2022. “The Lion King” – seen by some 20 million viewers – has played in more than 90 cities across the United States. The show has won six Tony Awards and more than 70 major arts awards, including the 1998 NY Drama Critics Circle Award for Best Musical and a Grammy Award for Best Musical Show Album. This year is the show’s 24th anniversary.

Details: July 5-23. ASU Gammage Theater, 1200 S. Forest Ave, Tempe. 480-965-3434, asugammage.com/.

‘Mummenschanz 50 Years’ at the Madison Center for Performing Arts

Mummenschanz – a Swiss masked theater troupe – will perform its 50th anniversary show in Phoenix for just three nights. The show will be a highlight of his most successful productions over the past five decades, including his famous characters the clay masks and toilet paper faces. A mixture of imagination and poetry, the show arrives in Phoenix after three years on Broadway.

Details: November 18-20. Madison Center for the Performing Arts, 5601 N. 16th St., Phoenix. Tickets start at $35. 602-664-7777, themadison.org.

Contact the reporter at [email protected] Follow her on Instagram @sofia.krusmark.

Bank Fraud Involving PPP Loans Could Result In Jail Time, Even For Relatively Small Advances | Fox Rothschild LLP

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The U.S. Department of Justice recently began charging defendants with bank fraud in connection with Paycheck Protection Program loans as part of its ongoing efforts to investigate and prosecute individuals for crimes associated with aid. related to COVID-19. If the government is able to prove that fraud has taken place, individuals are likely to spend a lot of time behind bars, even if PPP loans are for relatively small amounts.

The CARES Act

The CARES (Coronavirus Aid, Relief and Economic Security Act), signed into law in March 2020 and later reauthorized to create a second-draw loan program, was designed to provide emergency financial assistance to those suffering losses. economic and uncertainty due to the COVID-19 pandemic. It included $2.8 trillion in economic relief for individuals and businesses and provided access, through the Small Business Administration (SBA), to forgivable loans to cover payroll and other expenses. specified through the Paycheck Protection Program (PPP). It also provided government assistance through the Economic Disaster Loan Program (EIDL) and the Unemployment Insurance Program (UI). However, the CARES Act also allowed people to take advantage of government assistance, and all signs point to one of the most extensive white-collar criminal investigations in US history, as the vast resources government investigative bodies continue to aggressively pursue fraud and abuse. in these programs.

Bank Fraud Related to COVID-19

A person commits bank fraud if he knowingly executes or attempts to execute a scheme to defraud a financial institution; or obtaining money, funds, credits, assets, securities or other property belonging to, or in the custody or control of, a financial institution, by means of false or fraudulent claims, statements or promises . If someone is convicted of bank fraud, they can be fined up to $1 million or jailed for up to 30 years, or both.

Documents for PPP loans are usually submitted to financial institutions i.e. banks. If someone submits documents containing false information as part of their PPP loan application, they could be accused of bank fraud.

Bridgitte Keim, of Tampa, Florida, recently pleaded guilty to bank fraud for submitting false and fraudulent loan applications and supporting documents for PPP loans. Keim faces up to 30 years in prison.

According to the plea agreement, between April and May 2021, Keim executed a scheme to defraud a federally insured financial institution (a bank) and the SBA. Keim also recruited family members to provide their personal information in exchange for free “COVID money”. Keim prepared and submitted false and fraudulent PPP loan applications to the bank on behalf of his relatives on behalf of fictitious businesses. Keim created email addresses in the name of his relatives and communicated with bank employees posing as his relatives to convince loan officers that they were communicating with actual potential borrowers.

Based on these misrepresentations, the bank approved and funded a $20,833 PPP loan in the name of one of Keim’s relatives. Keim then diverted $7,500 of the loan proceeds to his personal bank account.

The pursuit of aggressive lawsuits for relatively small loans that can result in heavy prison sentences demonstrates that individuals and businesses need to exercise caution when dealing with potential fraud issues related to COVID-19 aid. Any communication with banks containing inaccurate information, even if only in email correspondence with the bank, could result in very serious criminal charges.

Any individual or business owner who is concerned about CARES Act compliance or potential exposure to fraud allegations related to COVID-19 should seek legal counsel immediately and not wait to be contacted by law enforcement. of the order. Individuals who have already received a subpoena or investigation from a law enforcement agency should immediately consult with an attorney to assess the full potential for civil and civil and criminal exposure before responding.

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The music department offers a new class of organ performance

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Courtesy of Scott Montgomery

Scott Montgomery

the music department is now offering Organ Performance courses for the Spring 2022 semester. Students interested in enrolling in the course should contact Tomoko Kashiwagi by emailing the Music Office at [email protected] or calling 479-575-4701.

Teaching this new course will be Scott Montgomery, associate director of music and organist at Central United Methodist Church in Fayetteville. He is a private piano and organ teacher, and a highly respected concert organist.

Montgomery achieved national recognition in 2006 by winning both the Lilian Murtagh Memorial Award (first prize) and the People’s Choice Award from the prestigious American Guild of Organists’ National Young Artist Competition in Organ Playing (NYACOP), the first person to win both awards in the competition’s history. Scott was the winner of several other notable competitions, including first prize in the American Guild of Organists’ Region V competition in Evansville, Indiana (1997), second prize in the Arthur Poister National Organ Competition in Syracuse, New York (2002), and was also the first recipient of the M. Louise Miller Fellowship (2002) sponsored by the Greater Bridgeport Chapter of the American Guild of Organists. Scott is a member of the Concert Artist Cooperative, a list of national and international concert artists.

He is widely active as a concert organist throughout the country and abroad. Notable performance venues include the Kimmel Center for the Performing Arts (Philadelphia, Pennsylvania), Pacific Lutheran University (Tacoma, Washington), Ball State University (Muncie, Indiana), and the Heinz Chapel at the University of Pittsburgh ( Pittsburgh, Pennsylvania). He has performed at regional and national conventions for the American Guild of Organists, the Organ Historical Society, the National Pastoral Musician Conferences, and for Pipe Organ Encounters in the Midwest for youth and adults. Her performances have been aired on the nationally syndicated radio programs “Pipedreams” and “With Heart and Voice”.

Montgomery has produced three critically acclaimed compact disc recordings. water and light, released in 2008 by the Pro Organo label, features the ingeniously-toned Mander organ from the Peachtree United Methodist Church in Atlanta, Georgia. His second CD, Inspirations from England, released in 2009 by the Regent Record label, featuring the two Mander organs of St Peter’s Episcopal Church in St Louis, Missouri. More recently, Scott released his third CD, Organo Plano: Music for a Joyous Occasion, on the Raven label, featuring the Reuter Great Organ at Christ United Methodist Church in Plano, Texas.

He received his formal training at the University of Illinois, Urbana-Champaign, earning his undergraduate and graduate degrees in organ performance while studying with Professor Dana Robinson.

Rob Voland, “Sky Wide Open” | Album review | Seven days

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Click to enlarge

  • Courtesy
  • Rob Voland, Large open sky

(Self-published, cassette, digital)

The ice through my bedroom window caught the sunlight like a mirror, and a beam woke me up to what I frankly consider a rude hour. I don’t know exactly what happened next as I was still getting myself out of a dream but somehow I turned on the music I had to myself. asleep while listening.

“E-bow”, the seventh track by Rob Voland Large open sky, have spread AirPods still in my ears. Both confused by the independent rock that seems to come forward on its own and immediately feeling in tune with Voland’s lead guitar, I sat down, vibrating. path too hard at such a time.

It might be strange to be leaning over a record the very moment you wake up, but something in Voland’s music lends itself to an altered state. And this is not the code for Hey, get high and listen to this record. I mean, do whatever you want, but what I’m talking about is music that changes moods. Music works its magic when it slows you down and pulls you out of everyday life, even for just about three minutes.

Large open sky excels in this regard. From the panoramic grandeur and slide guitar of “Untitled, With Coyotes” to the lo-fi folklore of “Eye to Eye”, the record unfolds like a long daydream. In keeping with the rest of Voland’s catalog, the Burlington musician’s latest effort only features sounds he created himself, which might explain the album’s cohesive and dreamlike tone.

Making music that leans into the atmosphere can backfire without clever arrangements and variation in writing. Fortunately, Voland takes care of both throughout the 11 songs, never allowing the energy to stray too far in any direction. The sequencing is equally masterful, with each song feeling like its own stand-alone chapter. The title song is a REM-on-codeine rocker that sets the tone but not the beat.

Voland’s third album is, in many ways, his best. 2018 Quality of loneliness was a startling portrait of grief, an author creating an isolated testimony. 2020s Remanence had a little more advantage, with flashes of Sonic Youth and Pavement. It is not correct to say Large open sky combines the energy of both, but it feels like a record with its past firmly referenced in the footnotes.

By the time the last track, “Lake Mountain”, ended the record, I had started my day reluctantly. As the distorted, wah-wah heavy guitar riffed on a frantic drum beat, I could already feel the waves of everyday life coming in like high tide. Nonetheless, I was grateful for the half hour and more of transportation provided by Voland. Sometimes you just need music that gets you out of your body for a little while.

Order Large open sky on tape or streaming at robvolandmusic.bandcamp.com.

Nigeria: Kizz Daniel signs a management contract

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Led by industry veterinarian and concert promoter Paul Okoye, One Africa Global is one of the continent’s leading creative arts companies, with a presence in Nigeria, the United States, the United Kingdom and the United Arab Emirates. . The formation is also the source of several entertainment activities, including the One Africa Music Festival.

Exclusive management agreement follows release of Kizz Daniel’s latest EP Barnabas, which happened in November of last year. This will see One Africa Global handle the representation of the artist around the world, taking care of bookings, marketing and promotion, and sponsorship agreements, among others.

“Exclusive management agreement signed and sealed with Kizz Daniel,” Okoye said, confirming the agreement on social media. “Let’s go into the world.”

The news of Kizz Daniel’s new contract has been greeted by colleagues in the industry, including singer 2Baba and talent manager Ubi Franklin.

Born Oluwatobiloba Daniel Anidugbe, Kizz Daniel first courted the general public in 2013 under the stage name Kiss Daniel. Following a prolonged contractual dispute with G-Worldwide Entertainment, his label at the time, the musician changed his stage name in May 2018.

Currently signed to his independent label Fly Boy Inc, Kizz Daniel is behind several well-received collections and singles, including “Lie”, “Madu” and “Pak N Go”. It also has a distribution deal with American music company Empire, which is also home to other Nigerian stars Fireboy DML, Olamide, and Basketmouth, among others.

Meanwhile, Kizz Daniel is set to start his Afro Classic World Tour next month. The tour, which will last until September, will see the musician stop over in more than thirty cities around the world, including Lagos, Abuja, London, Toronto, New York, Chicago, Paris, Frankfurt and Lisbon.

Friendable, Inc. announces Acq – GuruFocus.com

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The acquisition will add approximately 100,000 active musical artists, various music distribution services, increased revenues as well as more than tripling the technological assets of the Company.

CAMPBELL, Calif., Jan. 11, 2022 (GLOBE NEWSWIRE) – via NewMediaWire – Friendable Inc. (OTC: FDBL) (the “Company”), a mobile technology and marketing company, is pleased to announce its acquisition and business combination between Fan Pass Live and Artist Republik. This announcement marks the company’s closing of this restricted stock-based transaction and confirms that Artist Republik is now officially a Friendable, Inc. company, alongside Fan Pass.

This acquisition allows Fan Pass Live to leverage existing, new and acquired technologies, as well as the current resources of the company, to increase the historical and ongoing revenues realized by Artist Republik music distribution services to date. The acquisition will consolidate the full range of products and services of the platform and increase revenues, while offering a host of extensive services that allow artists, especially independent artists, to have more control over their music. , positioning Fan Pass Live as the only all-inclusive artist offering.

With a suite of artist-centric services that extend live streaming capabilities and virtual performance options, this powerful combination of support and services offered by Fan Pass Live and Artist Republik will now include music distribution for all artists. , while fans will enjoy access to a variety of artist channels from different genres, exclusive live events, behind the scenes content, artist merchandise and more. The offering also gives artists more autonomy and freedom over their own music, ticketing feeds, blogging / social promotion, custom merchandise development, beats / sample sales and more, all without being signed with a record company or give up their creative rights.

“With the decades-long struggle artists face due to the limitations of a record label, we wanted to give artists the ability to regain control from the start,” says Robert A. Rositano Jr., CEO of Friendable, Inc. “The acquisition of Artist Republik is more important than what is on the surface, as we were also able to retain the CEO and CTO of Artist Republik as initial consultants, assisting us in our efforts to integration and expanding the offer. Additionally, the Artist Republik brand has received numerous accolades from trade and industry publications such as Billboard and Forbes magazines, which fits perfectly with the press efforts of our current Lobeline Communications team as they continue to do know our brand to artists and press specializing in entertainment in general.

“It has always been and always will be a big part of our strategy to test multiple entry points or ‘doors’ that bring artists and fans to our offering, whether they enter through the music distribution door that leads. to the consumption of live streaming services or that the artists come through the livestream, end up consuming the music distribution services, our platform has come full circle, “continued Rositano Jr ..” Over the 15 In recent months, we have been monitoring and discussing a partnership between our companies, as Artist Republik was moving towards the development of live streaming services and Fan Pass was moving towards our own music distribution offering. As our management teams began to engage more frequently, the opportunity arose to combine our two offerings and truly offer a platform and services that would allow Fan Pass to push the boundaries of what we offer. in the music industry with a common philosophy of really putting the artist first. Our services are designed to uplift every artist, attract new fans, build brand awareness and exposure, and most importantly, generate income that the artist keeps, rather than paying off debt created by label advances. We look forward to expanding the Fan Pass Live artist and fan community through this initial acquisition, and we plan to set the stage for additional acquisition opportunities as well as dynamic partnerships that will continue to fuel our growth.

About Artist Republik

Founded in 2018, Artist Republik is an innovative and decentralized network of music companies that empowers independent music artists around the world to take control of their own careers through networking, centralized resources and management tools based on AI.

List of assets, functions and services acquired by Artist Republik:

· Music distribution – (one-off or on subscription) – Stream your music to all major streaming platforms – Apple, Spotify, Google Play, Sound Cloud and more

· Promotion press release – Submit a draft for a blog to post on its page.

· Spotify Playlist – Submit to playlist curators to grow your feeds.

· Elite Reviews – Receive commentary from notable industry artists on your own music.

· Custom ARTSTLNKS – A link to promote your music, merchandise, shows and everything in between!

· Instagram promotions – Develop your audience on social networks by submitting your content for a placed promotion.

· Grow with usSpotify and SoundCloud growth marketing.

· To master– Mix and / or master your songs.

· Sound store – Buy or sell sounds, rhythms, sample packs and more.

· FeaturedX – Book a guest function, a co-writing, a midi composition or a live instrumental follow-up for your next single. Register to become an artist / creator on FeaturedX!

· Business Resources – Blog Promotion Manager, Reading List Curator, Instagram Curator, Elite Reviewer, Sound Engineer.

Various artists linked to Republik URL, trademarks, copyrights

To support Fan Pass and our artists:

Download the Fan Pass application on the Apple App Storeor the Google play store.

The public can visit the website at www.fanpasslive.com or download the mobile application from Apple app Where google play stores. Fan Pass offers a seven-day free trial, which provides a VIP pass for all access. After seven days, that free trial turns into a paid subscription of $ 2.99 per month, which artists also receive up to 40% in the form of revenue sharing on a recurring monthly basis.

About Friendable Inc.

Friendable Inc. is a mobile technology and marketing company focused on developing and identifying branded products, services and opportunities with mass market potential and scalability.

Friendable released its first mobile app on the Apple App Store and the Google Play Store in 2014 in the social media and dating category. The Friendable app has reached over 1.5 million downloads, the world’s top 10 rankings, and has led to celebrity-related marketing opportunities and various relationships with well-known musical artists as well as up-and-coming independent artists. .

Friendable has since removed the social dating app from app stores and refocused its business on Fan Pass, its live artist platform. Launched on July 24, 2020, the Fan Pass live streaming platform has proven invaluable to artists and fans as the performances have moved from stage to screen.

Friendable was founded by brothers Robert A. Rositano Jr. and Dean Rositano, who have over 27 years of experience working together on technology-related projects.

For more information visit www.Friendable.com Where www.FanPassLive.com.

Forward-looking statements

This press release contains forward-looking statements. The words or expressions “would”, “will”, “intend”, “will probably result”, “should”, “continue”, “is planned”, “estimated”, “project” or similar expressions are intended to identify “forward-looking statements”. Actual results could differ materially from those projected by Friendable, Inc. The Company’s iTunes ranking should not be construed as indicative in any way of the future value of Friendable’s common stock or of its current financial condition or future. Public documents filed by Friendable, Inc. with the Securities and Exchange Commission can be viewed on the SEC’s Edgar system at www.sec.gov. Statements made here are as of the date of this press release and should not be relied on at any later date. Friendable, Inc. cautions readers not to rely on such statements. Except as otherwise provided by applicable law, Friendable, Inc. does not undertake, and Friendable, Inc. specifically disclaims any obligation, to update any forward-looking statements to reflect events, developments, unforeseen events or circumstances thereafter. the date of this declaration.

Contact:

User-friendly :

Telephone: (855) 473-7473, ext. 101

E-mail: [email protected]

www.Friendable.com

Business communication :

Investor Brand Network (IBN)
Los Angeles, California
www.InvestorBrandNetwork.com
310.299.1717 Office
[email protected]

Woman pleads guilty to Bilking bank over $ 500,000 in PPP loans

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TAMPA, FL – A 52-year-old woman in Temple Terrace has pleaded guilty to submitting false information to secure more than half a million dollars in federal small business loans for business owners affected by the coronavirus.

Bridgitte Keim faces a maximum sentence of 30 years in federal prison. A sentencing date has not yet been set.

United States Attorney Roger B. Handberg said Monday that between April and May, Keim had carried out a scheme to defraud a bank and the US Small Business Administration by submitting fraudulent loan applications and supporting documents to qualify for federally guaranteed payment protection program loans. The loans are designed to help businesses suffering the negative economic effects of the COVID-19 pandemic.

Find out what’s happening in Temple terrace with free real-time Patch updates.

Handberg said Keim recruited family members to provide their personal information in exchange for free “COVID money”. Keim prepared and submitted fraudulent PPP loan applications to the Anonymous Bank on behalf of his relatives on behalf of fictitious businesses, knowing that his relatives did not own these businesses, had no employees, had no income. business and no payroll charges as required by the SBA to qualify for PPP loans.

To further deceive the bank, Handberg said Keim created email addresses on behalf of his relatives and communicated with bank employees posing as relatives to convince loan officers that they were communicating with them. potential borrowers.

Find out what’s happening in Temple terrace with free real-time Patch updates.

Additionally, Keim sent text messages containing fictitious business names, fake financial information, and email addresses she created to loved ones so loved ones could answer loan officers’ questions about loan applications.

In one case, on March 21, Keim submitted an application for a PPP loan to the bank on behalf of a relative she had recruited. The application contained a fictitious business name, fictitious number of employees, falsified business income, and fraudulently claimed that the PPP loan funds would be used for payroll.

Based on these false claims, the bank approved a PPP loan of $ 20,833 on behalf of Keim’s relative. Keim then embezzled $ 7,500 of the loan proceeds from his personal bank account, Handberg said.

The expected losses associated with Keim’s bank fraud scheme total $ 588,693.14.

This matter was investigated by the Federal Housing Finance Agency – Office of the Inspector General and the Federal Bureau of Investigation.

To request that your name be removed from an arrest report, submit these required elements at [email protected]

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SBA forgave 80% of PPP loans

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The Small Business Administration announced that it has canceled 80% of the $791 billion in Paycheck Protection Program loans it began issuing in 2020 to businesses across the country to help them survive the recession. pandemic.

Nearly 3,000 registered investment advisers, broker-dealers and industry salespeople have taken out PPP loans, according to the Treasury Department.

The latest SBA pardon report stated the following:

• 81% of all PPP loan recipients submitted requests for forgiveness.
• 80% of all PPP loans have been fully or partially cancelled.
• Forgiveness was requested for 85% of the total value of all PPP loans.
• 83% of the total value of the PPP loan has been cancelled, in whole or in part.

In 2020, about 95% of PPP loan applicants submitted forgiveness requests and 93% of 2020 PPP loans, worth a total of $520 billion, were fully or partially forgiven. Overall, about 94% of the value of 2020 PPP loans have been forgiven, the SBA reported.

In 2021, 68% of loans totaling about $270 billion were forgiven, the SBA said.

The last deadline to apply for PPP assistance passed in May and there is no indication that Congress will pass additional PPP legislation.

The PPP program was designed as a direct incentive for small businesses to keep their employees on the payroll, but given the significant stock market rally, most paying consultancies only saw declines in revenue at short term.

The government is now focusing on investigating fraudulent activity surrounding PPP loans. Some $36 million in PPP loans received by RIAs allegedly violated lending limits, according to a recent study, which found that nearly a quarter of SEC-registered investment advisers eligible for PPP funds – 2,999 out of 12,643 – received loans totaling more than $590 million.

According to the report, advisors received loans well in excess of payroll needs, and advisors abusing the program were also “significantly more likely” to disclose a history of fraud and/or regulatory misconduct, according to the report. .

Corey Taylor to Make Slipknot’s Album, Movie & Homecoming in 2022

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A new year doesn’t mean the schedule suddenly eases up for Corey Taylor. In fact, the ubiquitous rocker detailed his sweeping plans for 2022 in a new tweet.

“Big Shit Coming, 2022 edition,” Taylor said, before listing “ZvN updates, the SK album, secret ‘coming home’ plans etc. Stay tuned!” and Franklin D. Roosevelt’s hilarious quote “Hold On To Your Butts”.

Slipknot’s news shouldn’t come as a surprise, as the band have spoken frequently about their work on a new album over the past few months. Last month, Taylor himself revealed that he had four songs left to sing for the new album and that things were on track for a spring 2022 release. The band also gave their first glimpse of the new music. last fall with the release of “The Chapeltown Rag”.

“The goal is to get it ready for mixing in January so that we can release it two or three months later,” Taylor told HardDrive Radio host Lou Brutus.

As for Zombie vs. Ninja, the Slipknot frontman started talking about his immersion in the world of cinema early last year. After announcing in February that he had completed work on five film scripts, in March the singer began sharing details about Zombie vs. Ninja that seemed to be his main goal.

Speaking to Frightmare HQ, Taylor called the film a “gonzo horror comedy,” adding, “It’s the kind of fucking movie I’ve always loved, and it’s the kind of movie that I always wanted to do. “

As for Taylor’s “secret comeback,” that appears to be the least defined project in his update, but one would assume Taylor would be planning something in Iowa for later this year. As for what it could be, Taylor could involve any of his bands, his solo work or even his books and film work. Stay tuned to see how this one plays out.

Slipknot, all songs ranked

Golden Globes 2022: Disney’s musical drama Encanto wins best film award in animation category

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The musical drama “Encanto” won the Golden Globe 2022 in the category Best Animated Feature. The announcement was made on the official Golden Globe Awards Twitter account on Monday morning. “Animation domination! Congratulations @Encantomovie for receiving the #GoldenGlobe for best animated film,” the tweet read. Golden Globes 2022: West Side Story, Succession, The Power of the Dog Wins Big; Check out the full list of winners for the 79th edition of the awards here.

Based on the magical life of the Madrigals family where each child is endowed with a unique magical power, the musical adventure film tells the story of the family surviving in the face of a cruel plot that threatens the very magic that makes them specials. Golden Globes 2022: Ariana DeBose wins Best Supporting Actress for her role in Steven Spielberg’s West Side Story.

The Golden Globe Awards did not air on NBC this time around, following controversy surrounding diversity issues involving the Hollywood Foreign Press Association. As a result, the ceremony is taking place online.

(This is an unedited, auto-generated story from the Syndicated News Feed, the staff at LatestLY may not have edited or edited the body of the content)

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Chen wins 6th consecutive U.S. figure skating championship

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NASHVILLE, Tennessee. – Nathan Chen had pulled off some of figure skating’s toughest jumps, soaring through the air with a dizzying array of quads and flawlessly pulling together incredible combinations that left the crowd begging for more.

Numbers that he would face in a simple sequence of steps.

It didn’t matter, however. A mistake either on one of his four quadruple jumps. Chen was much better than everyone else at the U.S. figure skating championships on Sunday, winning the free skate with 212.63 points and 328.01 points overall – good for his sixth consecutive title with nearly 26 points off the prodigy of 17 years Ilia Malinin.

“Stupid things happen all the time. Should I expect this? Probably not, ”Chen said with a smile and a shrug. “It was a silly little moment. I just got wrapped up in this moment and lost my footing. It’s like that. Make sure I don’t do it again.

Chen’s six titles are the most important for a male skater since Todd Eldredge won his sixth in 2002, and he’s the first to win six in a row since two-time Olympic champion Dick Button won seven in a row. sharp in the 1940s and 1950s.

A d

Vincent Zhou had an exceptional short program with a disastrous free skate on Sunday, barely edging Jason Brown for third place and questioning his place on the US squad for Beijing.

It has been a remarkable four-year run for Chen, 22, since a terribly poor short program at the Pyeongchang Games cost him a chance to win an Olympic medal. Chen won 14 back-to-back events, from national titles to the world championships and everything in between, before losing to Zhou at Skate America in October.

It turned out to be a blip: Chen won Skate Canada the following week.

He stressed he was ready for Beijing when he broke his own national record in the short program, a return to his “La Bohème” program from a few years ago which featured a pair of soaring quads and scored 115.39 points.

Then Chen put his preparation in all CAPS with his performance in the free skate.

Dressed in a costume adorned with a supernova, Chen took the music of “Rocketman” to another level with a score that broke his own Grand Prix record this season of 307.18 points. And he’s topped the 322.36 points his biggest rival in Beijing, two-time Olympic champion Yuzuru Hanyu, scored when he won the Japanese national title last month.

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Malinin, whose parents both skated for Uzbekistan at the Olympics, had a three-point lead after the short program over longtime fan favorite Jason Brown, whose odyssey goes to Nashville – five flights canceled , four airline changes, three airports, two countries and around 33 hours of travel – made him a winner regardless of his performance.

Malinin, the self-proclaimed “quad god”, hit a huge quad lutz opening and a quad toe loop to set the tone for his program. He also hit a quad salchow later in the performance to finish second with 302.48 points.

“Even though I trained for this moment and knew I could do my best, I was amazed at how easily it all came together,” said Malinin. moment.”

Brown gave everything to be part of the Olympic team.

Known far more for his artistry than his ability to jump, Brown stumbled upon a first quad salchow during his spellbinding music program from “Schindler’s List”. But he rallied to clinch the rest of his jumps, including two triple axles, to finish with 289.78 points – minus one point behind Zhou’s heavy-duty quad schedule.

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“It’s been really tough getting here, and I don’t mean that in the last 72 hours,” Brown said. “The last two years in particular have been really tough times. And I just did my best to stay grounded, focus on what I can control, and I finally had that moment of release when the program was over.

Zhou, who finished sixth at the 2018 Games, also showcased at the national championships the gliding quads it will take to challenge Hanyu and the rest of the high-flying Japanese team for the top step of the podium in Beijing. He just didn’t land enough.

Zhou got out on his first lutz quad, hit his next three quads, then collapsed with a fall on his second lutz quad – a jump he kept falling on during warm-ups. He also fell during his triple axel-double toe loop combo later in the program.

“The simplest, most honest answer is that I was so nervous my body froze on top of me,” Zhou said.

While on the team, Zhou is one of the few American athletes to have family in the Olympic crowd. Foreign fans are not allowed to attend, but Chinese citizens will be allowed to purchase tickets. Zhou’s parents, both computer scientists from Silicon Valley, left Beijing when he was young, and his four grandparents still live in China.

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Yaroslav Paniot also had a bad patch. The young skater rocked the crowd with his Elvis-inspired free skate, then also won their admiration when he bravely tried to continue following a problem with his skate. He eventually had to withdraw.

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More AP Winter Olympics: https://apnews.com/hub/winter-olympics and https://twitter.com/AP_Sports

Copyright 2022 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.


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Live events in 2022 to look forward to

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Making plans to attend shows is not what it used to be. I’m writing this a few days before the end of 2021 and just received notice of a new level of COVID security screening. In order to attend performances during the Prototype Contemporary Opera Festival which takes place in mid-January in New York City, members of the public will not only be required to present proof of vaccination as well as photo identification, but also negative PCR results taken within 72 hours of the curtain or a negative rapid test administered within 12 hours.

I had wanted to discover this festival for a long time and I thought I would finally do it this year. It would be my first time traveling to listen to music in almost two years. Now I’m wondering how and where to plan the testing and reconsider taking the trip.

Hopefully, we do not get to the point where such measures become necessary in the capital region. As I sketched out my calendar of musical events for the next few months, I am aware that everything will stay in motion, whether it is the availability of scheduled artists or admission protocols. As we enter a third year of complications from COVID, wearing masks seems a bit easy.

With the caveat to always check the sites for updates, here’s a look at some great things to come during the winter season. Rather than going through dates chronologically, I take a conversational approach. So let’s talk classic.

Always thoughtful and impressive pianist Jeremy Denk appears to be a local favorite and he will be here twice in a four week span. Denk was the last artist to perform for Capital Region Classical at Union College before the Covid shutdowns and he returns on Sunday February 20, with the same schedule, the first complete book of Bach’s Well-Tempered Clavier. If you want to try an immersive Bach experience, now is your chance. I don’t call it a marathon, because unlike the violin and cello recitals that took place in late fall, it’s only about two hours of music.

Denk returns on Thursday March 17th with Roy’s Violins in a Troy Chromatics presentation at Troy Savings Bank Music Hall. The program traces the progression of Western musical practice from Hildegarde de Bingen in the 11th century to the Renaissance (Byrd, Monteverdi) and up to the classical era (Purcell, Bach). Several of the works will be Denk’s own arrangements for string orchestra and he will also be ‘conducting’ the ensemble, which is another way of saying that he will do some conducting.

If arrangement and direction were not enough, this Renaissance artist also wrote a memoir, “Every Good Boy Does Fine,” the title cleverly refers to the mnemonic used to teach children the five lines of the treble clef. . I’m ready to read on and find out if Denk is really a “good boy”. Scheduled for February by Penguin, the book promises to be an insightful and revealing look at his upbringing, training, and philosophy.

From Troy Chromatics also comes another chamber orchestra with a prominent soloist. On Monday February 18, also at Troy Music Hall, the Orpheus Chamber Orchestra returns with star jazz trumpeter Arturo Sandoval. With the exception of Gershwin’s Cuban Overture (a nod to Sandoval’s homeland), this is an all-Latin program with Sandoval performing his own music as well as new works and arrangements.

Speaking of Americans of Cuban descent, the Albany Symphony Orchestra’s March 26-27 program at Troy Music Hall opens with “Strides,” Tania Leon’s recent Pulitzer Prize winning piece. Leon was born in Havana and immigrated to the United States in the late 1960s. She was founding musical director of the Dance Theater of Harlem and musical director of “The Wiz” on Broadway. Over the decades that followed, she held many prestigious positions and collaborated with luminaries from all corners of the art world.

“Strides” was commissioned by the New York Philharmonic as part of a series of new works by women celebrating the centenary of the 19th Amendment. With ASO, she was part of the Spirituals Project and her piece from that effort was included in the orchestra’s debut at Carnegie Hall in 2011. Leon is such a lively and vital presence that he is perhaps worth the effort. arrive an hour early to hear her conversing with music director David Alan Miller.

My column in remembrance of Stephen Sondheim was so well received that I include a recommendation from the theater world. The Schenectady Light Opera Company presents seven performances of “Merrily We Roll Along”, from March 18 to 27. “Merrily” is perhaps Sondheim’s most famous flop, with just 16 performances after it opened on Broadway in 1981. The plot, or at least the way it’s presented, is unorthodox as it goes back in time. . But the score contains real gems, notably “Not a Day Goes By”, “Our Time” and “Opening Doors”, the latter about the difficulties of the writing and production process. Sondheim said it was probably the most autobiographical song of his long career.

And more Sondheim is on the way this summer, thanks to Opera Saratoga. The Company’s recently announced 2022 season features “Sweeney Todd” in the SPAC Amphitheater on June 29-30. Another barber, “Barber of Seville” by Rossini, will be in Proctors on July 8th and 10th. In total, the summer season includes three operas. and four special events at venues across the region. See all the details on: operasaratoga.org

Joseph Dalton is a freelance writer based in Troy.

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Pianist Pete Malinverni releases new album

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After spending four decades on the New York jazz scene, pianist Pete Malinverni has crossed paths with countless revered artists and left with plenty of stories to tell. But few moments live up to when Malinverni met iconic composer / conductor Leonard Bernstein. The seeds planted at that reunion decades ago are coming to fruition on Malinverni’s mind-boggling new album, On the Town – Pete Malinverni Plays Leonard Bernstein. To be released on January 14, 2022 via Planet Arts Recordings, the album reinvents nine Bernstein favorites, as well as a new Malinverni original written in homage to the composer, for a trio of stars consisting of bassist Ugonna Okegwo and drummer Jeff Hamilton. .

At the time of this fateful encounter, Malinverni was having a regular gig at an upscale restaurant in town. One night, the chic nightclub was chosen as the site for the opening night of Franco Zeffirelli’s production of “Tosca” at the Metropolitan Opera. As Malinverni played a selection of tunes on the piano, Bernstein walked in and the young pianist immediately embarked on the composer’s “Lucky To Be Me”. Bernstein acknowledged the tribute and, after a detour to the men’s restroom (where a friend of Malinverni broke polite society protocols and extolled the virtues of the pianist), spent a considerable part of the evening hanging out around some piano.

Malinverni still remembers the meeting – which included presentations to other party notables, including legendary songwriters Betty Comden and Adolph Green – as “one of the great moments in my musical life.” To this day, he remains touched by Bernstein’s magnetic attraction to musicians of all stature.

“His public image was that of a guy who knew his stuff and was super passionate. But I found out that night that as passionate as he seemed, he was even more so. When I saw him. in the flesh, it was electric. His head slid through the clouds, and the piano seemed sort of a more elated place then and after. “

If that wasn’t enough to inspire him, the story takes another slight turn: Some time later, Malinverni befriends a bartender at one of the nightclubs he performs regularly, including his wife. is Bernstein’s personal chef. The composer had given him a wad of blank papers, which the bartender then offered to Malinverni. The pianist hung on to it for almost thirty years, only to use it to write the arrangements for this recording. “The last arrangement I had to write turned out to use the last piece of staff paper I had left,” recalls Malinverni. “I’m always looking for signs, and it made everything feel good.”

Exploring these brilliant songs with such a talented and intuitive trio was also incredibly good. Malinverni’s first opportunity to pay homage to Bernstein came on the composer’s centenary in 2018, when the pianist was commissioned to arrange several of these pieces for a four-horn ensemble featuring Joe Lovano at Purchase College. , where Malinverni is president of jazz studies. Program. But when the time came to record the music, he decided to reduce the music to a trio setting.

Another bond Malinverni shares with Bernstein is a deep love for New York City. Through his selection of tunes from the composer’s work, Malinverni also made the album a love letter to the metropolis that he has called his home since descending from his hometown of Niagara Falls in 1980. Titles like “New York New York”, which opens the album, and “Lonely Town” make the reference explicit; other tracks are taken from Big Apple-centric shows like “Wonderful Town”, “West Side Story” and “On the Town”.

To learn more about Pete Malinverni, click here.

Stream Over The City – Pete Malinverni plays Leonard Bernstein on SoundCloud now.

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Here we are now: entertain us | Characteristics

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Variety of shows light up northern Michigan’s winter nights
By Ross Boissoneau | January 8, 2022

As the New Year begins, venues across the region are open, but performances are still relatively scarce.

Nonetheless, a number of theatrical and musical performances are taking place this winter in northern Michigan for children of all ages.

Cross the city
Three productions will arrive at Old Town Playhouse in Traverse City through March (and April). The first is Disney’s “Frozen Jr”. Presented by The Young Company, the educational arm of the Old Town Playhouse, it brings the now classic characters of Elsa, Anna, Kristoff, Sven and Olaf – everyone’s favorite snowman (sorry, all of you Frosty fans) to life. . The story incorporates magic, adventure, and humor with a backbone of love and acceptance between very different sisters.

The performance includes all songs from the film and five more from the Broadway production. It takes place from Friday to Sunday, from January 14 to 23.

Director Betsy Willis says the revised version of Rodgers and Hammerstein’s musical “Cinderella” includes all of the original music first heard in the 1965 TV version of the show, plus a few additional songs that add to the lore. history, as the villagers realize that the court king is getting richer at their expense.

The soon-to-be-king prince is unaware that his advisers are embezzling funds until he meets Cinderella, who helps him restore fairness for all.

“There will be a lot of magic on stage for viewers of all ages, and I always capitalize on a script’s humor to keep it entertaining,” Willis said. “The voices are superb, the actors highly skilled and the choreography is lively. “

The cast includes 22 adults and seven young people. The show’s scheduled duration is five weeks, with performances Thursday through Sunday, February 17 through March 19.

The opening on March 31 is “[title of show]”- a musical about two guys writing a musical about two guys writing a musical – which will run for two weekends. This one-act show chronicles its own creation as an entry to the New York Musical Theater Festival. Originally slated to be played last year, Lesley Tye (co-director with husband Tony Bero) says auditions for two of the four roles are Jan.31 and Feb.1.

Tye and Bero’s Mashup Rock & Roll Musical theater group will also be active this winter. “Queer Cabaret” is February 5 at the Grand Traverse Circuit on 14th Street in Traverse City. At press time, this one-night-only show will be a live in-person presentation, though the organization is also recording it and selling virtual tickets.

In the show, the troupe will unveil several new Mashup ideas, giving audiences the chance to vote on what they want to produce in the future – par for the course of the troupe’s imaginative concepts, such as “Scooby Doo Wop” or “Tom Waits for Godot.

“Our slogan is’ How can we be weird? ”Says Tye, who co-founded the organization with Bero. She says given the planned hybrid nature of the presentation, even if the pandemic scuttles plans for an in-person audience, the show will continue. Tickets go on sale January 15.

The City Opera House in downtown Traverse City will continue to host a variety of events. City Opera House executive director Diana Baribeau says she looks forward to the shows, especially two very different shows.

“Personally, I’m torn between ‘Dinosaur World Live’ and Branford Marsalis,” says Baribeau.

As the premier’s huge puppets take the stage on February 4, and versatile saxophonist Marsalis performs his jazz quartet at the COH on February 24, there is much more to choose from. It kicks off Jan. 14 with The Friars, the a cappella subset of the University of Michigan’s Men’s Glee Club. Founded in 1955 by Dr Walter Collins, the Friars entertain with “questionable choreography, bad dad jokes and boy band hits.”

The singer-songwriters of the Interlochen Academy of the Arts perform original works in a variety of styles and genres on February 3.

“Love Will Keep Us Together,” the City Opera House’s sixth annual gala on February 12, will feature performances and entertainment by Broadway talent, food, drink, friends, auction items and all. your favorite love songs – or at least a lot of them – in the annual fundraiser.

Alicia Olatuja focused on contributions from a diverse selection of female songwriters on her second album, Intuition: From the Minds of Women. It occurs on March 3.

And if you’re still looking for theatrical performances, COH is once again sponsoring a bus trip from Broadway Bound to the Wharton Center on the Michigan State University campus: All Aboard March 5 for “Mean Girls.” .

COH will also host the National Writers Series with an appearance on January 21 with Daniel Lieberman and March 24 with Ellen Airgood.

CADILLAC
The theater also lives in Cadillac. The Cadillac Footliters present “Clue” January 14-15 and 21-22 at Cadillac High School.

Joe Baumann, chairman of the board of Footliters (and Wadsworth in “Clue”) says the group chose the piece because so many people are familiar with the concept, whether it’s in the game or in the 1980s movie.

“Not only do people know that, but it’s really, really funny,” he says. “People will have a great time putting their worries aside as these wacky characters understand why they have all been invited to this spooky and well appointed mansion on a dark and stormy night.”

The Footliters made their debut in 1964 and made their home in two locations: the Old Center Theater building in downtown Cadillac, which was destroyed by an electric fire in 1990, and the former First Christian Church, which the Footliters bought in 1992 and sold to a church group in 2004. The organization has since continued to hold performances in a variety of venues while researching a suitable property to call home.

INTERLOCHEN
Interlochen Center for the Arts has resumed live performances, and what better way to start the New Year than with the Bard?

The production of “Romeo and Juliet” by the Dance Division of the Academy of the Arts of Interlochen features the famous score by Sergei Prokofiev and the original choreography by dance director Joseph Morrissey. It will take place from February 11 to 13, just in time for Valentine’s Day.

The Brentano quartet and soprano Dawn Upshaw will perform “Dido Reimagined” on March 11. The quartet teamed up with composer Melinda Wagner and librettist Stephanie Fleischmann for the project, inspired by the famous “Dido’s Lament” from Purcell’s opera Dido and Aeneas.

PETOSKEY
Multi-instrumentalist Dave Bennett will bring his quartet to the Great Lakes Center for the Arts in Bay Harbor, south of Petoskey. The January 15 show will salute the roots of pop, covering music from the Swing era to early rockabilly and country, Elvis Presley, The Beatles and more. Bennett is equally at home on the clarinet, piano, drums and guitar, allowing him and his band to easily change stylistic direction. Versatile Grand Rapids singer Mary Rademacher will open the show.

MANIST
Finally, a combination of live performances and virtual presentations will take place at the Ramsdell Regional Center for the Arts. They start with The January Series. “Listen Learn Discern,” presented by Calvin University, is a 15-day lecture series focusing on a number of topics.

Drummer and singer Fred Knapp brings his jazz quintet to Ramsdell on February 12. Named 2019 Jazz Musician of the Year by the West Michigan Jazz Society, Knapp’s quintet will feature the leader on drums with Michael Dease on trombone, David Rosen on bass, Matthew Fries on piano and Randy Napoleon on guitar. .

The Met Opera Live in HD presents “Rigoletto” by Verdi on January 29, “Ariadne Auf Naxos” by Richard Strauss on March 12 and “Don Carlos” by Verdi on March 26. All of them are broadcast simultaneously on Ramsdell.

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Kakamega musician opens up on Azimio’s performance, without payment – Nairobi News

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A musician who excited a busy political rally graced by dozens of politicians, including presidential rally Raila Odinga, explained how he left the hall empty-handed.

In an interview with a local radio station, Emmanuel Musindi, known for his Leero nor Leero (the day has arrived) however says he enjoyed interacting with the gigantic crowd and was delighted to have played twice at the same event.

“Despite a fight between me and the jokers of the record during the event, who humiliated me and could not listen to my plea, I had the opportunity to welcome ‘Baba (Raila Odinga)’ a once it has happened. Subsequently, the party leader Azimio la Umoja asked me to perform the song again before his speech, which made me very excited, ”he says.

Having received the invitation to perform from ODM communications director Phil Etale, a happy Musindi prepared himself adequately in advance.

However, the Leero The hitman confirms that it was only Elsie Muhanda, the county women’s representative, who brought him home.

“To date, I have not received any other form of appreciation as gratitude for my performance,” he added.

During the rally, Raila Odinga was supported by the elders of Luhya for the presidency of a function organized by the general secretary of COTU, Francis Atwoli.

The function brought together various governors from different counties in Kenya.

Kakamega County Governor Wycliffe Oparanya, Kisii Governor James Ongwae, Charity Ngilu (Kitui), Cornel Rasanga (Siaya), Wilber Ottichilo (Vihiga), Sospeter Ojaamong ‘(Busia) and Professor Anyang’ Nyongo ‘( Kisumu) were present.

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Downtown Colorado Springs kicks off First Friday from 5 p.m. to 9 p.m. with exhibits, live music and more

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COLORADO SPRINGS, Colo. (KKTV) – Downtown Colorado Springs is in full swing Friday with a list of fun events offered free to the public, which take place on the first Friday of every month.

From live music to art exhibitions and special events, there is a variety of things to explore and enjoy. Dozens of local retailers, galleries and nonprofits come together to throw a night out where people can hang out and share art, culture and entertainment.

During the pandemic, many artists and small businesses struggled to survive. Lack of inspiration, lost work opportunities, the struggle for survival, affected many artists during very difficult times.

A reception is being held tonight from 5 p.m. to 8 p.m. at the Alvarez Gallery and Art School, 218 W Colorado Ave, where a group of artists will present an exhibition of works created over the past two years, reflecting their personal experiences of COVID -19 impacting their lives and loved ones.

“Artists provide balance in these times,” says artist-curator Chris Alvarez. “This show is about the art and the artists and how they coped.” The exhibition features works by Michael Baum, Julie Kirkland, Chris Alvarez, Brie Barney and more.

Click on here for more information on Covid-19 events and guidelines.

Copyright 2022 KKTV. All rights reserved.

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Taylor Swift breaks Shania Twain’s country album record – Billboard

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Taylor Swift is now the female artist with the most weeks at No.1 in history of Billboardthe ranking of the best country albums. Swift’s albums have now reached 99 weeks at No. 1 on the charts, beating previous record holder Shania Twain, whose albums spent 97 weeks at the top of the best country album charts.

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Twain took to social media to congratulate Swift on her achievement, writing, “Let’s go girls !!!! Proud of you @ taylorswift13. Historical records are meant to be created and then broken. The relay is intended to be passed on to new generations. Unstoppable young female country artists are [fire emoji] In despite the obstacles #Trail Blazers. “

While Swift is now the female artist with the most weeks at No.1, Garth Brooks holds the all-time record of 169 weeks, followed by Alabama at 125 and Willie Nelson at 106.

In 2006, Swift released her self-titled debut album, which included the singles “Tim McGraw”, “Picture to Burn”, “Our Song” and more and spent 24 weeks at No. 1. With her second album, 2008 Intrepid, Swift had her first two top five hits on the Billboard Hot 100 with “Love Story” (# 4) and “You Belong With Me” (# 2). The album spent 35 weeks at the top of the country album count. She also landed a week at No.1 with her 2008 Beautiful eyes EP. Its success on BillboardThe list of best country albums continued into the 2010s Speak Now (13 weeks at n ° 1) and 2012 Red (who spent 16 weeks atop the leaderboard). With 2014 1989, Swift released their first official pop album and followed with 2017’s Reputation, 2019 Lover and 2020 Folklore and Always. In 2021, Swift returned to the top of the country album charts twice, with her albums re-recorded Without fear (Taylor version) spend three weeks at the top and Red (Taylor version) with seven more weeks (so far).

Twain got his first participation on BillboardTop Country Albums Chart with their self-titled 1993 album followed by their 1995 hit album The woman in me, which spent 29 weeks at No. 1 on the Best Country Albums chart and included hits such as “Any Man of Mine”, “Whose Bed Have Your Boots Been Under?” and the title song. 1997 come here, led by hits “You’re Still the One”, “From This Moment On” and “That Don’t Impress Me Much”, spent 50 weeks at # 1 on the Best Country Albums chart and became 20x certified multi-platinum by the Recording Industry Association of America. His 2002 album At the top! spent six weeks directing Billboard‘s Top Country Albums chart, while its 2004 The biggest hits the album spent 11 weeks at the top of the charts. His most recent achievement, Now, spent a week at No.1 in October 2017.


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2021 BroadwayWorld Berkshires Awards winners announced

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The winners have been announced for the 2021 BroadwayWorld Berkshires Awards. The 2021 Regional Awards honor productions that had their first performance between October 1, 2020 and September 30, 2021.

Streaming productions were eligible this year in categories designated as such. This year, BroadwayWorld also allowed audiences to vote for the theaters they are most eager to return to and the productions they are most eager to see.

The BroadwayWorld Regional Awards are the biggest theater audience awards, attended by more than 100 cities from around the world.

Want to be the first to know about the 2022 BroadwayWorld Regional Awards? Sign up for our local newsletter here.

2021 BroadwayWorld Berkshires Award Winners

Best Choreography in a Play or Musical
Dyane Harvey – BECOMING OTHELLO: A BLACK GIRL’S JOURNEY – Shakespeare & Company

Best Costume Design for a Play or Musical
Gail Cooper Hecht – BECOMING OTHELLO: A BLACK GIRL’S JOURNEY – Shakespeare & Company

Best Direction in a Musical
Joshua Bergasse – A CROSSING: A MUSICAL DANCE – Barrington Theater Company

Best direction of a part
Tina Packer – BECOMING OTHELLO: A BLACK GIRL’S JOURNEY – Shakespeare & Company

Best direction of a flow
Julianne Boyd / Matthew Penn – 10 X10 NEW GAME FESTIVAL – Barrington Theater Company

Better Editing of a Stream
Joe Aidonidis – Aaron Tveit LIVE – Barrington Theater Company

Best lighting design for a play or musical
Andrew Gmoser – THE MAN FROM LA MANCHA – Mac Haydn

Best Musical
A CROSSING: A MUSICAL DANCE – Barrington Theater Company

Best Performer in a Musical
Felicia Curry – NINA SIMONE: FOUR WOMEN – Berkshire Theater Group

Best Performer in a Play
Debra Ann Byrd – BECOMING OTHELLO: A BLACK GIRL’S JOURNEY – Shakespeare & Company

Best Performer in a Streaming Musical
Alan H. Green – HOLIDAY GETAWAY – Barrington Stage Co

Best Performer in a Streaming Game
Harriet Harris – ELEANOR – Barrington Stage Co

Best game
BECOMING OTHELLO: A BLACK GIRL’S JOURNEY – Shakespeare & Company

Best production of the year (in person)
BECOMING OTHELLO: A BLACK GIRL’S JOURNEY – Shakespeare & Company

Best Stage Design for a Play or Musical
Devon Drohan – BECOMING OTHELLO: A BLACK GIRL’S JOURNEY – Shakespeare & Company

Best Sound Design for a Play or Musical
David D. Wright – BECOMING OTHELLO: A BLACK GIRL’S JOURNEY – Shakespeare & Company

Best streaming playback
ELEANOR – STAGE B ARRINGTON

Best Supporting Performer in a Musical
Ashley Delane Burger – APPLE REINETTE – Mac Hadyn

Best Supporting Actor in a Play
Reed Birney – CHESTER BAILEY – Barrington Theater Company

Best Supporting Performer in a Streaming Game
Matt DaSilva – TAKE YOUR ROSE SUCKA HANDS AWAY AND MEET ME – Barrington Theater Company

Most anticipated upcoming production of a musical
NOL BLANC D’Irving Berlin – Berkshire Theater Group

Most anticipated upcoming production of a play
THE CHAIRS – Shakespeare & Company

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Lizzie Borden’s musical gets an Australian overhaul

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The musicals were about as violent as grazing cows. West Side Story changed that, so Sweeney todd and American psychopath really opened the gates of blood. Now Lizzie comes to town. Where Todd carefully cut his victims’ throats with a razor, the real Lizzie Borden used an ax to polish her father and stepmother in Massachusetts in 1892. The musical, written by Steven Cheslik-deMeyer, Tim Maner and Alan Stevens Hewitt, wonders if it was justified.

Maeve Marsden, the director of the Sydney production, likes how the show’s moral compass is blurred in relation to its four characters: Lizzie, her sister, her maid, and her neighbor.

The cast and producers of Lizzie. On the back: Stefanie Caccamo, Marissa Saroca and musical director Victoria Falconer. Foreground: Ali Calder, director Maeve Marsden, Sarah Ward, director of the Ghenoa Gela movement. Credit:James brickwood

“One of the reasons the show appealed to me is that musicals often have clear heroes and villains,” Marsden explains, “and this one doesn’t.” Even the love affair between Lizzie and her neighbor Alice is “unsolved and murky.”

Marsden shifted the setting to contemporary Australia, in part because, with the text’s references to the sweltering heat of summer, she felt that this “gossip, small town, hot and dirty story” was a good fit. here. Add the songs sung with Australian accents, and she hopes to create an oz-gothic work in the tradition of Wake up in fear, Mystery Route and Wolf creek.

Music director Victoria Falconer and sound designer Jarrad Payne mixed grungy Riot Girl-style music with oppressive heat-inferring soundscapes, which, in turn, play on the traumatized psyche at the center of the story.

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“So in the first half,” Marsden explains, “as we deal with Lizzie’s motivation for committing the murder and her backstory of abuse and mistreatment, it sounds really electric and metallic, and a lot drones, which is not really in the original score, but relates to the cicadas and the hum of an electric fence.

Then, in the second half, when Lizzie is “freed” by the murders, the music gets wilder.

Marsden wanted neither the cast – of Marissa Sarocca (Lizzie), Stefanie Caccamo (Alice), Sarah Ward (the maid) and Ali Calder (the sister) – nor the group conforming to the usual precision of musical theater in rendering songs. .

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Forecasts 2022: Los Angeles musical artists to watch with Junior Mesa

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Photo by Alex Baxley

Continuing the success of his EP, Freak show, local artist Junior Mesa ended 2021 with more visuals of his project, a dizzying pop psyche filled with existential questions and self-discovery. As a deeply personal and conceptual work, the five-track EP lifts Mesa’s music to new heights as he writes about his struggles with the recent diagnosis of epilepsy, the effect it has had on his. life and career in making music and how to cope with feeling cut off from your creative endeavors.

best of the in music song groups

With highly imaginative and whimsical, although sometimes a little dark, music videos, Mesa taps into emotions and experiences that are difficult to explain in any straightforward way. Instead, Mesa finds a way to create abstract, psychedelic visuals that more accurately describe the status he’s in.

A project firmly rooted in healing, Mesa has taken all the hardships over the past few years to revive herself as an artist and individual, while also drawing inspiration from revolutionary artists of the past. Even though Mesa has had to struggle to return to writing and recording, 2021 has been a year of tremendous growth and musical art that is sure to continue into the next year.

Los Angeles brings together artists to follow in 2022

With his recent impressive show at The Glass House in Pomona as part of Viva Pomona, Junior Mesa then opens his eyes to a north american tour alongside Dublin-based group Inhaler from March 2022 with back-to-back dates in LA March 31 and April 1 at Belasco downtown. Additional dates in California include San Diego and San Francisco.

Words: Patti sanchez

To learn more about Junior Mesa, be sure to visit his website and follow him on Instagram and Twitter.

To see more of our featured artists in 2022 and / or Grimy Goods’ artist predictions for previous years, visit our Forecasts page for the full list of talent.

Best songs of the year 2021
best new mobile songs
submit your new song
influential black women singers



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Album review: Emma Ruth Rundle – Engine of Hell

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Album review: Emma Ruth Rundle - Engine of Hell

A visceral and raw mediation on the trauma

A journey of sobriety. A divorce. A move from Kentucky to the West Coast. These are just a few of the things Emma Ruth Rundle went through when recording her last outing, Hell engine. She obviously isn’t kidding when she call the registration process an “emotional journey … an upheaval of [her] life, [her] way of life.”

Hell engine marks a new bare direction for Rundle, who released a dense, muddy mud collaborative project with the catastrophic metal group Thou last year. This record is quite the opposite: a calm and isolated collection of poems set to music with only piano, an acoustic guitar and an occasional violin. For an album largely focused on the singer’s trauma, that certainly seems appropriate.

Gross production (or “anti-production”, as Rundle calls it) is the album’s biggest print run and the driving force behind its sense of intimacy and catharsis. Her voice sounds incredibly crisp as if you’re there in the room with her, and every excruciating little detail is allowed to bubble to the surface – her brief breaths, her fingers sliding across the strings of the guitar, the vibe of the studio.

It’s hard to limit yourself to a few key moments, but a good place to start would be the very beginning of the opening track, “Return,” when a rich, sonorous piano chord rings out and barely attracts attention. a second in the album. The next track, “Blooms of Oblivion”, continues with the high pitched sound of the guitar strings buzzing and a noticeable quivering in Rundle’s voice. Later on, on “Citadel”, her powerful strumming and quick chord changes sound so textured they’ll have you tingle at your fingertips as if you can feel the strings of the guitar with it.

Details like these are in fact painful sometimes, serving as sonic reminders of the relentless trauma that Rundle sings about – the auditory equivalent of a scab that doesn’t heal, stinging every now and then just to remind you that it’s still there. His production helps achieve that effect even more than his lyrics, which, while not bad at all, are sometimes so cryptic as to risk undermining viscerality.

Lines like “your ribbon cut from all fates / and a hellhound seeking alms” or “Balancing in scents, anointed in blue / Orphans can smile for an afternoon” are admirable. (you have to like the alliteration in the old one), but they are also too flowery to signify rawness. Then again, even this works to the benefit of the album, by contextualizing and giving extra weight to the harsher lyrics, which are used sparingly, such as “at the methadone clinic we waited” and ” we move the body now ”, which refers to the death of a family member as a child.

Rundle is open on the precedence of his words took precedence over the music during the recording process. “The value of songs is the lyrics, the content and the emotion,” she said. “The instrumentation should only be there to support this and not get in the way.” It may sound unappealing to some, but the album rewards repeated listening with melodies that eventually come out of calm. The biggest earworm is “Razor’s Edge,” a major-key scintillating acoustic guitar song hooked by a fragile vocal melody sung entirely in a near-whisper.

Hell engine is a visceral mediation of trauma with elaborate lyrics, sparse instrumentation and some of the best productions of the year, effectively creating a dark, secluded atmosphere that feels both distant and immediate. And before you assume that Rundle spends the entire 40 minutes of execution feeling sorry for himself, unable to put his pain behind it, take note of the last line of the album: “And now we’re free.”


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Sara Bareilles ready for Roundabout Theater Company gala honoring Chita Rivera | Broadway Buzz

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Sara Bareilles
(Photo by Emilio Madrid for Broadway.com)

Tony nominated Sara Bareilles to honor Broadway legend Chita Rivera at the previously announced Roundabout Theater Company 2022 Paint the city! gala. Bareilles will perform a concert created exclusively for the occasion, which will take place on March 7 at the Ziegfield Ballroom in New York.

Rivera is slated to receive the Jason Robards Award for Excellence in Theater, named after the late Jason Robards for his long-standing relationship with the theater company and his memorable stage work. The award honors those who have made an indelible impact on theater and the Roundabout Theater Company.

All the benefits of Paint the city! will benefit the Roundabout Theater Company’s myriad theatrical and educational programs and support efforts to amplify and strengthen the company’s commitment to equity, diversity and inclusion, both on and off their scenes.

Le Bareille scored Waitress, the musical based on the 2007 film of the same name, recently wrapped up its second Broadway tour. It was recently announced that Bareilles will be playing Baker’s Wife in the upcoming New York City Center Encores! production of In the woods.

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Background Music Market 2022 Global Outlook and Business Scenario – Auracle Sound, PlayNetwork, Soundtrack Your Brand – Industrial IT

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The most recent Statistical Survey Report on the Background Music Market involves a comprehensive assessment of the Background Music industry, presenting the variables that will affect the revenue of the business during the evaluated course of events. In addition, it gives an expressive framework of the possibilities open in the sub-promotions close to the measures to take advantage of something almost identical.

The analyst presents a detailed picture of the market through the study, synthesis and summation of data from multiple sources by analysis of key parameters. Our Background Music Market report covers the following areas:

  • Sizing the background music market
  • Background Music Market Forecast
  • Industry Analysis of the Background Music Market

Competitive analysis:

The Background Music market report comprises information on product launches, sustainability, and outlook for major vendors, including: (Auracle Sound, PlayNetwork, Soundtrack Your Brand, Xenon Music Media, Brandtrack, Soundjack, Mood Media, Jukeboxy, Imagesound, SiriusXM for Business, TouchTunes, NSM Music., Cloud Cover Music, SoundMachine, Easy on Hold, Express Melody, Qsic, Open Ear Music, Kasimu, Almotech, Soundreef, Heartbeats International, Custom Channels, Rockbot, Pandora for Business, Usen Corporation, Sunflower Music, Jamendo Listening, CSI Music, StorePlay)

Sample request with full table of contents and figures and graphics @ https://crediblemarkets.com/sample-request/background-music-market-448403?utm_source=Sneha&utm_medium=SatPR

The report includes Competitive Analysis, a proprietary tool to analyze and assess the position of companies based on their Industry Position Score and Market Performance Score. The tool uses various factors to categorize players into four categories. Some of these factors considered for the analysis are financial performance over the past 3 years, growth strategies, innovation score, new product launches, investments, market share growth, etc.

Market segmentation

The Background Music market is divided by type and by application for the period 2021-2028, the growth among the segments provides accurate tips and sales forecast by type and by application in terms of volume and value. This analysis can help you grow your business by targeting qualified niche markets.

By types

Music streaming
AV system equipment

By applications

Retail stores
Cafes and restaurants
Leisure & Hospitality
Public organizations
Others

Regional analysis of the global background music market

All the regional segmentation has been studied on the basis of recent and future trends, and the market is forecast throughout the forecast period. The countries covered in the regional analysis of the Global Background Music Market report are North America United States, Canada and Mexico, Germany, France, United Kingdom, Russia, Italy, Spain, Turkey, the Netherlands, Switzerland, Belgium and the rest of Europe in Europe, Singapore, Malaysia, Australia, Thailand, Indonesia, Philippines, China, Japan, India, Korea South, Rest of Asia-Pacific (APAC) in Asia-Pacific (APAC), Saudi Arabia, United Arab Emirates, South Africa, Egypt, Israel, Rest of Middle East and Africa ( MEA) being part of the Middle East and Africa (MEA), and Argentina, Brazil and the rest of South America being part of South America.

Direct purchase this market research report now @ https://crediblemarkets.com/reports/purchase/background-music-market-448403?license_type=single_user;utm_source=Sneha&utm_medium=SatPR

Main points covered by the table of contents:

To present: Besides a detailed overview of the Global Background Music Market, this segment provides an overview of the report to give insight into the nature and substance of the review study.

Analysis of the main players’ strategies: Market players can use this analysis to gain competitive advantage over their competitors in the Background Music market.

Study on the main market trends: This part of the report offers a more meaningful assessment of recent and future examples of the market.

Market Forecast: Buyers of the report will tackle accurate and approved valuations of all market sizes in terms of value and volume. The report further gives usage, creation, offerings, and various conjectures for the Background Music market.

Analysis of local growth: All critical regions and countries have been covered in the report. Neighborhood review will help uplift players to exploit rejected common business areas, prepare express philosophies for target regions, and consider improving each regional market.

Segment analysis: Report gives precise and solid guesses about the share of the pie of significant portions of the Background Music market. Market members can use this review to pinpoint key interests in key development pockets of the market.

Do you have a specific question or requirement? Ask our industry expert @ https://crediblemarkets.com/enquire-request/background-music-market-448403?utm_source=Sneha&utm_medium=SatPR

Key questions answered in the report:

  • What will be the rate of development of the Background Music market?
  • What are the key factors driving the global Background Music market?
  • Who are the main manufacturers in the market?
  • What are the market openings, the market risks and the main lines of the market?
  • What are sales, revenue, and price analysis of the major manufacturers of the Background Music market?
  • Who are the distributors, traders and resellers of the Background Music market?
  • What are the Background Music market opportunities and threats faced by the vendors of the global Background Music industries?
  • What is Offerings, Revenue, and Value Review by Market Types and Uses?
  • What is the Review of Transactions, Revenue and Value by Business Line?

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Credible Markets is a new age market research company with a firm grip on the pulse of global markets. Credible Markets has become a reliable source for the market research needs of companies in a rapid period of time. We have worked with leading market information publishers and our reporting pool coverage spans all key industry verticals and thousands of micro markets. The massive repository allows our clients to choose from recently published reports from a range of publishers who also provide in-depth regional and national analysis. Plus, pre-booked research reports are some of our best deals.

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Portland Music Month features massive lineup of local shows while raising money for independent artists – Blogtown

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Redray Frazier is just one of Portland’s 100+ Headlining Acts of Music Month. Redray Frazier

Portland Music Month is a new effort by local nonprofit Portland Music to kick off the musical new year, create resources for independent musicians, and bring live music fans back to the city’s charming historic (and new) venues. The festival offers an impressive lineup of over 100 acts over 31 days, with one of the main goals being to raise money for the Portland artist community in the form of its Independent Musicians Empowerment Scholarship, designed to help independent artists pay for a long list of necessities such as studio time, producer work, touring funds, merchandise, and more.

With a multitude of shows in the distinguished halls of various sizes of Portland: Polaris Hall, Kelly’s Olympian, Crystal Ballroom, The Old Church, The 1905, White Eagle, Alberta Street Pub, Mississippi Studios, Star Theater, Dante’s, Doug Fir, Holocene , Mississippi Pizza & Atlantis Lounge and Stage 722 – $ 1 from each show will go towards the aforementioned grant. Attending any of the shows listed, posting recaps, or using the hashtag #PDXMM also allows you to enter a raffle to win some shit, like amps, hi-fi earplugs, gift certificates for 5 star guitars, and more. Consult the complete list of shows hosted by local bookers, and read on to hear about the first show in the lineup, which features loyal artist Redray Frazier this Tuesday.

Redray Frazier & Ezra Holbrook
(Tuesday January 4, Alberta Street Pub)

Portland-based singer-songwriter / musician Redray Frazier is one of those seasoned artists that our city is fortunate enough to be able to boast about and to see regularly live.

As the son of a Baptist minister and a classically trained singer, Frazier made his musical debut singing gospel in a New Jersey church choir. In 1989, Frazier really started to cut his teeth professionally by joining pop / R & B duo The Brat Pack, and years later, quartet The Funky Poets. Since then, Frazier has acquired much bigger looks, playing guitar in David Byrne’s touring band and opening for artists such as Blues Traveler, as well as the great Lenny Kravitz.

In 2015, the singer-songwriter released a funky and soulful six-track EP, Blood in the water, featuring standout songs like its title track, the rock “Follow Me”, the epic soul of “Ain’t No Way” and the soulful guitar solo on the dark track “Like Rain”. After that, the artist took a five-year recording hiatus, but continued to perform at various clubs around Portland and beyond. Frazier has created a sound that often pays homage to 60s and 70s R&B, while infusing elements of rock and hip-hop. The artist’s voice tends to be somewhat low-key but elegant, edgy and sometimes reminiscent of Lenny Kravitz.

Last spring, Frazier released his longest-running first single, titled “Better man.” Written while traveling and was unable to connect with his romantic partner, the new single is a love song recorded with the highly accomplished musician / producer / brother Paul Frazier. The track also includes an additional guitar by Marlon Graves, collaborator of Cher and Herbie Hancock. Of course, the song signals an upcoming project by Frazier (who is currently unnamed), and seeing the artist live provides a delicious opportunity to get a taste of some of the other unreleased tracks. Watch the video for “Better Man”:

While it’s not uncommon for the smoky, roots-voiced singer to perform at the Alberta Street Pub, this particular show will see Frazier headlining a super solid Bill, while also performing alongside a multi-instrumentalist / transplant from LA to Portland Ezra Holbrook from the In Music We Trust label. (The two artists are actually quite familiar Play together at the Alberta Street Pub too.) In support of the bill, an excellent American rock / blues singer Sarah the King, and moving songwriter Luminous raven (FKA Idea the Artist). And remember, $ 1 from each ticket will go directly to Music Portland’s Musicians Empowerment Grant for Portland area artists. Tickets are only available at the door.

Tuesday, Jan. 4, 6 p.m., Alberta Street Pub, 1036 NE Alberta, $ 15


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Usain Bolt “working on secret second album” after retiring from sprinting

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‘Music is only part of me’: Usain Bolt ‘working on secret second album’ after retiring from sprinting and giving up on dream of becoming a professional footballer










Usain Bolt is reportedly working on a secret second album, following his retirement from sprinting and a short-lived attempt to become a footballer.

The eight-time Olympic gold medalist, 35, has turned fully into music and is working on a sequel to his album Country Yutes, released last September, reports The Sun.

Addressing the publication, he said: “Music is only part of me. During the lockdown I wasn’t doing much so I thought I could take the opportunity to get into music because it’s something that I love to do.

Running track on musical tracks: Usain Bolt reportedly working on secret second album, after retiring from the sport

“For me, the album we made was just to show people we were serious. When we started people thought I was kidding and bored of doing nothing, but I wanted to let them know. that I was serious.

“I wanted to do appropriate work and disseminate it. Now that we’ve done that, people are looking to work with us, so I’m going to be doing a lot more this year.

Usain also added that he wanted to collaborate with other artists in the UK and had already contacted several of them.

The father of three’s debut record helped give him his first Billboard Top 10 on their reggae album charts.

New album: The Sun reports that the eight-time Olympic gold medalist, 35, has turned fully into music, and is working on a sequel to his album Country Yutes, released last September

New album: The Sun reports that the eight-time Olympic gold medalist, 35, has turned fully into music, and is working on a sequel to his album Country Yutes, released last September

He also previously produced three dancehall EPs in 2019, including Immortal Riddim and Clockwork Riddim.

Other efforts include two appearances for Australian football club Central Coast Mariners, with Bolt opting to leave after just eight weeks despite being offered an open-ended contract.

In an exclusive interview with MailOnline earlier this month, Usain admitted that he always strives for perfection in everything he does – and right now it’s being a dad and becoming a successful music producer. .

Other efforts include two appearances for Australian football club Central Coast Mariners, with Bolt opting to leave after just eight weeks despite being offered an open-ended contract (pictured in 2018)

Other efforts include two appearances for Australian football club Central Coast Mariners, with Bolt opting to leave after just eight weeks despite being offered an open-ended contract (pictured in 2018)

“I’m my biggest critic”: Usain admits he always strives for perfection in everything he does – and right now it’s being a dad and becoming a successful music producer (pictured in 2016)

He said: “It’s really hard, but I started music and it’s a new challenge for me. I have a family now, so it’s a challenge for me.

“I thought about playing the part but I don’t think it was for me. I’m more into music and started producing music, what I wanted to do for myself was directing. what’s taking my life right now.

“I released a Country Yutes album. I did the intro so you could hear my voice there, but I produced the album. ‘

In the same interview, Usain, who is the father of one-year-old Olympia Lightning and six-month-old twins Thunder and Saint Leo with partner Kasi Bennett, 31, confirmed he was “done” when he s was having more babies because her hands were well and truly full.

He said, ‘It’s me, I’m done – I don’t want it now. Being a dad keeps me busy, but I wouldn’t say in good shape. It keeps me busy and my hands are always full.

“Having twins is not as fun as it is said! I think when they get older but when they are young not so much. I can’t wait to see them grow up.

“I had my first child locked out, it was good because I spent a lot of quality time and helped out and it was my first experience being a dad, so it was cool. ”

“My hands are full”: Usain, who is the father of Olympia Lightning (pictured), and six-month-old twins Thunder and Saint Leo, confirmed he was “done” when it came to having d ‘other babies

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From Bob Dylan to Harry Styles, here are some of the stars who have marked the history of the Troubadour

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By Foren Clark, CNN

The Troubadour, an iconic West Hollywood concert hall, doesn’t need much of an introduction. Since the club opened in 1957, music superstars have launched their careers and presented future best-selling albums to the world by performing in front of their intimate crowds.

The club became known for training new talent in the late ’60s and’ 70s (it was instrumental in the careers of James Taylor, Joni Mitchell and Tom Waits, among others) and is today a vital milestone. on the way to musical stardom.

“The Troubadour was where everyone would hang out and get noticed. You wanted to make yourself known to the recording community in general, you go to the Troubadour, you play an open mic evening. Linda Ronstadt recalled in the CNN movie “Linda Ronstadt: The Sound of My Voice”.

Here are some of the greats who took to the stage at the Troubadour:

Bob dylan

The Troubadour was originally conceived as a club for singer-songwriters, or “modern day troubadours,” as founder Doug Weston called them. The club’s status as a kingmaker has been cemented over the years by the talent discovered there.

Performing in front of an audience of fellow musicians and music directors, artists including Billy Joel, Tom Waits, Joni Mitchell, Linda Rondstadt and Nina Simone pleaded for fame. One of the first notable singer-songwriters to step onto the Troubadour stage early in his career was Bob Dylan.

He played an impromptu jam session with a local band at a small staff-only concert in 1964, according to the Troubadour. Dylan went on to become one of the most influential singer and songwriters of his generation, creating a long list of famous tracks, including “The Times They Are a-Changin ‘” and “Like a Rolling Stone”.

His performance at the Troubadour became the first in a long line of historic performances by artists, young and old, over the next six decades.

James Taylor and Carole King

The Troubadour’s gained its reputation in the 1960s and 1970s for its influential role in the early careers of many popular artists.

For this reason, it has become the perfect place for musicians to find like-minded peers and build lasting relationships.

James Taylor and Carole King, both iconic musicians in their own right, forged a lasting friendship behind the scenes of the Troubadour scene. Taylor made his Troubadour debut in 1969, a gig that was a big deal for him at the time.

“There was a great stage and backstage, and if you did it right people took notice and the word got out,” he said, recalling the experience. The couple met through a mutual friend and immediately hit it off, with King playing the piano for Taylor and later starting a solo career with her encouragement.

Before King made his own Troubadour debut, she went through his list of songs for Taylor and he heard a song he immediately fell in love with. Taylor then recorded “You’ve Got a Friend” courtesy of King, and it became one of his biggest hits.

They have repeatedly recognized the importance of the Troubadour in their career and their friendship. In 2007, they made an encore of their joint 1970 concert at the Troubadour for the 50th anniversary of the hall. They later took this show to the road by bringing their 2010 Troubadour Reunion Tour to arenas around the world.

Elton john

As the Troubadour gained notoriety, many artists came from overseas and went directly to the scene to perform for their first American audience. Gordon Lightfoot made his US debut there in 1964, and Lily Allen made his debut over 40 years later in 2006.

Perhaps most notably, for six nights in August 1970, Elton John was catapulted into American consciousness with a series of shows that began his career in the United States. Introduced by Neil Diamond to a host of industry giants including Linda Ronstadt, Brian Williams, Stephen Stills and David Crosby, John made an impression and received a great review from Los Angeles Times critic Robert Hilburn.

In an interview with The Times, John described the performance saying, “The atmosphere during those nights at the Troubadour was electric. Something inside me just took over. I knew this was my highlight and I really went.

An idea of ​​how the concert must have felt for those in attendance was recreated in a scene from the John “Rocketman” biopic. In the scene, John (played by Taron Egerton) lifts the crowd in a moment of transcendence where everything clicks.

Lenny bruce

Although known for his role in the search for musical legends, the Troubadour has also housed a myriad of big names in comedy. Lenny Bruce performed at the club in the early 1960s and his raucous set resulted in his arrest for obscenity. His legacy and contributions to comedy were remembered almost 30 years later by his family and peers at a tribute event, hosted and televised from the Troubadour.

Bruce became the first of many comedians to perform on this stage. Richard Pryor recorded his first album there in 1968 and Steve Martin performed there as a stranger.

The Troubadour continues to welcome stand-up fans. Sarah Silverman, Zach Galifianakis and Dave Chappelle all played sets there. The club’s cult status has also made it the perfect location to host special events for cult TV shows. Abbi Jacobson and Ilana Glazer gave two shows there ahead of the second season of “Broad City” in 2014, and the cast of “It’s Always Sunny in Philadelphia” performed their first live performance of “The Nightman Cometh” in 2009.

Guns N ‘Roses

Coming out of its peak in the 1970s, the Troubadour needed a change of scenery to follow the evolution of the musical tastes of the country.

Instead of targeting folk singers and songwriters, the club began to feature the glam rock and metal bands that dominated the 1980s. Metallica made their LA debut at the club in August 1982 and Warrant in 1984 .

Future Guns N ‘Roses superstars made a name for themselves locally after performing concerts in Los Angeles, most notably at the legendary Troubadour.

Local buzz put them on the radar of record director David Geffen, whose label went to see their Troubadour set on June 6, 1986, and signed them soon after for a worldwide deal that made Guns N ‘Roses. a well-known name.

Harry Styles

The Troubadour continued to follow the evolution of the musical landscape during the 1990s and beyond. Pearl Jam performed their first gig under the name Pearl Jam and Radiohead first performed their album “OK Computer” in the United States. Korn, System of a Down, Franz Ferdinand and Fiona Apple have all made their debuts on the Troubadour scene as well.

In modern times, the club has become the perfect place to host secret concerts or exclusive shows. Coldplay debuted songs from their new album “X&Y” on a secret show in 2005, and Billie Eilish performed exclusively with SiriusXM and Pandora for fans of her debut album. Harry Styles made his solo US debut in 2017 on location with special guest Stevie Nicks in a show that paid homage to the folk roots of the Troubadour.

“At Troubadour, ‘Woman’ percussive piano began as Elton’s ‘Bennie and the Jets’. The folkloric glow of his “Meet Me in the Hallway” shone like Bowie’s “Space Oddity”, ”Rolling Stone wrote in a review of the concert.

The notoriety of the Troubadour has made it an essential stage in the tours of artists, young and old, old and new. The coronavirus pandemic has forced the club to turn to crowdfunding and public education, but it is now back in business, welcoming crowds to Santa Monica Boulevard and adding to its list of legendary performances.

The-CNN-Wire
™ & © 2022 Cable News Network, Inc., a WarnerMedia Company. All rights reserved.

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Meyer influenced dozens of students during his career in teaching music

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Small in stature but a titan in spirit, Beverly Meyer has created a notable legacy through music education programs in several school districts.

Although she is now retired, her rowdy nature continues to be felt in many communities through her volunteerism and charity, seeking to ensure that future generations remain proud of their schools’ sports and music programs.

Born and raised on her parents’ farm in High Point, Meyer not only learned to adopt the farming lifestyle at a young age, but also worked many hours in the JF Tising & Sons store founded by her great-great -dad.

“It was a general store that opened in 1874,” she recalls. “I was 12 when I started working there, sweeping floors, stocking shelves, giving change for customers and candling eggs.”

Coming from what she described as a “musical family,” Meyer took piano lessons from a woman who lived across the street while participating in gospel singing groups as a child. Additionally, while attending High Point One-Class School, she and her fellow students received an introductory level of music education from their teacher.

“There has never been a time when I haven’t had music in my life,” she said.

After completing her eighth year at High Point, she transferred to California High School and graduated in 1957. Hanging on to an interest in teaching music, she enrolled at Central Missouri State College. in Warrensburg.

“My aunts went to college and my grandfather went there when it was the (state) normal school,” Meyer said.

Meyer received her BA in Music Education in 1961. In the fall of that year, she was hired as a vocal and instrument instructor from first to 12th at Green Ridge R-8 southwest of Sedalia.

She stayed there for the next 12 years, leading the choir and girls’ club, achieving the highest mark out of 23 schools participating in a competition. In 1972, she married John Meyer, with whom she had attended school at High Point, and the couple moved to Mid-Missouri.

“For three years, I taught half a day at High Point and a half day at Versailles,” she said. “It was a very busy time because we were trying to build a house, and I also worked in my father’s store and gave piano lessons.

“In 1975 I had to go to Russellville to pay for a house, and while I was in the area I stopped by school to see if they needed help. I spoke to the secretary about Grover Snead, who was the superintendent at the time, and I told him I was interested in teaching. “

The next day, Meyer got a call from Superintendent Snead, who told her he had a contract waiting for her if she was still interested in a teaching position.

Over the next quarter century, his musical education for elementary grades included developing programs for PTO, Thanksgiving, and Christmas reunions in addition to assisting in the production of the Robin Hood musical. In 1999, her choir was invited to sing for a Christmas dinner at the Governor’s Mansion, where she received a proclamation signed by Governor Mel Carnahan.

“We had a lot of fun in our classes,” said Meyer. “We even went into limbo and learned to dance square.”

Years earlier, in 1990, she made the decision to close her father’s store, realizing that she couldn’t both manage it and stay focused on her full-time job as an educator.

After retiring from Russellville in 2000, Meyer continued to teach part-time for three years at the Latham School. Well-deserved recognition came in 2006, when she was one of six educators – including three from Russellville – selected as Missouri’s “educational pioneers”. Sadly, the joy at these accolades was tempered by the death of her husband, John, in 2009.

For years she lived on her family’s farm, which earned the distinction of being a “Missouri Century Farm”. She made the decision to sell her father’s store in 2016; However, his family’s legacy in the community is supported by Meyer’s generosity towards musical and sports initiatives.

“One of my greatest pleasures is volunteering to help the Russellville Choir,” she said. “In 2014, the choir got a ‘1’ in the competition, which it had not done since 1966.”

With a smile, she added, “In 1966 my sister was the teacher, so that’s an interesting connection.”

Meyer continued, “I also enjoy playing the piano at school events like the program they have for Veterans Day. Also, I sell tickets to the Russellville ball games and see a lot of my alumni that way.

In recent years, his philanthropic spirit has manifested itself in the purchase of pianos for schools in High Point, Russellville, Latham and California. His generosity also includes donations made towards the purchase of the Russellville High School marquee, orchestra uniforms and printed mascot signs for the school gymnasium.

Although she and her late husband never had children, Meyer acknowledges that her career in education, along with her volunteer efforts, has brought her a family numbering in the thousands.

“I heard from several alumni who ended up becoming music teachers,” she said. “I guess that might be a clue that I was a good teacher who influenced other people’s lives… something that I just love.

“And although I’ve never had kids, I know I really have around 10,000 because of all these kids I’ve taught over the years, and that’s pretty special to me.” Meyer added.

Jeremy P. Ämick writes on behalf of the Silver Star Families of America.

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Agnieszka Gratza on Carlos Garaicoa

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“It’s one of the happiest works I’ve ever done,” Cuban artist Carlos Garaicoa commented casually as we stopped in front of the video – a hybrid mix of filmed images and animation. playful – which connects the discrete parts of its installation. Partitura (Score), 2017/2021. Presented for the first time at the Azkuna Zentroa de Bilbao, which commissioned it, this collaborative piece draws on the contribution of some forty street musicians filmed in Bilbao and Madrid. Here in San Gimignano, snippets of their varied performances can be heard through headphones and viewed on tablets carefully placed on hand-drawn sheet music in the lower right-hand corner of the desks filling the area of ​​the 1950s cinema stalls that Galleria houses. Continued.

A familiar presence in any cityscape, street performers are by no means cheerful, unambiguous figures. The effect produced by this phantom orchestra, whose absent musicians were all, so to speak, confined to their posts, is somewhat frightening. The feeling of alienation and lack of communication is compounded by the fact that the conductor’s desk, which is accompanied by its own score covered with fanciful notations vaguely reminiscent of Paul Klee’s drawings, is placed behind rather than in front of the ‘orchestra. The stands themselves face the back of the video-animation component of the work, projected through a triptych of screens. These rest on a wrought-iron balustrade attached to a circular stepped platform, which is also fitted with cubic benches for visitors to sit on. Presented as the “first interactive work” by Garaicoa, Partitura indeed engages its audience only passively. While there is an interaction itself, it involves the street players and Garaicoa’s longtime collaborator and compatriot Esteban Puebla, who has composed a score based on their varied musical offerings. This score was then performed by a handful of musicians, including Garaicoa’s wife, clarinetist Mahé Marty, who appear in the video triptych.

Other more recent works presented on the stage above the stalls and in two contiguous spaces also explore the fractured nature of urban environments – an ongoing concern for the artist – encapsulated in the flotilla of shattered car mirrors in Soñamos in the rayada area of ​​a crystal (We dream on the scratched surface of a crystal), 2021. Different shapes and sizes, each mirror has its own aphoristic inscription – for example, A CONTINUOUS RUPTURE IS A CONTINUOUS [sic], or SOMOS DE UNA NATURALEZA INCONCLUSA (We are unfinished nature).

Although far from being a metropolis, San Gimignano is a city of towers, the silhouettes of which together form an urban skyline. Of the seventy-two such structures that the medieval walled city once boasted, fourteen survive. Presented around the stage of the old theater, the “Ciudad archive”(Archive City), 2020-2021, with its neon illuminated signs resting on cabinets full of drawers designed to evoke apartment buildings, thus resonates with the context of the show. The same goes for the nine elongated paintings, mostly monochrome, on birch wood from the “Vertical” series accompanying Vertical encuentro (Vertical Encounter), both in 2021, the latter being a sculpture in marble, alabaster, wood and other materials, nodding to the unbuilt tower of Vladimir Tatlin. With reference to Russian utopian architecture and Brazilian neo-concretism, the six exquisite cut-out designs from the series “S / T (Bend Building)”, 2021, are presented, almost after the fact, on opposite sides of the upper balcony in a place that speaks of retrofuturism at the heart of the show.

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Capturing the Darkness and Lightness by Maxwell Davies | Criticism | Irish National Opera | The lighthouse | Peter Maxwell Davies

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There’s so much going on in Peter Maxwell Davies’ chamber opera Lighthouse (1979) that it is perhaps offhand to point out that a story about three people stranded together has a particular resonance during the Covid era. It’s not Following on isolation than on psychological repression, or the power of time, or evil, or madness. But the quarantine resonance is there too, and so the new Irish National Opera production (November 20-December 11, nationwide) is timely, although it may be an opera that is still in the works. news.

Lighthouse is based on a true story: In 1900, a lighthouse supply ship arrived at the Flannan Islands Lighthouse and found its three lighthouse keepers missing without a trace. The official investigation into the disappearances concluded that the guards were probably swept away by a wave as they repaired a crane, but Davies digs into the mystery and what could have happened between the guards stranded by the storms for a long time after that they were to be relieved.

The opera is a characteristic work of Davies: rich and ironic, while also being broad in its emotional and musical range. (And fortunately, this is also entirely without the banality of some of his works, such as A wedding in Orkney, with the sunrise (1985).) This magnitude is often squeezed into moments of exquisite tension, such as when one of the lighthouse keepers, Blazes (Ben McAteer), embarks on an autobiographical ballad of bawdy murder accompanied by violin and banjo – only for murder guilt catching up with him as musical dissonance increases.

The musical range also places additional demands on what is already an extremely virtuoso work for both cast and orchestra, but, as we would expect INO, the performance was superb. The orchestra, under the direction of Elaine Kelly (her first live with INO), was well drilled, colorful and full of character. The three singers – McAteer is joined by tenor Gavan Ring and bass John Molloy – sang with rich, clear vocals. Ring exquisitely captured the false sweetness of his character’s (Sandy) love song, and Molloy gave great evangelistic strength to his Bible-denigrating Arthur.

Lonely minimalism
As a director, Edwina Casey had a certain briefing. This production is the same as the film production that was shot across the country over the summer, so it had to find a staging that would work just as well in the movies as it did in the theater. She certainly managed to make it work on stage: its lonely minimalism lent itself well to the introspective nature of the material, and also allowed the stage to adapt to the variety of musical styles it endured.

In particular, the centerpiece which was the light of the lighthouse was an inspired decision: a simple circle of light, sometimes industrial yellow and sometimes blinding white, it could be anything from ambient lighting to a god. – incredibly bright sun. This was placed against dark, subdued lighting which perfectly captured the phantasmagoria of the plot and the opacity of the characters’ hearts. When the main light was off, the semi-darkness was delicately enhanced by occasional dots of color – like the soft golden light of oil lamps – which served more to reveal how dark things were than to light anything up. Shadow was also themed effectively, with the cast often strikingly framed against bright lights, creating bold shadows and silhouettes. It was yet another inspired choice in an opera about losing oneself in the ghosts of its past, and the set and costume design of Annemarie Woods and the lighting design of Sinéad Wallace also deserve a special mention for it.

I only had a few reservations. First, the score sometimes required instruments that INO performed on an electric keyboard – but the keyboard emulation was so poor that I had to struggle to figure out which instruments were intended. It was only through contextual clues that I made sure that the keyboard accompanying Sandy’s love song was meant to be an out of tune piano. Second, more could have been done to convey Davies’ cheeky and irreverent humor and how that manifests itself in stylistic clashes and juxtapositions. The musical performance was played almost directly: the pitches and rhythms of the singers were careful and precise, but there was little way to play with the score. For example, Blazes’ murderous ballad, besides being written in a folk style, is full of brief moments of dark and bitter pseudo-humor; the score seems to me to be an invitation for the performers to match Davies’ irreverence, or to build on the singing tradition of folk ballads, but no opportunity was seized.

However, these reservations are minor. The production was otherwise bright, capturing both the darkness and the lightness of Davies’ opera, as well as how these opposites blend into each other, and how each is, so to speak, always in the shadow (or the reflection) of the other.

The final performance of ‘The Lighthouse’ takes place at A Grianan in Letterkenny this Saturday, December 11. Visit www.irishnationalopera.ie.

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how artists find inspiration through and on radio

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“I always see everything as an opportunity,” says Turner Prize-winning artist Mark Leckey. “I’m always looking for a way to produce, and this is another example.” Leckey refers to the monthly radio show he produces for London station NTS, in which he has performed everything from digicore pioneers David Shawty and Yungster Jack to the progressive rock epic of Deep Purple. Child in time to his own recording on the grounds of a silent disco.

There is something that I try to capture in this music that I then cultivate in what I do

Mark Leckey, artist

Leckey has been performing since 2016, and it represents another area of ​​activity for an artist known for the diversity of his work, which includes film, video, collage, music, audio and more. Leckey says that originally he just wanted to play his favorite music and then move on to “more ambitious ideas, like stories or lectures.” But eventually, when he went through his own record collection, he began to engage in more contemporary and current music. “At the time, I had the impression that the music was completely exhausted, that there was no more futurism in it,” he says. “When I had to dig deeper, I realized that there were loads of people doing very experimental, forward-looking music. It really got me back on track.

For Leckey, the radio show seemed like another form of collage he found inspiring. “The most interesting thing about it is how much it changed my mind,” he says. Every two months, he invites a guest – another artist or a group of students – and tried out more elaborate concepts: a one-hour show made up of different versions of the song. Easy to be hard musical Hair. “There is something that I hear in the music that I want in my job,” he says. “There’s something that I listen to, something that I try to capture in this music that I then cultivate in what I do.”

Ed Baxter, Co-Founder, Managing Director and Programming Director of Resonance FM, points out that unlike, say, film and video, there has been virtually no tradition of radio experimentation in the Kingdom. -United. “When we started Resonance in 1998, it was zero point,” he says. “Hardly anyone knew what he was doing, but everyone had something they thought they could do. It was kind of a punk attitude: everyone has a radio show in themselves.

In the years that followed, Resonance found a large following for its extremely varied activity, from walking tours of Caroline Kraabel with saxophone and stroller to sound art montages by Bob and Roberta Smith to 48-hour live broadcasts with the Resonance Radio Orchestra that Baxter developed with Chris Weaver. “Access is the key,” says Baxter. “At the input level, it’s a very simple operation: pull a fader and make some noise. Everything else is nuance.

Live radio also appears to have appealed to a younger generation of artists. Norwich-based writer and curator Jonathan P. Watts has spent confinement streaming on the Twitch gaming platform and inviting friends and collaborators to create their own shows. Like Leckey’s shows, Watts’ lineup revolved around music, but Twitch’s ability to host live chat and incorporate visuals gave it an extra dimension. “People love radio because it’s intimate,” Watts says. “But this space on Twitch is a different proposition. He’s opening it up.” Watts mentions other show organizers, such as artist Liv Preston, who performed under the moniker Spacetooth and incorporated a live-play element into her show, and musician / DJ Geiger, an NHS nurse who created a radio show for the fictional East Brantwich Hospital.

In addition to the content of the show, Watts says building a community was vital. “I’ve worked in spaces run by artists who have autonomy outside of institutions, and I’m really interested in how you bring people together. People mingled in this space who would never mingle in a gallery, including my grandmother. It was about producing something during a difficult and isolated time, about creating a community. And then, above all, we had a physical festival. Watts cites the effect of the Boiler Room live streaming music platform. “Live streaming is great, but the most important thing is when people meet in physical space and interact. “

Baxter, meanwhile, prefers to focus on being as innovative as possible with “sound art”; he doesn’t have much time, he says, for the “repackaging” he sees in most of the digital age arts. He speaks approvingly of other radical radio pieces, such as a show with mountaineer Jim Perrin, who spoke about the sounds of another climber climbing up a cliff with an open cell phone, or the work of Christof Migone, who has used the radio as a receiver rather than a transmitter. “People have to call for something to happen,” he said. “There’s a lot of dead air, but it’s provocative in the art.”

One gets the impression, as far as Baxter is concerned, that the radio is only just beginning to scratch the surface. “It’s a post-expressionist arena,” he says. “If you think about [Robert] Rauschenberg, his big Monogram piece has all types of visual media in there. You can do the same with the radio: music, phone call, drama, return noise. You can bring them all into some kind of balance. It is this potentiality where it becomes exciting.

• Marc Leckey on NTS radio: nts.live/shows/mark-leckey; resonancefm.com; Jonathan P. Watts’ radio shows were on twitch.tv/tier_plus but are currently offline

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Soda Blonde: ‘Small Talk’ album review

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The hard truth is, no matter how many albums we review each year, there are always countless releases that end up getting overlooked. This is why this month we bring back our No album left out
series, in which the Pastry The music team have the chance to return to their favorite underrated records from 2021 and sing their praises.

Life doesn’t always grant people second acts, but the Irish Quartet Soda Blonde is living proof to the contrary. The four band members — Faye O’Rourke (vocals, guitar), Dylan Lynch (drums, percussion, vocals), Adam O’Regan (guitar, bass, piano, synthesizer, vocals) and Donagh Seaver O’Leary (bass, vocals) – already gained international recognition as alternative rock band Little Green Cars before going their separate ways in 2019. Their sound changed, swapping out folk influences for elegant pop, but not their talent. Soda Blonde’s debut album Banalities is a criminally underrated version of 2021.

Imbued with sadness, the record focuses on the band’s 20 or so members, a time that turns out to be more melancholy than people remember through their rose-colored glasses, especially as you walk through them in the middle of a pandemic. The first track, “Tiny Darkness”, draws the listener in with a melodic piano before the devastating lyrics and swollen strings can settle in. “It takes everything to start over,” laments O’Rourke, a fitting introduction for a group that has found a new form. She’s not afraid to voice her insecurities, especially when it comes to the music industry: “They said I could be a star / But I got twisted / I’m like a failed TV host / I’m looking at old tapes. “

Throughout the self-produced record, the cohesion of the group and the control of musical tension make song after song shine. The first five pieces of Banalities make a particularly wonderful race. “The Dark Trapeze” captures the roller coaster of identity when you’re still not quite sure who you are; “I am a seed,” begins O’Rourke, later declaring himself grandiosly “a painting in a gallery from 1893”, then, more humbly, “a bottle of beer.” “In the Heat of the Night” smolders with an arched guitar resembling a Fleetwood Mac. O’Rourke’s singular, stratospheric voice transforms seemingly simple lyrics like “You tell me to calm down” into a dramatic challenge as she relishes “the thrill of battle,” as she said in a release from hurry. Metallic and resounding percussions lean on “Swimming Through the Night” before a dreamy exit on the chorus, and “Terrible Hands” also benefit from the pulsating and well directed energy of the group.

The smallest details show how well the members of Soda Blonde work together as a unit. The arrangement of “Holy Roses” conveys the song’s message of how small slights can turn into overwhelming anger, the pre-chorus is sweet and measured until O’Rourke’s voice occupies the front of the stage on the chorus. O’Regan’s mixing skills elevate “Small Talk,” which goes in on a muffled, distant synth that then echoes over the chorus. Soda Blonde is clearly a fan of symmetry; a clip of John Wayne talking about Ireland in “Terrible Hands”, a fun nod to Little Green Cars’ hit “The John Wayne”.

Not all songs quite hit the mark; “I Still Have Feelings For You” is stripped down and comparatively not as engaging as the other songs. Even in these moments, however, O’Rourke’s emotional delivery keeps the listener hooked with every word. Her voice often hovers above the instrumentals, angelic and untouchable, but the moments when she becomes impassive also land, as we hear on “Champion of My Time”.

The record comes full circle with the closest “Choices”. While not as sonically emotional as “Tiny Darkness,” O’Rourke effectively shows how she grew up, running her own agency and essentially having a “main character” moment. “Maybe I should let you make my choices,” she says at the start of the song, until she decides, “I’ll never let you make my choices.” After wading through “Tiny Darkness” (“Everything is so complicated / Maybe I should have graduated,” she admits at first), O’Rourke becomes both the hero and the author of his own story.

Whether you are in your twenties or looking back at them, you will likely find that Banalities is a nostalgic and nostalgic record. Here, we do not beat around the bush; Soda Blonde is an exciting alt-pop group that shouldn’t be overlooked.


Clare Martin is a cemetery enthusiast, hibernophile and contributing writer for Pastrymusic and comedy sections. She also exercises her love for reality TV at HelloGiggles sometimes. Go harass her on Twitter @theclaremartin.


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Lin-Manuel Miranda on tick, tick … BOOM !, approaching work with empathy and having a “real life” | Ents & Arts News

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Hamilton. In the heights. Long live. Bring it on. Encanto. Supreme Love Freestyle. Moana. Its dark materials. tick, tick … BOOM!

It’s just a handful of hard work that helped Lin-Manuel Miranda has become a household name over the past few years and has propelled him to stardom.

And it is his latest project that once again brought him to salons around the world, allowing him to leave his mark on a cult work.

Picture:
Garfield and Robin de Jesus in tic, tic … BOOM !. Photo: Macall Polay / Netflix

tick, tick … BOOM! is his latest critically acclaimed project

His latest film (and first director), an adaptation of the iconic semi-autobiographical musical tick, tick … BOOM! by the late Jonathan Larson, has been hailed, netting Golden Globe and Critics Choice Award nominations – capping two golden years for the creator.

The story follows Larson, famous for writing the influential musical Rent, trying to stage his latest work, against a backdrop of rejection, financial hurdles, and heartache.

It stars Andrew Garfield in the lead role, supported by Vanessa Hudgens, Robin de Jesus and Alexandra Shipp.

Learn more about Lin-manuel Miranda

Larson died in 1996, the morning Rent was scheduled to open on Broadway, meaning he never got to see his work on his biggest stage.

Miranda, speaking on Zoom from the United States, told Sky News how he managed to bring authenticity to this much-loved work.

“What I knew, after playing tick, tick … BOOM! In 2014, was that there were a lot of people who loved and knew Jonathan and were still there, and we really relied on this as a resource.

“I interviewed his girlfriend, I interviewed his best friend, I interviewed his family, I interviewed the galaxy of colleagues and collaborators who told me the stories of Jonathan being inspiring and Jonathan being boring, then frustrated or impatient.

“All of these particular things, we tried to get as much onscreen as possible and what I’m most proud of about the film is that the people who knew and loved Jonathan, his sister Julie, who is a producer with us and was with us every day on the set of … his college roommates and an actress who worked with him who said “I felt like I got him back during the two hours that your film played “.

“This is what I’m most proud of.”

Andrew Garfield and Miranda on location in New York.  Photo: Macall Polay / Netflix
Picture:
Garfield and Miranda on location in New York. Photo: Macall Polay / Netflix

Miranda is humble and grounded – and doesn’t know why her work is so widely praised

Speaking with him, it became clear that he remains incredibly humble, despite all of his successes over the past few years.

When asked why he thinks his work has become so widely praised, Miranda replied, “I don’t know”.

“I know that in every piece I write I try to bring as much personality as possible to my work.

“I don’t know any other way to write than to put myself in the character’s shoes and understand what he means. It’s that simple – and it’s that complicated,

“You need a lot of research and empathy. Those are the two great tools – you have few tools to bring into battle.

“That’s it. It’s research and empathy, and that’s what I try to bring to everything, whether it’s Jonathan Larson or Alexander Hamilton or, you know, the team at cheerleaders from Bring It On.

“That’s all you can do and I hope you find enough truth in it to resonate with someone else.”

Miranda wrote the new Disney movie Encanto.  Photo: Disney
Picture:
Miranda wrote the new Disney movie Encanto. Photo: Disney

Therapy helps the countdown calm down

Miranda also credits her “real life” to helping him write his work, saying Hamilton (the genre-defying, record-breaking, award-winning musical about America’s Founding Fathers) came to see him while on vacation.

“I don’t think it’s an accident that a lot of the characters in my work hear the ticking of a clock which is very loud.

“I’m also aware of this ticking, but with a lot of therapy I’ve learned to refuse it.

“I’ve done a lot, and I know the best idea I’ve ever had in my life happened when I was on vacation, when I picked up Ron Chernow’s [Alexander Hamilton] biography in a hammock in Mexico – so I also understand the importance of having a real life. “

Lin-Manuel Miranda played the main character in the musical Hamilton - which he also wrote.  Photo: Lin-Manuel Miranda and Nevis Productions
Picture:
Miranda played the main character in the musical Hamilton – which he also wrote. Photo: Lin-Manuel Miranda and Nevis Productions

While Miranda plays down her influence – her colleagues talk about it

Alexandra Shipp of tic, tic … BOOM! uninvited to Sky News told Sky News that she relished the chance to work with Miranda on the project.

“When they said Lin-Manuel Miranda was making it, I said to myself: what should I do? Should I cut my face, should I shoot them a finger? Should I then go and give them an ear, whatever they want? What is it gonna be? I will do it.'”

X-Men actress Shipp, who gives an amazing twist as Larson’s longtime partner Susan in the film, adds, “Working with Lin is so wonderful because he’s not only incredibly bright, like this man is brilliant, but he is also so much fun and so kind … he is humble and sweet.

“And he cares, and I think that’s what is so beautiful about working with him, is that he cares about what I’m trying to bring and how we can work together on that. “

Andrew Garfield and Alexandra Shipp.  Photo: Macall Polay / Netflix
Picture:
Garfield and Alexandra Shipp in tick, tick … BOOM! Photo: Macall Polay / Netflix

Rosa Diaz of Brooklyn Nine-Nine, Stephanie Beatriz, who worked with Miranda on In The Heights and Encanto this year, also speaks, telling Sky News of the set of West End play 2:22 A Ghost Story: “I love him. He’s amazing.

“I’ve known him since we were both as poor young artists in New York. He’s an amazing person, a friend, a collaborator, an artist, I love his work and I think he’s a person. incredible.”

Stéphanie Beatriz (right) in In The Heights.  Photo: Macall Polay / Warner Bros
Picture:
Stéphanie Beatriz (right) in In The Heights. Photo: Macall Polay / Warner Bros

Earlier this year, longtime collaborator Anthony Ramos (Hamilton, In The Heights, 21 Chump Street) added his voice to Lin’s love-in, telling Sky News, “Lin is a genius. nervous every time I’m around him I soak up something.

“I’m learning something from him, and he’s just one of the brightest people to ever walk on earth.”

Lin-Manuel Miranda with Anthony Ramos on the set of In The Heights.  Photo: Macall Polay / Warner Bros
Picture:
Miranda with Anthony Ramos on the set of In The Heights. Photo: Macall Polay / Warner Bros

Lloyd Webber, Sondheim, Menken, Schwartz – it looks like Miranda will be the next name added to the list of revered musical theater writers whose work has gone on for decades.

tick, tick … BOOM! is now available on Netflix, Hamilton and Encanto are streaming on Disney + and In The Heights is on Sky Cinema and NOW.

Bring It On The Musical is taking place in London’s Southbank Center through January 22, with Hamilton’s West End production now at the Victoria Palace Theater.

Chronology of Lin-Manuel Miranda projects

2003: In The Heights makes his stage debut (writer, performer)

2004: creates Freestyle Love Supreme – an improvised rap concert

2012: Broadway run by Bring It On The Musical (songwriter and lyrics)

2014: 21 Chump Street (writer)

2015: Hamilton makes his Broadway debut (writer, performer)

2016: The Return of Mary Poppins (performer)

2016: Moana (composer and writer)

2019: Star Wars: The Rise of Skywalker (composer)

2019: His Dark Materials (performer)

2020: Hamilton debuts on Disney + streaming platform

2021: Film version of In The Heights (composer, writer, performer)

2021: Vivo on Netflix (performer, screenwriter, executive producer)

2021: tick, tick … BOOM! released on Netflix (director)

2021: Disney’s Encanto (composer, writer)

2023: The Little Mermaid (composer, writer)

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Theater Weekly’s pick of the best shows to see in 2022

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Can’t wait to return to the West End and see an amazing new theater next year? So discover our selection of the best shows to see in 2022.

Whether it’s musicals, plays, or both, here are the ten hot tickets we’re planning for the New Year.

Cyrano de Bergerac – Harold Pinter Theater

Cyrano De Bergerac’s award-winning Jamie Lloyd Company production Olivier returns, after a sold-out season at the Playhouse Theater in 2019. James McAvoy returns to his critically acclaimed role in this unmissable cover of Edmond Rostand’s masterpiece , inventively and ingeniously adapted by Martin Ondulation. Jamie Lloyd directs a world-class cast, in an electrifying ensemble performance that celebrates linguistic ingenuity and the power of human connection.

Ferocious with a feather and notorious in battle, Cyrano has almost everything – if only he could win the heart of his true love. There’s just one big problem: he has a nose as big as his heart. Will a society engulfed by narcissism get the better of De Bergerac – or can his mastery of language set Roxane’s world on fire?

Jerusalem – Apollo Theater

Tickets for Jerusalem at the Apollo Theater

Jerusalem is a comical and contemporary take on life in our green and pleasant land. On St. George’s Day, the morning of the local county fair, Johnny Byron, local waster and modern flute player is a wanted man.

Council officials want to serve him an eviction notice, his children want their father to take them to the fair, Troy Whitworth wants to give him a serious kick and a motley team of buddies want his ample supply of drugs and alcohol .

Broken Wings – Charing Cross Theater

Broken wings

From The Last Five Years producer Cruise, Hair, Rags and The Addams Family comes the all-new musical sensation, Broken Wings. Based on the poetic book by the bestselling novelist Kahlil Gibran (The Prophet), and with a beautiful original score by the Middle Eastern duo Nadim Naaman and Dana Al Fardan.

New York City, 1923. Through exquisite poetry and enchanting music, an aging Gibran tells our story, transporting us back two decades and across continents, to Beirut at the turn of the century. Gibran meets Selma; their connection is instantaneous and their love affair fatal. However, their journey to happiness is quickly diverted, as the couple face obstacles that shake the delicate foundations of their partnership. Will their love win or will their dream of a life together be torn apart?

Performed in the round, Broken Wings takes us on an unmissable musical journey, exploring issues of gender equality, immigration, the freedom to love who we love and what “home” really means to us.

The Glass Menagerie – Duke of York’s Theater

Tickets for the Glass Menagerie at the Duke of Yorks Theater

Six-time Oscar nominee Amy Adams makes her West End debut in a new production of Tennessee Williams’ acclaimed memory game The Glass Menagerie directed by Jeremy Herrin, Tom Glynn-Carney, Lizzie Annis and Victor Alli complete the stellar cast.

Broken by her husband’s abandonment, Amanda Wingfield remains focused on her future safety and that of her children, Tom and Laura. His determination clashes with the dreams and ambitions of his children. As Tom feels trapped in his life in St. Louis, the pressure Amanda places on her daughter to secure her future crushes both their relationship and Laura’s fragile self-esteem. As attention quickly turns to finding a suitor for Laura, the thin thread that connects dignity and despair is stretched.

Prima Facie – Harold Pinter Theater

Prima Facie Tickets at Harold Pinter Theater

Jodie Comer, Emmy and Bafta-winning star of the TV series Killing Eve as well as Free Guy and The Last Duel, makes her West End debut at the UK premiere of Suzie Miller’s award-winning play, Prima Facie , which plunges us into the heart where emotion and experience collide with the rules of the game. Justin Martin is directing this tour de force as a solo actor at the intimate Harold Pinter theater for a strictly limited season.

Tessa is a thoroughbred. A young and brilliant lawyer. She climbed the ranks of the origins of the working class to be at the top of her form; legal proceedings; cross-examine and win. An unexpected event forces him to confront the lines where the patriarchal power of law, the burden of proof and mores diverge.

Grease The Musical – Dominion Theater

Grease Tickets at the Dominion Theater

Gravelly and more electrifying than ever, the world’s most beloved musical makes a triumphant return to the Dominion Theater in London.

After a whirlwind summer romance, Danny, the leather-clad greaser, and the girl next door, Sandy, unexpectedly reunite when she is transferred to Rydell High for the final year. But can they survive the trials and tribulations of teenage life and find true love again?

Bursting with hits such as Summer Nights, Greased Lightnin ‘, Hopelessly Devoted to You and You’re One That I Want, this thrilling new production is directed by Leicester Curve Artistic Director Nikolai Foster and choreographed by legendary Arlene Phillips.

The human voice – Harold Pinter Theater

The Human Voice Tickets at Harold Pinter Theater

Two-time Olivier Award winner Ruth Wilson will star in THE HUMAN VOICE – the poignant story of a grieving woman during a last phone call with her former lover.

Reunited with groundbreaking director Ivo van Hove (A View From The Bridge, Network) for the first time since their acclaimed Hedda Gabler, Ruth Wilson (The Affair, Mrs Wilson, His Dark Materials) returns to the West End for 31 performances only in that explosive reimagining of one of the theater’s biggest roles.

Jean Cocteau’s breathtaking monologue is more enlightening than ever about love and loneliness. Don’t miss it.

Dirty Dancing – Dominion Theater

Dominion Theater Dirty Dancing Tickets

Dirty Dancing is back! Explode with thrilling music, breathtaking emotion and a sensational sexy dance. With 35 hit songs, including Hungry Eyes, Hey Baby, Do You Love Me? and with my heart stopping (I had) the time of my life.

Seen by millions of people around the world, this global hit tells the classic story of Baby and Johnny, two fiercely independent young minds from different worlds, who come together in what will be the most difficult and triumphant summer. of their life.

See the blockbuster film come to life before your very eyes with this fantastic, emotional and triumphant live performance.

The iconic story of Baby and Johnny, with the hit songs “Hungry Eyes”, “Hey! Baby ‘,’ Do you love me? ‘ and the cardiac arrest “(I’ve Had) The Time Of My Life” returns to the stage, after two blockbusters in the West End, four successful UK tours and several sensational international productions.

Cock – Ambassadors Theater

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Mike Bartlett’s sharp play on love and identity redefines the battle of the sexes as we know it.

John (Jonathan Bailey) is happy in himself, and with his boyfriend (Taron Egerton), until one day he meets the woman of his dreams (Jade Anouka).

In a world full of endless possibilities, why do we still have to limit ourselves to labels?

My Fair Lady – London Coliseum

My Fair Lady tickets at the London Coliseum

The critically acclaimed, multi-award-winning Lincoln Center Theater production of My Fair Lady arrives in London in the summer of 2022, the first major West End revival of Lerner & Loewe’s much-loved musical since 21 year.

This 16 week engagement at the London Coliseum is a truly charming way to celebrate London’s theatrical scene that is blooming again!

My Fair Lady tells the story of Eliza Doolittle, a young flower seller from Cockney, and Henry Higgins, a linguistics professor determined to turn her into his idea of ​​a “real lady”. But who is really transforming?

Directed by Bartlett Sher, this sublime production will feature the English National Opera Orchestra playing the lovely score by Frederick Loewe.

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Award-winning Christian music artists performing at the 2022 Strawberry Festival

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GRAMMY Award-winning and chart-topping Christian music artists Lauren Daigle and Zach Williams are scheduled to perform at the 2022 Florida Strawberry Festival.

The 87th annual Florida Strawberry Festival will run for 11 days from Thursday March 3 through Sunday March 13. The festival, which is ranked as the 28th largest fair in North America, is not only known for its strawberry shortcakes, carnival games, youth cattle shows, food vendors and exciting mid-way rides. way, but it is also legendary for hosting great musical artists and entertainers. The event typically sees over 500,000 visitors each year.

Two major Christian artists will perform at this year’s festival: Lauren Daigle and Zach Williams. Daigle is a two-time GRAMMY, seven-time Billboard Music Award, and four-time American Music Award. His platinum debut album How Can It Be produced three number one songs, but it was his release from Find a child, his second consecutive platinum album, which revealed Daigle as one of the most impressive singers of our time. Find a child, which earned Daigle his second GRAMMY Award, with his hit song “You Say,” is the longest-running number one song to appear on a weekly Billboard chart.

Daigle’s ability to connect with his audience has been well documented. This helped make her the best-selling new artist of her genre over the past decade and gave her soulful, authentic vocal power and a global following. She has amassed a billion streams worldwide and sold-out shows on three continents.

This is Daigle’s first time performing at the Strawberry Festival, and she is excited about the opportunity and encourages spectators to “bring their dancing shoes”.

“Performance is one of my favorite things about music,” said Daigle. “Looking outside every night and seeing people singing with them gives a feeling of joy that doesn’t stop only with me. He connects with everyone in the room, and I think that’s something I’ll never take for granted. It’s such a blessing to be able to play music with people that I love very much, it’s like a family reunion every time we take the stage.

Christian artist Zach Williams is an award-winning and chart-topping singer and songwriter who also performs at the Strawberry Festival. His past inspires many of his songs – he was raised by Christian parents in church and in a loving community, but was wowed by the illusion of rock stardom, as well as the drugs and alcohol that so often accompany this way of life.

Now, the Nashville-based artist is a renewed man. He’s a husband, father, and he’s also become one of the foremost artists and songwriters in Christian country music making a place for himself with his mix of southern rock, country, and songwriting full of Faith, who quickly awarded him his first GRAMMY Award® with his debut album. , 2017 Chain breaker. With two more GRAMMY nods among many other accolades, he recently released his new album, aptly titled Rescue story.

Daigle will perform on Saturday, March 5 at 7:30 p.m. Williams is scheduled to perform on Tuesday, March 8 at 7:30 p.m.

To purchase tickets and see the full list of artists, visit www.flstrawberryfestival.com. Tickets can also be purchased at the Amscot Main Box Office, located at 2209 W. Oak Ave. in Plant City, or by calling 754-1996.

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Morgan Wallen has best-selling album despite N-Word rant

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Morgan Wallen’s potty mouth, surprisingly, hasn’t stopped him from achieving success this year.

Despite the untenable use of the N-word by country singer “Dangerous” in February, Wallen, 28, had the best-selling album of 2021, trampling the musical efforts of pop icons such as Olivia Rodrigo. , 18, Drake, 35 and Adele, 33.

And music lovers can’t believe their ears.

“Lol Morgan Wallen said the N word and bounceda shocked fan tweeted. “Morgan Wallen said the N word and is now make songs with lil durk. Anything is possible, “commented another, noting Wallen’s recent collaboration with the Chicago rapper on the song” Broadway Girls. “

Morgan Wallen scored the best-selling album of the year.
Getty Images for Ryman Auditoriu

Wallen’s latest anthology, “Dangerous: The Double Album,” has sold over 3 million copies. It eclipsed Rodrigo’s highly acclaimed EP “Sour”, which had 2.6 million sales, and Drake’s laudable “Certified Lover Boy” compilation, which moved 1.8 million units, per supplier. MRC Data music analysis.

The guitar-centric grooves of strummer “Sand in My Boots” even beat Adele’s critically-acclaimed album “30” which garnered 1.4 million sales.

Wallen’s best-selling bragging rights come just months after he was filmed saying to a friend, “Hey, take care of that” p – – – y ass motherf – – ker. Deal with that p – – – y ass n – – – – r “, at her home in Tennessee following a” 72 hour skirmish “.

He checked in at a drug rehab center 30 days after his rant went viral.

And the incident led wailer’s “Wasted on You” label Big Loud Records to suspend their contract, with iHeartRadio removing their songs from their major radio networks and the American Music Awards and Country Music Awards banning them from their ceremonies. respective.

Wallen was suspended from his label and not invited to a number of elite awards shows after his use of N-word, but his album saw a huge increase in sales.
Wallen was suspended from his label and was not invited to a number of elite awards shows, but his album saw a huge increase in sales.
Thaddaeus McAdams / Shutterstock

“Morgan Wallen is a nominee this year based on the graphics. As his conduct does not align with our core values, we will not include him on the show in any capacity (playing, presenting, accepting),” AMAs said in a statement ahead of its awards ceremony in November, noting that it would “consider” future participation after Wallen showed he was an “ally of the black community.”

The CMAs also removed Wallen from his annual awards gala and removed him from nominations in the solo artist categories; however, he retained his nod in categories that recognized him alongside other collaborators, like Album of the Year.

Despite its canceled invites, Wallen’s album saw a massive 1,220% increase in digital album sales and a 327% increase in song sales immediately after the incident, according to Rolling Stone.

And in July, the “Still Going Down” frontman said his album was already “well received” before he achieved a “peak” in sales following his hateful comments.

“Before this incident, my album was already doing well,” Wallen told “Good Morning America” ​​host Michael Strahan. “He was already well received by critics and fans. My team and I noticed that every time this incident happened, my sales skyrocketed.

Wallen went on to deem his use of the N word “ignorant” to be “lighthearted”.

“I was out with some of my friends, and we just say stupid stuff together,” the “Cover Me Up” crooner said. “In our mind, it’s fun. I don’t know if that sounds ignorant, but that’s really where it comes from.

Elsewhere, in an apology on Instagram, Wallen said, “I was wrong. It’s up to me to take responsibility for this and I fully accept any penalties I face.” He also asked fans to stop defending his inexcusable behavior.


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‘Beautiful – The Carole King Musical’ arrives at the Fisher Theater

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Four friends: Sara Sheperd, Sara King, Ryan Farnsworth and James D. Gish. (Jean Marcus)

Paul Blake, who started out as an actor and is now a prolific Broadway producer, brings Belle – The Carole King Musical at the Fisher Theater January 4-9, 2022.

growing in the Bronx, Paul Blake had never known anti-Semitism. His classmates in high school and New York City College were all Jews.

“I never thought about it,” said Blake, who started out as an actor and is now a prolific Broadway producer bringing Belle – The Carole King Musical at the Fisher Theater January 4-9, 2022.

Like all struggling actors, he went through countless auditions and looked for ways to earn extra income.

“I was a character actor with a very heavy New York accent, so there were a lot of roles that I couldn’t play,” he said.

Ironically, the self-proclaimed “skinny little kid” was cast as Santa Claus at a local bank.

“After three days of work, I was fired because ‘Santa Claus is not Jewish,’ the manager told me. I was shocked. I called the person in charge of human resources and said, ‘There is an anti-Semitic woman who works at the bank.’ “

Blake worked as an actor for seven years until his girlfriend’s mother encouraged him to take a directorial job at the Stephen Wise Free Synagogue, a Reformed synagogue on New York’s Upper West Side.

“And that was the turning point in my life when I found my real career,” said Blake. “My drama teacher who came to the show said I could be a director for a living. And the rabbi who saw the show said to me, “You have to go work at the Catskills and be with our people.

“As I worked with all of these people, I became very aware of my Jewish origin and heritage. I learned Yiddish and I became a showbiz Jew, ”Blake laughs.

The Drifters: Torrey Linder, Edwin Bates, Isaiah Bailey and Ben Toomer.
The Drifters: Torrey Linder, Edwin Bates, Isaiah Bailey and Ben Toomer. Jeanne Marcus
A “Jewish success story”

That was over 60 years ago. Since then, Blake has been the executive producer of St. Louis Muny for 22 seasons where he has produced and / or directed over 150 shows. He left the Muny in 2011 to begin development on the new musical, Beautiful, based on the youth and career of singer / songwriter Carole King. King changed her name from Carol Joan Klein in high school. She has written over 118 pop hits on Billboard’s Hot 100.

“Carole grew up in Queens at the same time I was growing up in the Bronx,” said Blake, who at 80 is a year older than King. “The whole world of Beautiful — The Carole King Musical is all about Jewish children growing up and pursuing careers in New York City. It is a Jewish success story.

And it is successful. Tony and Grammy Award Winner Belle – The Carole King Musical was the 27th longest-running musical in Broadway history when it closed after nearly six years in October 2019, just before the pandemic. The touring production was originally scheduled to perform at the Fisher Theater in May 2020 and has been rescheduled from January 4 to 9, 2022. It resumed touring last month in Chicago. Blake said he was in talks to bring the show back to Broadway and do a film adaptation with Sony Pictures and Tom Hanks and Gary Goetzman as co-producers.

“We are delighted to be returning to Detroit,” said Blake. “This is a total production of Equity because we insist on the highest standards and want to give audiences the best performance possible.”

The Actors’ Equity Association (AEA) is the union of performers and managers that protects the rights of actors, provides fair compensation, benefits and working environments, including strict adherence to safety and security protocols. covid. This North American tour of Belle – The Carole King Musical features many of the cast of the Broadway production. Sara Sheperd, who is Jewish, under-researched the role of Carole King on Broadway and plays the main character in this production.

“Beautiful is filled with the music you grew up with – the soundtrack from your youth, if you’re over 45,” says Blake. “The audience is going to have a great time. “

"Beautiful" Sara Sheperd as Carole King
“Belle” Sara Sheperd as Carole King Jeanne Marcus
Details

Belle – The Carole King Musical takes place January 4-9, 2022 at the Fisher Theater in Detroit. Tickets start at $ 39 (including installation and parking fees) and can be purchased online at www.ticketmaster.com, by phone at 800-982-2787, or in person at the Fisher Theater box office.

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Quaestor: A look back at some of our suggestions for 2021: the good, the bad and the ugly

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Big fan of spaghetti westerns, with Clint Eastwood on screen, Sergio Leone behind the camera and Ennio Morricone providing the musical score, this column is happy enough – and honest enough – to look back on its efforts for 2021 and rank its stock ideas. as good, bad or just plain ugly.

Thinking back to the new selections made in Questor’s Tuesday column in 2021, what is striking is that there were few: only eight in fact. Of those, four – Clinigen, i3 Energy, Fuller, Smith & Turner and Essentra – are in the dark, though that’s just a start for the last three.

The others – Smith & Nephew, Ricardo, Lancashire and PZ Cussons – are not.

The lessons here are threefold. First, the small number of new selections made suggests that it has been difficult to track value – and since valuation, or price paid, is the ultimate determinant of ROI, patient inaction seemed the best policy. for this writer.

The recent shakedown brought on by the latest viral variant may present some new opportunities, however, so watch this space.

Second, the outlook has been clouded by the pandemic, increased government and central bank intervention in markets and inflation. If in doubt, don’t, as any good Yorkshireman would say. After all, there is no obligation to buy or sell anything and sometimes action for action can be expensive, as our foolish decision to lower the auction target has proven. . loose Morrisons in 2020 in 2021.

Third, stick to what you know. This column is not very expert on sectors such as insurance, oil exploration or metal prospecting and generally avoids these areas, even if they seem interesting. Attempts to get involved – Lancashire this year and positions in gold miners Centamin and Resolute Mining from 2019 – have generally led to pound losses, so no longer fool Questor for trying.

The biggest hits of the year have often been takeover situations, despite Morrisons, where impatience has proven to be costly. St Modwen Properties, Gamesys and William Hill dropped the offers and Clinigen received one, adding to previous picks acquired including Sky and Cobham.

This seems to be the ultimate confirmation that the pursuit of value is the way to go. To do this, it is best to look to companies with a solid business model and a balance sheet strong enough to cope with short-term shocks, unexpected incidents or macroeconomic headwinds.

Time is then on the buyer’s side and it may not take much for operational performance to improve, sentiment to change, and the share price to start rising. As Jim Grant observed, “A successful investment is having everyone agree with you – later. ”

A patient and contrarian attitude is also paying off at uranium storage specialist Yellow Cake and oil giant Shell, where sentiment could hardly have been more negative as the Cop summit year approaches. . 26.

Investors who apply strict environmental, social and governance filters will be less than impressed, but the facts are that global demand for energy continues to rise and these companies now offer work options, please. . or not. From an investing perspective, sometimes you have to trade the market you have, not the one you want.

It concerns the good. Bad ones include submarine cable protection specialist Tekmar, where evasive action spared us further losses, the mentioned gold miners and Serco, who is doing everything operationally and strategically correctly but does not deliver. not in terms of the stock market.

It is this column, and not Serco, that bears the blame for the overpayment in terms of stock price and valuation, an issue that continues to haunt us when it comes to Nichols and Coats. Again, valuation is everything and paying too much, even for good companies, can lead to poor returns.

As for the ugly, fortunately there have been few real accidents this year and this column’s preference for healthy balance sheets helps. However, decisions to sell Croda, B&M European Value Retail and Halma, as well as Morrisons, far too early in previous years, continue to cringe. Huge additional gains have been dropped.

“Manage your winners and cut your losers” remains a key investment discipline and this topic has yet to master, even after more than 30 years in the markets.

Read the last column of the Quaestor on telegraph.co.uk every Sunday, Tuesday, Wednesday, Thursday and Friday from 5 a.m.

Read the quaestor investment rules before following our advice.

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Long live the album – WSJ

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Vinyl copies of Adele’s album ’30’ shortly after its November release


Photo:

tolga akmen / Agence France-Presse / Getty Images

Weeks before the November release of Adele’s “30” album, Variety reported that the British singer’s label had pressed 500,000 vinyl copies of the record. This number is remarkable not only because of how it overshadows recent top sellers in the format – Harry Styles’ “Fine Line”, the best-selling vinyl LP of 2020, moved by around 232,000 units – but also due to the well-publicized production problems at the baling factories. Independent artists who are far from Adele’s industrial might have described delays of a year or more in obtaining physical copies of their albums. The demand for vinyl records far exceeds the supply, which is one of the many markers suggesting that the album as a musical format is still very much alive and will continue to endure into the future.

Since the emergence of file sharing and the end of the CD era at the turn of the millennium, it seemed like the album’s days were numbered. In 1999, music critic Greg Kot wrote an article for the Chicago Tribune predicting that the format’s relevance would decline dramatically in the digital age. “Concept-conscious musicians, like the turntables they used, became anachronisms,” he wrote, expressing an opinion that was becoming more and more prevalent. It was one of the earliest examples of the kind of piece that would prove to be mainstream in music journalism over the next 15 years or so – the album’s death was approaching and fans were turning to individual tracks, which they could organize into their own playlists. The year following Mr. Kot’s play, the alternative music bible SPIN ranked “Your Hard Drive” as Album of the Year.

To some extent, Mr. Kot and the journalists who followed in his wake were right. The rise of the CD in the 1980s happened at the same time as the single’s demise. In the early 1990s, consumers who wanted to own a hit song they loved often had to purchase a full CD album for $ 15, which meant huge profits for the record companies and a lot of people out there. had never heard a song on “Please Hammer Don’t Hurt ‘Em” beyond its second track, the hit “U Can’t Touch This.” Until the late 1960s, pop music was decidedly a genre of singles. It made sense during the radical change in listening that accompanied the first two decades of this century to think that the album would fade into the background.

But the album’s format turned out to be remarkably resilient. It is true that they no longer sell the numbers they used to sell, although with streaming comparisons between the past and the present are almost impossible (in 2014, Billboard and the RIAA began to compile gold and platinum records according to a formula that combined sales and flows). The persistence of the album comes from both the fans and the artists. For the public, the album becomes a place of practical attention, a way both to build listening time and to subdivide an artist’s work into eras. While many people are content to flip through playlists in search of great songs, like the devoted radio listeners of yesterday, the more engaged fans like to have larger units of work to do. absorb and analyze.

Drake in concert in September


Photo:

Wire picture

For artists, the album has become a prestigious marker, a signal to the listener that this release should be taken more seriously than the collections published under other headings. They use albums to build their own canons and to create a context where their work can be easily compared to the greats of the past.

This year Drake released “Certified Lover Boy,” his sixth LP, and over the past few years he has released “Dark Lane Demo Tapes,” a collection of singles and tracks unreleased in 2020 that he called a mixtape. , and “More Life” from 2017. which he dubbed a “Reading List”. Of these three releases, “the album” is clearly the record that matters the most to Drake and that he considers part of his canon, although the similarities between them, including their quality, outweigh the differences. .

Lil Nas X live in May


Photo:

NBCU Photo Bank via Getty Images

Drake’s friend Adele is much less prolific and takes years between feature film releases, so unsurprisingly, “30” plays out like an author’s album in the classic sense of the word perfected in the 1960s. and 1970. This is a collection of carefully sequenced songs designed to take the listener on an emotional journey. Rapper / singer Lil Nas X found viral fame thanks to his No.1 hit “Old Town Road”, but the success of his ambitious album “Montero” helped him be taken seriously. For most artists, singles, videos and viral content online won’t get you far. You have to prove yourself in the album format to be considered great. The album remains a three-way crossroads where artistic ambition, listening comfort and historical weight converge, and its heavy traffic in 2021 suggests that it still has good years to go.

Copyright © 2021 Dow Jones & Company, Inc. All rights reserved. 87990cbe856818d5eddac44c7b1cdeb8

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Neil Young / Crazy Horse: Barn album review

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Neil Young is standing on the porch, smoking weed, waiting for someone else to show up. This is the basic premise of “They Might Be Lost”, the strangest, looser song and therefore the epitome of barn, his latest album. (Young’s discography itself is odd and loose enough that contextualizing barn in the usual way seems futile, but if you have to know, this is his 41st studio effort, and 14th with Crazy Horse, his most loyal backing band.) Young wrote “They Might Be Lost” quickly and intuitively and didn’t give the group much time to rehearse it, a first-thought-best-thought approach that permeates barn.

You can hear him in the three-chord progression that repeats throughout the song, a rickety scaffolding even by 21st century Neil standards, and in his initial contentment with leaving whatever is close at hand. guide his subject: the headlights through the trees, the call announcing that the latecomers have just left the highway. It can all be fascinating to those of us who have spent years of our lives investing in Young’s distorted and shaggy psyche, but I wouldn’t necessarily encourage an outsider to check it out. Still, there’s a little revelation here, if you’re willing to follow the trail that emerges from the tip of its joint: “The smoke I burn keeps taking me back to the good old days / The jury’s out on the good old man.” time, you know / Judgment is falling soon.

“The jury is out on the good old days” is the closest thing Young suggests to a thesis statement for. barn, an album which, like much of his later works, has a complicated relationship with nostalgia. “Heading West”, the heartily catchy second song, explicitly and generously evokes “the good old days” in its memories of a first guitar and afternoons spent pulling a cart through the neighborhood. “Change Ain’t Never Gonna”, is for people who cling to an idealized story despite the desperate need for progress, imagining a “great conspiracy” to take away their freedom and “prevent them from living as they do. ‘have always lived “. Young is critical of these people, but as a guy who is often engrossed in his own journey down memory lane, he’s not totally unfriendly. The tonal balance reminds me Greendale, her 2003 concept album about a young environmental activist whose radical visions drive her from the idyllic but parochial town where she grew up. Now, instead of attributing his conflicting opinions to a group of opinionated townspeople, he simply says what he feels, allowing the contradictions to speak for themselves.

Despite his elaborate narrative, or perhaps because of him, Greendale also marked a shift towards brutal simplicity rather than a soft melody in Young’s compositional approach, a feeling that the urgency of the message meant more to him than the music that carried it. Over the next two decades, this turning point became more and more definitive. Young’s stylistic bustle and commitment to crudeness of the moment can sometimes overshadow the fact that at his best, he’s a melodist in the Carole King or Paul McCartney realm. But on barn, like on many recent predecessors, the tunes meander along the most obvious routes of the chords behind them, rarely going anywhere in particular, and hardly ever taking the kind of daring twists that might lodge them in your heart. and your mind.

It doesn’t appear to be a case where Young lost touch, but the result of a deliberate decision to prioritize immediacy over craft. “I don’t sit down to play the guitar and sing the song. I could sing a verse, or think about it while I’m playing, maybe humming or something. Then I write all the words and try to never do it again until it’s recorded with the band, ”he said. Rolling stone about “They could be lost”. According to a Washington post interview, he wrote “Human Race”, a rocker with crazy eyes on climate change, while walking to the converted barn that served as Crazy Horse’s recording studio, and recorded the version that ended up on the album when it got there. Both songs gain something from the roughness of their presentation. “They Might Be Lost” has a dreamlike, half-improvised quality similar to that of Bob Dylan Basement Tapes, the feeling of a group looking for something without really knowing what it is. The frenzy of “Human Race” suits its terrible lyrics, and could have been blunted with too much time spent working on issues. But neither seems to be built to last. It would be pointless asking Young of all artists to repeat himself – just ask David Geffen about it. Nonetheless, I will humbly suggest that good songs don’t just come from scribbled rants and afternoon musings. You have to work with them.

Good songs aren’t exactly what Young is looking for. Barn. Roughness and smoothness have been as important to his music as beauty and brevity, especially when working with Crazy Horse, since at least the 1972s. Everyone knows it’s nowhere his first album with the group. (It doesn’t matter that “Cinnamon Girl” has a sweet melody to accompany her famous one-note guitar solo.) And if you’ve got a fondness for the particular racquet these four men do when they get together—barn is Crazy Horse’s second album featuring Neil Nils Lofgren’s collaborator on second guitar, following the departure of longtime member Frank Sampedro. Barn. These sound like a first or second take, with little to no overdubs, a recording style well suited to the band’s proudly unrefined groove. It’s always a thrill when Young’s fuzz guitar burns the surfaces of drummer Ralph Molina’s and bassist Billy Talbot’s pounding rhythms, even if you’ve heard them do it a million times before. And the laid-back setting brings a welcome bit of humor to Young, like when a half-yodel on the chorus of “Shape of You” seasons. a backyard reunion between old and beloved friends.

Young’s new songs may be blunt instruments than his old ones, but he hasn’t lost any of his grace or delicacy as the lead guitarist. If there is a track of barn that deserves to be canonized is “Welcome Back”, whose eight-minute simmer gives it plenty of room to stretch out. Between the verses delivered with the muffled intensity of a beat poet, he achieves a level of expressiveness on his instrument that is far beyond what he gathered as a songwriter for Barn, make a thunderous drama with small handfuls of notes, using subtleties of dynamics and articulation to tell stories where words fail. “Welcome Back” is also where the album’s deliberately half-formed aesthetic materializes most. We can hear Neil’s band members listening to his musical direction, communicating without saying when to come forward and when to fall back, together imagining the shape of the performance in real time. There isn’t much chorus to say, but the sung chorus sums it up barnS complicated relationship with the past and his use of familiar sounds in the relentless pursuit of something present and new: “Welcome, welcome / This is not the same.” “


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How’s the Saints’ game plan when so many people have COVID-19? “It’s definitely like musical chairs” | Saints

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It’s one thing after another for the New Orleans Saints this season.

The displacement of Hurricane Ida. End-of-season injuries to wide receiver Michael Thomas, kicker Wil Lutz and quarterback Jameis Winston. The first COVID outbreak that sidelined nearly half of assistant coaches. The five-game losing streak. Lots of other injuries, like those to two starting tackles Terron Armstead and Ryan Ramczyk. Sean Payton missed last week’s game against the Tampa Bay Buccaneers due to COVID-19 protocols.

Come Monday, the Saints could go without 20 players due to COVID-19 protocols, and that includes quarterbacks Taysom Hill and Trevor Siemian, linebacker Demario Davis, safety Malcolm Jenkins and Ramczyk. They will also be deprived of four assistant coaches due to their positive COVID-19 tests.

“If you’re here you’re getting ready to play because the situation is constantly changing,” Payton told the team after Friday’s visit. “We saw it change yesterday, it changed again today, and I’m sure it will change again before we play. This is the uniqueness of this season. Still, we need to prepare and be ready if you’re in it. “

Technically, any of the 20 could return to the field on Monday, provided they are vaccinated, asymptomatic and return a negative COVID-19 test. Since the Saints play on Monday, they can perform line-up moves on match day, rather than the typical procedure of making Saturday trades for Sunday contests.

“There’s always that chance,” Payton offered of some players’ return, noting players should test outside of quarantine. “It would mainly be players who entered the COVID program sooner rather than later, but I think it can happen. “

Otherwise, the Saints can raise as many training team members as there are on the COVID-19 roster and designate them as “COVID-19 substitutes.” NFL teams can carry a maximum of 16 players on the practice squad.

But here is where one of the most difficult aspects of a COVID outbreak as widespread as this one lies: How do the Saints plan the game when the roster of unavailable players is constantly changing? Every player, whether on the active roster or on the training squad, should prepare as if they are playing and carrying a heavy load.

Since Sunday, all groups of posts except two have been affected by the virus: ball carriers and specialists. Meanwhile, defensive ends, quarterbacks and tight ends are reduced to just two, as defensive ends Cameron Jordan and Marcus Davenport, quarterbacks Ian Book and Blake Bortles, and tight ends Nick Vannett and Ethan Wolf (on the training team) are the last of the men to defend their respective positions.

“There are a lot of reps,” Vannett said Thursday. “Dang almost taking every game in practice, which is good. It’s good to have reps, it makes you feel good about everything that happens in the game plan. But yeah, that is. is weird.

Vannett has been in a similar situation before.

He played for the Denver Broncos last season during their infamous quarterback epidemic the day before a game that relegated all Denver quarterbacks to the COVID-19 roster ahead of their game against the Saints, prompting a rookie practice team receiver not drafted to serve as Broncos quarterback.

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“Fortunately, we are not in this exact situation,” he said. “But there are still pieces that need to be moved and still some guys who need to step up and take on those roles.”

While none of the specialists are currently on the COVID-19 list, the Special Teams units are also one of the areas hardest hit by this outbreak for the Saints.

Of the six players who have played over 50% of the Saints’ special teams snaps this season, four of them entered the COVID-19 roster on Thursday or Friday: Pro Bowler JT Gray, safety Jeff Heath, linebacker Kaden Elliss and running back Dwayne Washington.

“Our biggest challenge every week, regardless of COVID, is the depth chart,” Special Teams Coordinator Darren Rizzi said Thursday, before he tested positive for COVID-19 on Sunday. “It’s definitely like the musical chairs, who’s in, who’s out, dragging guys. There are a lot of moving parts.

On Thursday, Rizzi told all players on the practice squad that everyone needs to be ready to play against the Dolphins, given that the number of active players on the COVID-19 roster is greater than the number of players on the COVID-19 roster. the training team that the Saints have in their hands.

“Everyone is on the bridge right now,” said Rizzi. “I want you to be ready to go. “

After the first player – tight end Juwan Johnson – was put on the COVID-19 roster on Wednesday, then interim head coach Dennis Allen said on Wednesday morning there were still concerns about the virus, especially with the environment in which the company currently finds itself.

On Wednesday afternoon, another player – tight end Adam Trautman – was on the roster. Nine more COVID cases emerged on Thursday, prompting Allen to cancel Thursday’s walkthrough.

Book and cornerback Marshon Lattimore both used the word “tough” to describe the loss of those Thursday reps.

“Trying to get into a routine is tough because you can’t get into the building,” Book said on Friday after training. “… I needed these reps, and I told the coaches that I needed these reps step by step.”

Lattimore said Thursday: “As far as work goes, it’s going to be tough. But we just have to be locked up.

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Tom Hanks ‘Cast Away’ made a bold choice to highlight isolation

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2000s Castaway is far from the first film to explore what it would be like to try and survive on a desert island. But the movie just might be one of the best ways to make that experience real and relevant. Of course, it helps that Tom Hanks is the title character, as the actor’s sympathy for everyone and his financial ability at the box office makes him an easy centerpiece that audiences can connect with. However, Castaway also uses creative tactics to bring viewers to this island with Hanks.

A “Cast Away” advertising billboard | Tim boyle

Tom Hanks spends much of “Cast Away” alone

At first Castaway, the character of Hanks – a FedEx employee named Chuck Noland – is the sole survivor of a plane crash. Chuck is stranded on the shore of a desert island, with only packages from FedEx customers to help him stay alive. And for most of the film’s 144 minutes, Hanks is the only one on screen.

To cope with the loneliness, Chuck develops an imaginary friendship with a volleyball player named Wilson. This relation gives Castaway a number of his most memorable moments, including during the film’s emotional climax. But it also gives director Robert Zemeckis and Hanks a way to explain Chuck’s plight and give him another “character” to play during the movie.

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RELATED: “Cast Away”: What Island Was Tom Hanks’ Movie Set On?

Director Robert Zemeckis made a bold creative choice

This isn’t the only way Zemeckis and his team are helping audiences feel the weight of Chuck’s time on the island. Almost all the movies – certainly the ones with the production values ​​and the budget of Castaway – include a full musical score. But for Castaway, Zemeckis chose to keep the audio of the film absent from any score while Chuck is on the island. Instead, the movie features minimal sound effects, making audiences feel as isolated and lonely as the character.

It is only when Chuck escapes the island that the score of composer Alan Silvestri comes into play. Silvestri has contributed indelible scores such as Back to the future, Who wants Roger Rabbit skin, and Forrest Gump for Zemeckis. And his music in Castaway collects so much power because of the emotional way it is used in the story. In 2002, Silvestri even won a Grammy Award for his music in Castaway.

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The film remains among Tom Hanks’ greatest hits

For Hanks, Castaway was perhaps the biggest test so far. The actor has radically transformed physically to embody the reaction of Chuck’s body to his stay on the island. But besides, so much screen time with just Hanks could have become tiresome for the audience. And in less hands, it could have been the case.

However, in Hanks’ filmography, Castaway remains among the greatest successes of his career. The film grossed $ 427 million worldwide, according to Les-Numéros.com. Even over 20 years later, that makes her her biggest live-action hit after just The “Da Vinci Code, Forrest Gump, Angels, and Save Private Ryan.

RELATED: Tom Hanks: ‘Cast Away’ ‘Drove Me Nuts’ Scene


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William Clark Green rings New Years at Cain, where he hopes to record a live album in the future | Music

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Cain’s Ballroom will host Texas singer-songwriter William Clark Green on New Years Eve.


Courtesy


Once upon a time, he had no name.

But he’s made a big name (three, actually) for himself in the music business and he’s getting ready to perform at his favorite venue on New Years Eve.

William Clark Green will ring in the New Year with a show on December 31 at Cain’s Ballroom, where he hopes to make a live album in the future.

Topics of conversation before the NYE concert: his nameless past, why he’s a three-name artist, the appeal of Cain’s Ballroom and, of course, chili. If you follow Green on social media, he often interacts with fans to remind them that if your chili has beans in it, it’s not really chili. Hot topic.

But let’s start from the beginning, which for Green is birth. He entered the unnamed world of Texas.

“You are not supposed to be able to leave the hospital without a name,” he said.

“My father, the doctor, managed to get around this problem, so I remained anonymous for two weeks. My uncle finally said to my father, “What about William Clark Green? It was the only name my mom and dad could agree on.

Hey, good thing you weren’t anonymous. This could make selling albums difficult.

“Hell it could get better,” Green said. “We never know.”

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THE MUSIC MAN cancels Saturday night and Sunday morning after breakthrough cases

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The Music Man has announced that the Saturday December 25 evening performance and Sunday December 26 matinee performance of The Music Man on Broadway have been canceled due to groundbreaking cases of COVID-19. All tickets for canceled shows will be refunded at the point of purchase.

The show notes on social media that “Our company would have liked nothing more than to celebrate the holidays with the audience and their families, but the priority is the health and well-being of the cast, crew and We are very grateful to all of our cast and crew – especially our heroic liners and swings – for ensuring our early return to the Winter Garden Theater. “

Earlier today, star Sutton Foster shared on social media that she tested positive yesterday.

The production, directed by four-time Tony Award winner Jerry Zaks, with choreography by Tony Award winner Warren Carlyle, also stars Tony Award winner Shuler Hensley as Tony Award winner Jeffersonian Marcellus Washburn. Mays as Mayor Shinn, Tony Award winner Jayne Houdyshell as Ms. Shinn and Tony Award winner Marie Mullen as Ms. Paroo, Remy Auberjonois as Charlie Cowell, Gino Cosculluela as role of Tommy Djilas and Emma Crow as Zaneeta Shinn. Benjamin Pajak as Winthrop, Kayla Teruel as Amaryllis, Garrett Long as Ethel Toffelmier, Linda Mugleston as Alma Hix, Jessica Sheridan as Maud Dunlop, Rema Webb as Ms. Squires, Phillip Boykin as Olin Britt, Eddie Korbich as Jacey Squires join the cast. , Daniel Torres as Ewart Dunlop, Nicholas Ward as Oliver Hix, Max Clayton as Standby for Harold Hill, and Nick Alvino, Jordan Beall, Ronnie S. Bowman Jr., Maria Briggs, Audrey Cardwell, JT Church, Kammie Crum, Aydin Eyikan, Carlee Flanagan, Ethen Green-Younger, Emily Hoder, Curtis Holland, Eloise Kropp, Ethan Lafazan, Kayla LaVine, Andrew Minard, Sean Montgomery, Tanner Quirk, Lance Roberts, Daniel Patrick Russell, Ann Sanders, Sherisse Springer, Mitchell Tobin, Kathy Voytko , Branch Woodman and Ryan Worsing complete the package.

One of the most universally cherished treasures of American musical theater, The Music Man was an instant hit when it premiered on Broadway on December 19, 1957. It won five Tony Awards, including Best Musical, and ran for 1375 performances. The cast’s original album took No. 1 on the Billboard charts and remained on the album charts for 245 weeks. The recording won the first-ever Grammy Award for Best Original Album from the cast. The Smithsonian Institution classifies The Music Man as one of the “great glories of American popular culture”.

Music Man’s creative team includes Santo Loquasto, four-time Tony Award winner (Scenic & Costume Design), five-time Tony Award Brian MacDevitt (Lighting Design), Tony Award winner Scott Lehrer (Sound Design), Luc Verschueren for Campbell Young and Associates (Hair, Wigs and Makeup), Jonathan Tunick, Tony Award winner (Orchestrations), David Chase (Vocal and dance arrangements) and Patrick Vaccariello (Music director).

The opening night is set for February 10, 2022

Learn more at www.Musicmanonbroadway.com.

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New COVID cancellations from Broadway and beyond, including The Music Man, Flying Over Sunset, more

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More shows have canceled performances, some until Christmas and beyond, as the number of groundbreaking COVID cases rises in New York City due to the Omicron variant.

As with all shows facing similar challenges, reopening dates are subject to change as the business situation evolves and testing continues. Affected ticket holders will be reimbursed at the point of purchase.

The Music Man, currently premiering at the Winter Garden Theater, has canceled its December 25 and Matinee December 26 performance, with plans to resume with the 8 p.m. show on December 26. Visit MusicManOnBroadway.com to learn more.

Lincoln Center Theater Fly over the sunset canceled performances on December 25 and 26, with performances scheduled to continue from December 28. For an updated schedule, visit LCT.org.

Red Mill! Musical comedy canceled performances from December 23 to 25 due to positive COVID results at the business, but plans to resume with the 2 p.m. morning on December 26. Visit Jujamcyn.com for an up-to-date schedule.

Sara Bareilles’ Broadway Engagement Returns Waitress will not reopen at the Ethel Barrymore Theater due to COVID-19. Waitress previously extended its cancellations until December 23, after the first announcements of December 21 and 23. Visit WaitressTheMusical.com to find out more.

WEEKLY BROADWAY SHOWS SCHEDULE

David Byrne’s American Utopia, who did not perform on December 22, canceled her December 23 performances. The rock show’s next scheduled show is 5 p.m. ET on December 26. Visit Jujamcyn.com for an up-to-date schedule.

Come from afar, after initially canceling only the evening performances of December 21 and morning of December 22, extended the closure until December 25 due to groundbreaking cases of COVID-19 at the company. Performances are scheduled to resume at 2 p.m. on December 26. Check ComeFromAway.com for updates.

MJ the musical, one of the first lounges to announce cancellations during the Christmas holidays, will remain closed for an additional day. Production is now set to resume premieres on December 29. For more information on future performances, visit MJtheMusical.com.

The Broadway production of Six announced the continuation of its withdrawal period. Initially canceling only the December 20 performance, the pop musical will now go out until December 28, with plans to resume performances on December 29. Tickets will be refunded at the point of purchase. For more information, visit SixOnBroadway.com.

from disney The Lion King cancels performances until December 26 after detecting cases of COVID-19 within the company. Performances are scheduled to resume with a morning of Monday, December 27; visit LionKing.com to learn more.

Harry Potter and the Cursed Child also recently expanded its previous cancellations. Tony’s winning piece is set to return on December 28. For more information, visit HarryPotterThePlay.com.

Tina: The Tina Turner Musical, which had canceled some performances earlier in the month, will darken again until December 24, with the next performance scheduled for Christmas Day. See TinaonBroadway.com for more.

As previously announced, Hadestown extended its closure to include the week of performances from December 20 to 27. is scheduled to resume performances on December 28 at the Walter Kerr Theater. Visit Jujamcyn.com for an updated schedule.

Dear Evan Hansen announced a week of performance cancellations. Tony’s award-winning musical will end December 20-26, with performances scheduled to resume December 27 at the Music Box Theater. For more information, see DearEvanHansen.com.

The Broadway production of the Tony and Pulitzer Prize-winning musical Hamilton, Who has been closed since December 15 due to revolutionary cases of COVID-19 in the company, canceled performances until December 27. The show is scheduled to resume performances on December 28 at 7 p.m. at the Richard Rodgers Theater. For more information on future performance, visit HamiltonMusical.com.

Aladdin, which had canceled its December 19 performance over the weekend, will now be closed until December 28, hoping to welcome audiences again from December 29 (check AladdintheMusical.com for updates day). Ticket holders will be refunded at their point of purchase (or can submit a request if they purchased in person here).

Isn’t It Too Proud – Life and Times of Temptations, extended its cancellation until December 27. The show was previously scheduled to cancel its December 14 performance, then initially announced a closure for December 20 and 21. The next scheduled performance is December 28. For an updated schedule, visit Ain’tTooProudMusical.com.

The Off-Broadway production of Jersey Boys at New World Stages has canceled performances from December 22-26 and plans to return on December 27. Visit JerseyBoysInfo.com for more information.

Off-Broadway solo show by comedian Alex Edelman Just for us suspended production from December 22. Rather than ending its airing as scheduled on January 8, the show will return on January 24 and run through February 19 at the Cherry Lane Theater. To learn more, visit JustForUsShow.com.

The New York City Ballet has canceled performances of The Nutcracker by George Balanchine until December 27 at the David H. Koch Theater at Lincoln Center. Currently there are plans to resume performances on December 28 at 7 p.m. and continue as planned until January 2.

The Off-Broadway Theater Row theater complex closed the entire venue over the holidays, affecting Winnie the Pooh: the new stage musical adaptation, who plans to return on December 26, and Santa’s Sing-A-Long, which was only scheduled until December 23 and will not return.

The Off-Broadway Renaissance of Classic Stage Company Assassins canceled performances from December 22 to 23. See ClassicStage.org for more information.

The Cirque du Soleil production of It was the day before … at the Hulu Theater in Madison Square Garden has extended its cancellation until the end of its scheduled airing on December 27. Visit MSG.com to learn more.


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Moviegoers felt a mix of old-fashioned joy and Covid-era anxiety as they returned to the movies

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Before the pandemic, Gabby Richards had never seen a Marvel movie. During the lockdown, she took the advice of a friend and hiked over 20 installments in the franchise – all from the comfort of her apartment in Washington, DC

But this summer, as multiplexes began to reopen and studios rolled out a handful of high-profile releases, Richards, 28, decided it was time to leave home and see his first Marvel epic – the Scarlett Johansson spin-off “Black Widow” – on the big screen.

“The Marvel movies weren’t created to be watched at home. They were created to be watched on the big screen,” said Richards, who saw the film at one of its local venues, the Regal Gallery. Place. “It hit me for the first time.”

Richards was one of the countless people who returned to the movies this year as some across the United States gradually returned to the familiar rituals of pre-pandemic life. In interviews, occasional moviegoers who have returned to the box office have described feeling drawn to the promise of an audiovisual performance, a respite from the monotony of 40s, or an escape from everyday stress.

In the hushed darkness of the theater, surrounded by rows of empty seats, Richards was gripped by the big-screen action scenes and booming sound design. She felt transported far, far away from the hum of the washing machine that usually accompanied her visits home.

Richards and other moviegoers have contributed to the success of blockbusters such as “Shang-Chi and the Legend of the Ten Rings”, “No Time to Die” and the greatest release of the pandemic era: “Spider-Man: No Way Home, “which opened with North American ticket sales of $ 260 million.

Simu Liu as Shang-Chi in Marvel’s “Shang-Chi and the Legend of the Ten Rings”. Jasin Boland / Marvel Studios

But not all potential ticket buyers were so excited to return to traditional cinemas. Faced with the omicron variant and renewed anxiety about breakthrough infections, many still feel that hanging out in a dark room with a group of strangers is too risky, even though some theaters require proof of vaccination. The spread of the variant could cause more problems for the industry in 2022.

The financial difficulties of the pandemic are also weighing heavily on much of the country. A night at the movies is a luxury that many simply cannot afford.

Christina Ortega, 34, a medical receptionist who lives in central California, shelled out around $ 115 to take her family to see the bloody action movie “Resident Evil: Welcome to Raccoon City,” which runs a little over ‘one hour and 40 minutes. Tickets for a morning performance were $ 15 each and snacks totaled about $ 55.

“You know, with my budget lately, I thought it was a little weird,” Ortega said. “I could have spent that money on groceries. But it’s not something we do every day, so I decided to go.

Ortega has not returned to the cinema since this release, instead catching up with new releases on streaming platforms.

The return to theaters hasn’t been without the occasional glitch, either.

Nicholas Jackson, a 34-year-old freelance writer who works in film production, relished Wes Anderson’s rich visual of “The French Dispatch”, but felt irritated each time he needed to remove his mask to take a look. sip of soda.

I really liked the movie, but the whole time I was on my nerves leaning on my poor husband’s seat and crushing him.

RACHEL BREW ON SEE “FREE GUY”

Rachel Brew, a 30-year-old woman who lives in North Carolina, enjoyed Ryan Reynolds’ comedy “Free Guy,” but felt uncomfortable sitting next to a young couple who refused to wear face covers.

“I would have liked to talk to someone in the theater and ask them to change seats,” Brew said. “I really liked the movie, but the whole time I was on the alert, leaning on my poor husband’s seat and crushing him.”

The experience soured her about the theatrical experience of the Covid era, and she said she was not sure whether she would return to a Raleigh area cinema “in the foreseeable future.” She can’t wait to see next year’s crop of Marvel movies, but expects her to wait until they land on Disney +.

Hollywood studios, for better or worse, have made it easier to bring new releases to your living room this year, shortening the traditional ‘window’ between theatrical engagements and video-on-demand debuts – or creating new titles. simultaneously in multiplexes and streaming. Warner Bros., for example, released its entire 2021 roster simultaneously in theaters and via HBO Max, giving viewers options: watch “Dune” on a colossal IMAX screen or stream “Dune” to an iPhone in a coffee shop – you decide.

Lena Funke, a student at Bowling Green State University in Ohio, is certainly no stranger to Netflix and other big-name streaming services.

But she’s been away from home a lot this year, eager to turn off her smartphone and dive into a distraction. She bought tickets to over 20 films in the second half of the year, from horror films (“Candyman”, “Malignant”, “Antlers”) to aggressively marketed franchise offerings like “Ghostbusters: Afterlife “. (She keeps her ticket stubs and reads them courtesy of an NBC News reporter.)

The lingering threat of Covid-19 has not been lost on Funke, 19, but that hasn’t deterred him from frequently venturing to his local venue, the Cinemark Fallen Timbers 14 in Maumee, Ohio.

“You can choose your seats before entering my theater. I tend to choose a seat further away from the others, and all the employees wear masks, ”she said. “I’m not really worried, personally. “

Young people like Funke played a key role in the return of cinema in the second half of the year.

“Venom: Let There Be Carnage,” a luscious comic book sequel, unexpectedly earned $ 212 million thanks to heavy participation from teens and young adults, for example; 56% of the public were people under 25. In general, Marvel’s grip on film culture has rarely loosened.

But older moviegoers were apparently more reluctant to return to multiplexes – and “adult dramas,” as they are called in the entertainment industry, have often paid the price.

“King Richard,” a well-reviewed tennis biopic anchored by a Will Smith performance at the Oscars, opened in North America with a paltry $ 5.7 million. (The film premiered simultaneously on HBO Max, which does not release audience data.) “The Last Duel,” a $ 100 million #MeToo fable starring box-bombed Matt Damon and Adam Driver- national office. (Seventy percent of the audience was over 25.) Steven Spielberg’s acclaimed “West Side Story” narrative has also underperformed so far.

Demi Singleton as Serena Williams, Saniyya Sidney as Venus Williams and Will Smith as Richard Williams in “King Richard”.Warner Bros.

“The older audience is showing more concern about the pandemic, and you see it in the numbers,” said Paul Dergarabedian, senior media analyst at Comscore, a company that tracks box office data.

Dergarabedian pointed out a few exceptions, namely “The French Dispatch” and Paul Thomas Anderson’s coming-of-age tale “Licorice Pizza”, two famous films by famous authors that drew large crowds in some theaters and landed some of the highest average screen revenue of the year.

In some ways, the box office trends of the Covid era – boom times for expensive, effects-driven shows; tough times for almost everything else – accelerated changes that were already taking shape before the pandemic. If you are concerned about the theatrical viability of films that are not tied to corporate-owned franchises, you have reason to be concerned.

But amid the industry anxiety and cultural turmoil, some moviegoers were just looking for a mental escape.

Hannah Ball, 28, one of two reporters for a small newspaper in Fenton, Mich., Left home in February to see a remastered version of “The Lord of the Rings: The Return of the King” by Peter Jackson in IMAX format with it. mom.

Ball had grown up watching the Three Fantastic Epics on personal video, but nothing could have prepared her for the greatness of Jackson’s vision when it was screened at the NCG Trillium Theater in Grand Blanc.

“It was such a big difference,” Ball said. “The giant screens. Surround sound. I felt like I was watching them for the first time.

Yet in the final minutes of the film, as Frodo bids farewell to his fellow Hobbits and leaves Middle-earth, Ball is overcome with familiar emotions. The musical score swelled and Ball collapsed crying in the dark.

“I couldn’t look away,” she said.

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A Christmas hit may be the gift that keeps coming, so why have so many artists given up? | Jessica mizrahi

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For me, the Christmas season doesn’t start when business closes. It’s not when the first person on the street turns on the Christmas lights, nor even after the Christmas contest took place.

It’s the first day that I hear a Christmas carol.

Everyone has their favorites. It can be a classic or a cover, religious or secular, happy or sad. Either way, and even if we roll our eyes, it’s a great time for the music.

Which means a great moment for the musicians. Christmas music has a long history of helping artists earn money. In fact, the Guinness Book of World Records calls Bing Crosby’s White Christmas 1942 the best-selling single of all time, with over 50 million sales worldwide.

There was a time when releasing a Christmas album was the best hope for an artist to make a few dollars, and while there is no exhaustive source of album releases, All musical data suggests that there were over 230 Christmas albums released in 2001.

Number of Christmas albums released

Source: author’s calculations based on All the music

Through 2011, that number had plunged to just over 90. A rough first tally suggests that this year the tally will be about 60.

What is the decline of Christmas albums?

First, it’s symptomatic of the slow disappearance of albums more broadly. As technology and music formats have changed, preferences have also changed. In the 2010 calendar year, Australians bought 33 million CD albums. Through 2020, the number had fallen to 3.3 million, a tenth of what it was 10 years ago. In a throwback to retro, predictions suggest that in 2021 we have likely passed more on vinyl than on CDs.

CDs defined the format of the album. A CD may contain 74 minutes of content – the duration of Beethoven’s Ninth Symphony. Fans were willing to pay a premium for an album ($ 20 to $ 30) rather than a single ($ 5 to $ 10). Labels and artists crafted albums with two to three promising hits (which would turn into singles) and a balance of filler tracks. The practice was both common sense and common sense.

Now, of course, there is streaming.

According to 2020 figures, streaming represents 89% of total recorded music sales in Australia by value. By all accounts, you’re more likely to see a subscription gift card in your email this year than to see a CD wrapped under a tree.

Artists and labels have adapted accordingly. Under streaming models, music creators get paid every time someone listens to a song – or the first 30 seconds of it. The result is more focused on singles, and shorter track lengths. You can split a three-minute song into two one-and-a-half-minute songs, or three one-minute songs, and get paid double (or triple) for your efforts.

The other contributor is that streaming allows better access to a larger catalog.

In a physical music store, distributional and physical space constraints meant that artists relied heavily on labels and networks to access consumers. Whether it’s a single or an album, you can only take up shelf space for such a long time. Music had a short half-life.

Online, however, there are few limits. Musicians can reach millions of viewers without labels – a scottish man sing a Kiwi folk song on a social media platform has become the song of a pandemic, with over 75 million views.

It also allows you to access old classics – and focus more on them. Older Christmas songs have become increasingly prominent on the Spotify charts over the past five years. As an example, consider the top songs listened to in Australia on December 20, 2017 (the first year that Spotify chart data is available).

Elvis Presley and Bing Crosby albums were on sale in the United States last year. Photograph: Mark Makela / Reuters

In 2017, all the Top 10 songs were released that year. In 2018, Mariah Carey’s 1994 party hit All I Want for Christmas Is You was on the list – and it made the Top 10 all year because. Three of the top 10 songs streamed on Spotify in Australia December 20, 2021 were previous years.

That’s not to say there weren’t new contenders. This year Ed Sheeran, Kelly Clarkson and Megan Thee Stallion all threw their hats in the ring. Yet none made the Top 50 for Christmas week. It is no wonder that the festive novelties have diminished.

Christmas nostalgic listening isn’t limited to streaming. Consider classic crooners who make money from beyond the grave. There has been at least one Christmas album by Bing Crosby, Elvis Presley, Dean Martin, Frank Sinatra, or Nat King Cole every year for the past decade. Not bad considering that none of them have seen Christmas in over two decades.

Number of Christmas albums released per year

Source: author’s calculations based on All the music

Love them or hate them, Christmas carols are here to stay. So turn up the volume and enjoy while it lasts – January is only a week away.

Jessica Mizrahi is an economic consultant and commentator. She has taught, researched and applied economics for over a decade

The author previously served on the board of directors of the Australian Live Music Business Council and has previously co-authored research commissioned by the Australian Independent Record Labels Association. All opinions and analyzes are his

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Family theater shows that you can enjoy with your children

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As you may have heard, New York’s best-known family vacation show, “The Christmas Spectacular Starring the Radio City Rockettes,” prematurely ended its annual broadcast at Radio City Music Hall last week. due to COVID cases. Many Broadway shows have also canceled performances due to the current situation.

That being said, if you’re a parent or grandparent looking to take kids to the theater while on vacation, there are still quite a few other shows to consider – although you should definitely keep up to date with any. cancellation of future performance due to COVID and carefully review the health and safety requirements of each show.

The Nutcracker by George Balanchine: While “The Christmas Spectacular” may be temporarily out of service, the NYC Ballet is still presenting its iconic and lavish version of Tchaikovsky’s ballet, full of children, tin soldiers, snowflakes, a tree. Giant Christmas and a plum fairy. Last year marked the first year the company had not presented ballet since 1954. David H. Koch Theater at Lincoln Center, until Jan. 2, nycballet.com.

The Big Apple circus: The beloved Big Top Circus returned this year under the ownership of high-flying artist Nik Wallenda. As directed by Philip WM. McKinley (“Spider-Man: Put Out The Black,” “The
Boy from Oz “), its revamped format includes new acts starring” Big Little Ringmaster “Alan Silva, comedic daredevil Johnny Rockett and the Yab Brothers of Ethiopia. Damrosch Park at Lincoln Center, through January 30 , bigapplecircus.com.

Winnie the Pooh: Well-known Disney version of AA Milne’s stories about Pooh, Christopher Robin, Eeyore, Rabbit, and the rest of the gang are presented Off-Broadway with life-size puppets in a production by Jonathan Rockefeller (who previously created and directed stage versions of “The Very Hungry Caterpillar” and “Paddington”). Row Theater, 410 W. 42sd St., until January 30, winniethepoohshow.com.

Jim Henson’s Jug-Band Christmas by Emmet Otter: Based on a 1977 television musical directed by Jim Henson and with songs by Paul Williams, Ma and Emmet Otter from Frogtown Hollow tries to win a talent show on Christmas Eve. The stage adaptation is directed by Christopher Gattelli (“Newsies”) and Puppets from Jim Henson’s Creature Shop. New Victory Theater, 209 W. 42sd St., until January 2, newvictory.org.

Cinderella and the Magic Flute: The Metropolitan Opera is currently offering abridged English versions of two fairy-tale operas: “The Magic Flute” by Mozart (with the staging of dreamlike landscapes infused with Julie Taymor’s puppets) and “Cinderella” by Massenet. Metropolitan Opera House at Lincoln Center, through Jan.5, metopera.org.

Happy holidays: For those in New Jersey, the Paper Mill Playhouse (which has hosted numerous Disney musicals in recent years, including the world premiere of “Newsies”) now features a low-key and heartwarming musical review of hit songs from Disney movies being shot – stage shows such as “The Lion King”, “The Little Mermaid”, “Mary Poppins”, “Aladdin”, “Frozen”, “Beauty and the Beast” and “Hercules” (which the theater will produce next season). Paper Mill Playhouse, Millburn, NJ, through Jan. 2, papermill.org.

A Sherlock Carol: In Mark Shanahan’s new play, Sherlock Holmes is tasked by an adult Tiny Tim to investigate the mysterious death of Ebenezer Scrooge – a mission that involves further visits by ghosts of Christmas past, present, and future. New Scenes of the World, 340 W. 50e St., asherlockcarol.com.

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Read the script adapting the bio-musical of the creator “Rent” – Deadline

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Editor’s Note: Deadline’s Read the Screenplay series debuts and celebrates the movie scripts that will be factors in this year’s cinematic award race.

The life of To rent creator Jonathan Larson was so dramatic it could only be told as a musical. It helped that Larson himself wrote his own autobiographical musical, tick, tick… Boom! First presented as a one-man show by Larson in 1991, it was extended to a musical with three actors in 2001, years after his death. Tony-award-winning and Emmy-nominated playwright Steven Levenson adapted the play into a screenplay, and Lin-Manuel Miranda made his directorial debut with the resulting Netflix film, which stars Andrew Garfield as Larson.

In 1990, Jon (Garfield) already felt like time was running out. He is 30 years old and has yet to write his masterpiece. He waits for tables and neglects his girlfriend, Susan (Alexandra Shipp). His friend Michael (Robin de Jesus) tries to help Jon pay for corporate gigs, but the battle between art and commerce also creates a wedge between them. Jon writes what he knows, songs about struggling to create and wondering what he’s going to do with his life. He ultimately devotes everything to a workshop for Broadway power actors. It may not be success To rent would become, but it’s a start.

Miranda starred in a 2014 production of tick, tick… Boom! before the premiere of Hamilton. To rent had inspired Miranda’s work, including her previous show In the heights. Producer Julie Oh had seen Miranda’s performance and introduced the project to Imagine Entertainment. Garfield started taking voice lessons in 2018, so he would be ready to rehearse in 2019 and perform in 2020. Filming began on March 3, 2020 and stopped later in the month, then resumed in October according to Covid-19 security protocols.

tick, tick… Boom! premiered at AFI Fest, opened in theaters on November 12, and premiered on Netflix a week later. AFI named it one of its 10 Best Films of the Year, while the Critics Choice Awards nominated it for Best Picture and Best Actor for Garfield.

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An intimate jazz series to sate the local hunger for live music

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According to Wyant, the Arts Council aims to attract nationally and internationally renowned artists who, if not for the series, local jazz fans would have to travel to a bigger city to hear.

“We had been able to bring some of the main jazz artists (to Gainesville) before (the show started) and we realized there was an interest in having artists more often in a more intimate setting,” Wyant said. . “Some of the artists we brought in many years ago were Dave Brubeck, Herbie Mann, Chuck Mangione, Ramsey Lewis – real alumni who would attract a much larger audience because they were recognized in the jazz world. Some of the artists we bring in now may not be so familiar on the big stage, but they are top class musicians. “

While the level of audience engagement depends on the artist, listeners can expect to experience a more personal level of intimacy than their typical concert could afford, according to Wyant.

“They will give the audience a taste of their journey, what they have been involved in and a few stories,” Wyant said. “The artists appreciate the public’s feedback. Sometimes we can have artists that we normally couldn’t afford because they like privacy and audience commentary – often they have to play background music that people don’t really listen to. Although it is a concert, it is a more relaxed atmosphere.

Entering his 39th year on the Arts Council, Wyant hopes the series will inspire listeners to dive a little deeper into jazz, even those who are convinced they don’t like the genre.

“Sometimes people will say, ‘I don’t really like jazz,” Wyant said. “I’m going to say,’ Do you like Frank Sinatra? ‘And they’ll say,’ Oh yeah, I love Frank. ‘ Well, it’s jazz. They don’t realize that there are different kinds of jazz, and they might like one more than the other. Jazz is an American art form. It’s been around a long time, but there are still people who don’t realize that they like this art form, this kind of music, and when they come (to the performances) they are really surprised, it’s always an educational process.

Although the Saturday performances of the annual series are sold out, a limited number of tickets for the Friday performances are still available.

Tickets for the series cost $ 180 per person, guaranteeing all five Friday performances. Tickets to reserve an entire bistro table, seating six, are available for $ 1,080.

Each performance will begin at 8 p.m., with doors opening at 7:30 p.m.

The Arts Council will provide coffee, soft drinks and light snacks; participants can bring their own adult drink if they wish. For those who bring wine, the town hall will provide the unblocking service, glasses and ice cubes.

To purchase tickets and inquire about family and group rates, visit www.theartscouncil.net or call 770-534-2787.

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Paul Kelly on his new version of How to Make Gravy: “Christmas music gets a bad press” | Pop and rock

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To understand why Paul Kelly would make an almost 30-disc Christmas album at the height of his career, it helps to know how he is spending his own holiday season.

Kelly is one of eight siblings and traditionally gatherings feature a large and diverse cast; “Wandering flames, new and old, gossip, song,” as he writes in his memoir, How to Make Sauce, “and a lot of talk and food planning.”

Kelly’s family branches extend to Melbourne, Brisbane and Adelaide. “We all have our kids and our kids’ kids, so if we all got together now it might be too big,” he says. Usually there is a meeting on Christmas Eve, where Christmas carols will be sung, before people return to their own camps and to their in-laws for the day itself.

But this year Kelly’s older brother Martin – father of nephew and band member Dan – won’t be there. He died on December 4 of last year, at the age of 69, from a short illness. “We were fortunate enough to be in Queensland last year just before the borders closed,” Kelly said. “It was a very close call, but we saw him two days before his death and stayed for the funeral, so we were very lucky to be able to do that.”

Martin’s spirit is everywhere in Kelly’s new album, Paul Kelly’s Christmas Train: a collection of seasonal songs performed by Kelly and collaborators including Emma Donovan, Marlon Williams, Lior and Waleed Aly. “I think of Martin as the heart and soul of this project, he was the older brother who had a great influence on us younger ones,” he says. “He protested against the Vietnam War; he grew his hair long; it was he who played those weird records – the Moody Blues and Pink Floyd – and who brought new ideas into the house.

“How to talk about Marty? He was an unusual man. He was religious, had a strong faith, but it wasn’t narrow, it was very broad. He was a deep humanist. It was definitely in my mind to prepare this album. I wanted to make a big-hearted, generous and open record… hang in there, ”he says, and – just for a moment – Kelly loses her temper. He breathes. “I just wish he could hear it.”

While Martin’s death might have provided the impetus, Christmas carols have been a growing obsession for Kelly for years. Her own Yuletide classic How to Make Gravy led fans to double down on December 21 “Sauce day“, and in his memoir of the same name, he lists” other Christmas lovers “- 18 of them, none of which made the final cut of 22 Christmas Train songs. When this is reported, Kelly is surprised: he had forgotten everything: “I should have checked this list!”

But that, he says, proves a point: Christmas carols are as rich a tradition as the holiday they accompany.

For five years, from 2007 to 2011, he and his son Declan performed a two-hour Christmas carol special on Melbourne radio station 3RRR. They never played the same song twice. “Christmas music gets a bad press because people hear the same Christmas carols and pop songs in supermarkets and malls,” he says. “There is so much good Christmas music that is held back by all of this. “

And Kelly’s “Making Gravy” Christmas tours – in which he’s headlining a line-up that he also hand-selects – are quickly becoming their own tradition. At the Riverstage in Brisbane on Saturday, he was joined by locals from Ball Park Music and Sycco, as well as Melbourne-based Emma Donovan. As on the Christmas Train album, Kelly often gave the lead vocals to others, including Donovan for The Virgin Mary Had One Son and Linda Bull for Darlene Love’s classic Christmas (Baby, Please Come Home).

On the album, traditional Christian classics (versions of Silent Night and Little Drummer Boy) rub shoulders with Shalom Aleichem, a Hebrew prayer sung here by Lior; and Sura Maryam, a chapter of the Qur’an that tells the story of Mary, recited by Waleed Aly. “It’s like someone read a story before they fall asleep to their kids, that’s what I really liked,” Kelly says.

There are also songs that represent Christmas in the austral summer, including Swing Around the Sun by Casey Bennetto, author of the musical Keating !. He speaks of “miles of crumpled paper, yards of burning skin / alcohol vapor ‘around the yellow-top garbage can.” Kelly couldn’t believe the song hadn’t already been recorded: “We must have put a lot of work on this one, especially because it has 19 chords.”

There is also a new version of How to Make Gravy. Like many of Kelly’s best-known songs, the song was not a hit when it was released (it peaked at No.37 in 1996), but has become part of the Australian cultural fabric.

Kelly took a little persuasion to record it again, simply because “it’s [already] the low. But the friends I was telling about the record – and the band – were really surprised that we weren’t recording it again. We play it so much, it plays us, as much as we play it.

The Christmas train might not end there: with so many songs left hanging, including the aforementioned 18 humdingers, there could be a sequel. “The way people listen to music now, with streaming, [means] you can add things, ”Kelly says. “I could do one or two a year for five or 10 years and then we would have enough to do a third volume.”

And that, as he says in his memoir, is the best thing about Christmas: “It comes back every year, so you always get another photo. “

Paul Kelly’s Christmas Train is now available via EMI. Kelly also plays at Bluesfest in April in Byron Bay


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Emily Hopp found the joy of playing ‘The Nutcracker’ for Afghan refugees | News

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Emily Hopp has a new perspective on bringing joy to the world through dancing this holiday season.

Hopp, an elder at Oregon High School, told The Observer she was delighted to help bring joy earlier this month to about 1,200 Afghan refugees staying at Fort McCoy as part of goodwill performances of “The Nutcracker” by the Madison Ballet on December 10th. and 11.

Emily, 18, the daughter of Jeff and Katy Hopp, said the experience was a chance of a lifetime and the audience reaction to the ballet performances was “unbelievable”.

“Those crowds blew up every other crowd I’ve ever performed for outside the stadium,” said Hopp, a dancer since the age of 2 who has performed in smaller productions from “The Nutcracker” to Appleton before his family moved to the area in 2020.






Emily Hopp, 18, daughter of Jeff and Katy Hopp, is in her final year at Oregon High School.




“At the end of the very last performance, the applause, the whistles… it was all so loud at the end,” Hopp continued. “It made us feel so good to be able to play in front of them. “

The performances took place earlier this fall when Madison Ballet CEO Jonathan Solari launched a plan to bring “The Nutcracker” to Fort McCoy, according to the group’s website.

Fort McCoy, between Sparta and Tomah, is one of eight US military installations temporarily housing Afghans who fled their homeland in August following the withdrawal of US forces and the Taliban takeover of Afghanistan, according to news reports. . About a quarter of the total 50,000 Afghan refugees have been sent to Fort McCoy and about 7,000 of them are still awaiting settlement.

During this wait, Solari said he wanted to bring “The Nutcracker” to Fort McCoy as a way “to spread joy this holiday season”.

And so Hopp joined 54 other people on a coach to Fort McCoy for rehearsals on Thursday, as well as two hour-long shows each day on Friday and Saturday.

The cast and crew stayed at a lodge about 30 miles from Fort McCoy, Hopp explained. Arriving at the military post on Thursday, she said it was “surreal” to pass Homeland Security clearance checks, then watch children from refugee families playing in the light snow falling near their barracks accommodation. .

“We see all of this on TV, but it’s a little hard to believe until you really see it in person,” Hopp said.

The performances were held in a warehouse “completely packed” with 300 folding chairs and a stage assembled for the occasion, said Hopp, a first year dancer at the Madison Ballet school whose main stages of “The Nutcracker “include” Spanish Dancers “and” Flowers “. . The layout included a ‘small hallway and a small room for quick changes,’ she said.

To accommodate logistics, the scenes were limited to those of Act II of “The Nutcracker” and recorded music was performed from Tchaikovsky’s famous score of the holiday classic.

“It certainly wasn’t what we’re used to,” Hopp said, “but it was just amazing to be able to bring the joy of the holidays to refugees.”

As a sign of this joy, Hopp said it was likely the audience had never seen a ballet of such quality. While the more seasoned American audience could usually clap “for a big lift” or at the end of a musical piece, the audience at Fort McCoy even applauded for basic ballet movements, such as arabesques, where the weight of the music. body is supported on one leg while the other leg is pointed outward, she says.

“And so it was very exciting,” Hopp said, “because any little thing could make them clap, and it just fueled our energy.”

The crowd was mostly seated with women and children in the front row and men in the back, Hopp said.

A favorite moment came during the pas de deux “Sugar Plum,” a duet between two of the company’s top dancers, Hopp said.

“A little girl walked up to the front of the stage,” Hopp recalls, “put her arms on the stage and rested her head on her arms. She was just looking at them, with the biggest eyes, and it was so cute.

‘Nutcracker’ experiences end a whirlwind fall for Hopp, a member of the Oregon women’s golf team who, in October, secured an individual berth in the WIAA Division 1 state competition at the University Ridge Golf Course in Madison.

In early November, rehearsals for “The Nutcracker” began and the practice was intense, as the show introduced new choreography this year, in part in recognition of Madison Ballet’s 40th anniversary, Hopp said.

Hopp, who plans to study business or finance and play club golf in college, said the Madison Ballet resumed rehearsals this week before nine performances of “The Nutcracker” at the Overture Center for the Arts in Madison, where the show runs through December 26. .

Hopp said she would bring lessons learned from Fort McCoy to future shows.

“Now I know how much joy the show can bring to an audience,” said Hopp, “So I’m delighted to be back on this stage and bring joy to many people. “

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The Bad Trip of “Flying Over Sunset”

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As I watched James Lapine’s new musical, “Flying Over Sunset,” at the Vivian Beaumont, trying to instill some empathy with its subject matter, I began to think about my own rather limited history with hallucinogens. “Sunset” —directed by Lapine, who also wrote the book, with music by Tom Kitt, lyrics by Michael Korie, and choreography by Michelle Dorrance — is the fictional story of three celebrities giving up LSD in the 1950s, looking for God knows what: a tinted enlightenment, maybe, or a facilitated and maybe clarified relationship with the past, or maybe just plain fun. Writer Aldous Huxley (Harry Hadden-Paton), actor-dancer Cary Grant (Tony Yazbeck) and polymath diplomat Clare Boothe Luce (Carmen Cusack) reunite (there’s no reason to believe they’ll l ‘have done in real life) and move away their extraordinary lives (which they all have, apparently), letting audiences see, often in fervent colors and quirky movements, the troubled consciences that vibrate beneath their well-groomed characters .

A long time ago, I munched on a few handfuls of foul mushrooms and caused personal fits on my own. There weren’t many bright colors, but some previously unnoticed textural quirks – on clothes, on faces – were unleashed with deep, scrutinizing photographic detail. For many hours after those visual effects faded, I haunted the corridors of my mind, regretting the number of memories I had kept and neuroses I had cultivated. Most of the time, I wished I had eaten things. Nothing happened that I would like to stage; certainly, no one sang.

Watching “Sunset”, I wondered if her creative team had undergone any first-person experiential research in relation to LSD. (The Lincoln Center Theater in-house magazine features testimonials from writers Deborah Kass, Francine Prose, and Gregory Botts on past trips; Lapine has spoken in interviews about her own childhood experiences.) Some of the production’s other sources are clearly noted. . In an early composite scene, Aldous gives a speech against the ban on his book “Brave New World”. Cary gives a press conference announcing his retirement from show biz and defends Charlie Chaplin against charges that he is a communist. Clare, Dwight D. Eisenhower’s candidate for Ambassador to Brazil, undergoes a rough confirmation hearing.

Part of the premise of the play – or maybe that’s just what I wish it had managed to unravel – is that LSD leads its users to a gentler type of questioning. Aldous and Clare are close friends of Gerald Heard (Robert Sella), a practitioner of the Hindu philosophy of Vedanta and a forerunner of the “conscience” movement, which serves as their “guide” while on drugs, always pushing them to s sit across. legs and chanting as its effects gradually set in. Cary first hears about LSD from his wife, who uses it in her sessions with a Freudian analyst. In one scene, we see Cary negotiating his place in the analyst’s quiet office, employing flattery, charm, and, before long, screaming foolproof, to get his hands on this stuff he’s heard so much about.

These two initial settings – spiritual and clinical – open up two ways to think about not only the effects of LSD, but also why a desperate, wealthy, but lost celebrity might turn to it for answers. In “Flying Over Sunset”, however, all the roads lead back to the rote biography. Aldous’s wife is ill and soon dies. Clare’s daughter was killed in a car crash. Cary’s impending divorce leaves him brooding over his difficult childhood. As the characters travel around the stage, these episodes and their central characters – Cary’s wife, daughter, young self – reappear over and over again, with variations so slight that, oftentimes, they might as well not appear. not exist.

Gerald Heard’s presence made me think of JD Salinger’s god-obsessed glasses, whose interest in the ancient Indian Vedas and Upanishads, and Christ, made them vibrate with the kind of subconscious talk about higher things. who could’ve done things like Aldous, Clare, and Cary – a moody bunch here – a little good. But, instead of engaging in a serious conversation, the characters spend the majority of the show in their own heads.

In recent years, the Lincoln Center Theater has presented two plays about rocky terrain and the stubborn mysteries of spiritual life: “The Hard Problem” by Tom Stoppard on religious conscience and devotion; and “The Rolling Stone” by Chris Urch, on homophobic violence in a religious setting in Uganda. “Flying Over Sunset” may have ended some sort of trilogy, but its emphasis on individual biographical causation – that drug for that matter – dries up its superficial allusions to spirituality.

Maybe that’s why the show feels so down to earth despite its many references to theft. “Sunset” has a pretty stereotypical approach to music: each dose has its own song. The pattern is set early on, when Aldous is in a drugstore with Gerald, sweating at the onset of a high that will continue through a mountain hike with his sick wife. He is obsessed with a picture in a book: “The Return of Judith to Bethulia” by Botticelli. The stage design – by Beowulf Boritt, perhaps the most consistently excellent part of the show – changes and the painting comes to life. Here is Judith accompanied by her maid, with the head of Holofernes in tow. This ecstatic visual idea gives way to a pretty but above all conventional bel-canto number, through which we get the point that we continue to get: Aldous is excited by what he can see under the influence, but haunted by the changing circumstances of his life.

Hadden-Paton is sympathetic as the intense and loud Aldous, and Yazbeck’s tap acts with a young version of Cary (Atticus Ware) are the highlight of Dorrance’s choreography, which otherwise uses the basics of tap dancing – the steps and their associated natural rhythms, implicitly connected to the movements of the heart – to establish a theme that never really gets through the noise. Cusack sings well, but the effort is wasted on songs that sound like tropes.

One thing I found confusing was how strange the score wasn’t – here, like in few other musicals, there was a chance to touch abstraction and, even, to Tone. Instead, the songs sound pretty standard, give or take a broken chord or two. If a drug musical can’t sometimes seem weird or off-putting, which one can? The closest “Flying Over Sunset” to true surreality is when Cary, a guy with mom issues who is consumed with masculinity and its meanings, dons a lower body and a cap and fidgets, having become a facsimile of the phallus who owns so much of his thought and posture. The moment is brief, and the two hours and forty minutes of the show follow one another.

In an interview, Allen Ginsberg – about the work and the person from whom the idea of ​​drug-induced inspiration has always hovered – denied the idea that there was a special relationship, positive or negative, between the trip and excellence in art. “I think the myth put forward by the police that no creative work can be done under drugs is madness,” he said. “The myth that anyone who takes drugs will produce something interesting is even madness.” He admitted to writing the runic and nature-obsessed poem “Wales Visitation” while under the influence of LSD:

What did I notice? Details! the
the vision of the great is myriad—
smoke rises from the ashtray,
the house fire burned weakly
At night, still humid and dark black paradise
starless
upward in motion with the wet wind.

The intensity that “Flying Over Sunset” tries to illustrate with its always capable and sometimes spectacular sets is seldom found in its dialogues or its songs. The play is based on a groovy idea, but it indulges in the myth that Ginsberg warned against: Drugs alone aren’t interesting. To bridge the gap between stage and seat, the inner experience – added, enhanced, or whatever – needs more upward movement, no more the brutal ‘wet wind’ feeling. No more “individuals!” “??

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Police seek perpetrator who fatally stabbed Drakeo the Ruler at concert

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Hip-hop artist Drakeo the Ruler was fatally stabbed during the Once Upon a Time in LA concert at Banc of California Stadium on Saturday night, a source told The Times.

Paramedics responded to a report of a stabbing in Exhibition Park stadium around 8:40 p.m., said Margaret Stewart, the Los Angeles Fire Department’s information officer. One person was taken to hospital in critical condition, she said.

The individual has not been identified, but a person with direct knowledge of the incident told The Times that Drakeo the Sovereign was attacked by a group of people.

The rapper was scheduled to perform at the concert, which included lineup consisting of Snoop Dogg, Ice Cube and 50 Cent.

The rapper, real name Darrell Caldwell, later died of his injuries, according to the source, who requested anonymity to frankly discuss the case.

A source said the video of the stabbing showed people rushing to the stage and security guards trying to end a fight.

Caldwell, 28, was backstage when an argument broke out between several people and he was stabbed, according to the source.

No arrests had been made on Sunday morning, said officer Luis Garcia, spokesperson for the LAPD. “Detectives are still trying to figure things out,” he said.

The California Highway Patrol said it was handling the investigation and asked anyone with information to call the South Division Investigative Services Unit at (323) 644-9550.

Shortly after the stabbing, organizers put an end to the event as patrons moved to exit. The Los Angeles Police Department said on Twitter that an “incident” had occurred but did not provide details. “The festival ended early. LAPD will be in the area to help [California Highway Patrol] with the investigation, ”the agency said.

The music festival was late. Snoop Dogg was scheduled to perform at 8:30 am, but a DJ on the main stage had been playing for about 45 minutes.

Snoop Dogg said in a declaration that he heard about the incident while in his dressing room and chose to leave the festival grounds immediately.

“My condolences go out to the family and loved ones of Drakeo the Sovereign,” he wrote. “Nothing negative about it and as one of the many artists I was there to spread positive vibes only in my hometown of LA.”

At around 9:20 a.m., the backstage entrance appeared to be blocked by the police. At least 20 police gathered behind the main stage, where yellow police tape was taped.

At 9:30 p.m., there had been no announcements from the festival organizers.

Police backstage at Banc of California Stadium on Saturday.

(Mikael Wood / Los Angeles Times)

Shortly before midnight, Live Nation released a statement: “There was a backstage altercation on the pavement. Out of respect for those involved and in coordination with local authorities, the artists and organizers decided not to move forward with the remaining sets, so the festival ended an hour earlier.

Photographer Bridget Arias said she was working behind the scenes at the event, watching George Clinton perform around 8pm, when she heard someone say, “Drakeo was stabbed. Then another person confirmed it and then it was kind of like the monkey game where everyone was rehearsing a version of what was going on.

Soon after, festival security ordered her and others to leave, she said, although in confusion they were still stuck in their car hours later.

Caldwell, from LA, released 10 mixtapes and released his debut studio album earlier this year. He recorded the mixtape “Thank You for Using GTL”, a reference to the prison communications company Global Tel Link, with verses recorded over the phone while being held at the Central Men’s Prison awaiting trial. in connection with the 2016 murder of a 24-year-old man.

Caldwell was acquitted of murder and attempted murder charges, but LA County prosecutors sought to retry him on charges of conspiring to murder. The second case was ultimately resolved by a plea deal and Caldwell was released in November 2020.

Friends and colleagues of the rapper mourned his death on Sunday.

“We spent the most difficult two years together fighting for his freedom, in the face of life, before releasing a free man a little over a year ago,” wrote attorney John Hamasaki, who defended Drakeo against criminal charges. “Thanks to that, we became friends, then like family. I don’t even know how to start dealing with this.

“He was special, a rightful genius and a kind and caring friend,” journalist Jeff Weiss tweeted. “There are no words to express sorrow.”


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Rising COVID cases in Chicago force music and sporting events to be canceled – NBC Chicago

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A few days before Christmas, a sharp rise in coronavirus cases is already putting the brakes on the holiday season in Chicago, forcing the cancellation of sporting events, musicals and holiday-themed events.

Since Thursday, several theaters in the city have announced the cancellation or postponement of shows due to outbreaks of COVID-19 affecting cast and crew members.

“The Nutcracker”, a holiday favorite hosted by the Joffrey Ballet, has canceled its two performances scheduled for Saturday at the Lyric Opera House due to a landmark case in the company’s ranks. Performances will resume on Sunday, with the 1 p.m. and 6 p.m. shows taking place as scheduled, according to the “The Nutcracker” website.

Country music star and Illinois native Brett Eldredge canceled vacation shows Friday and Saturday at the Chicago Theater due to testing positive for COVID-19.

“I was about to go to the airport to catch a flight to Chicago and play my favorite show of the whole year, the Glow show,” Eldredge said, explaining the reason for the postponement in a video. posted on Instagram.

Performances have been postponed to Wednesday, December 29 and Thursday, December 30.

Loyola University men’s basketball canceled games on Saturday and Wednesday due to COVID-19 cases involving team members. Saturday’s game between DePaul and Northwestern was also called off due to positive COVID cases in DePaul’s team.

Cook County Health chief medical officer Dr Rachel Rubin says she knows people are feeling fatigue over COVID-19 protocols, but urges Illinois residents to take the new wave seriously.

“You have to wear masks indoors, whether you are vaccinated or not, keep a physical distance, wash your hands and please, please get vaccinated,” he said. she declared.

Rubin and other health officials continue to promote not only vaccinations but also COVID testing in the hopes of celebrating Christmas as soon as possible.

“If you go to an event and the rule is everyone is vaccinated, I think we can have home events and cheers,” she said.


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(BPRW) UNITEDMASTERS TEAMS UP WITH MATRIX RESURRECTIONS TO GIVE INDEPENDENT ARTISTS THE OPPORTUNITY TO WIN $ 15,000 AND HAVE THEIR MUSIC INCLUDED IN THE FILM’S PROMOTIONAL CAMPAIGN | Press Releases

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(BPRW) UNITEDMASTERS TEAMS UP WITH MATRIX RESURRECTIONS TO GIVE INDEPENDENT ARTISTS THE OPPORTUNITY TO WIN $ 15,000 AND HAVE THEIR MUSIC INCLUDED IN THE FILM’S PROMOTIONAL CAMPAIGN

THE ORIGINAL SONG “BACK TO LIFE” BY EMERGING HIP-HOP ARTIST QUANTRELLE WINS THE GRAND PRIZE; 5 RUNNERS UNTIL $ 1,000

(PR black wire) NEW YORK, NY – To celebrate the highly anticipated film Matrix resurrections, UnitedMasters – the “record label in your pocket” for independent artists – has partnered with Warner Bros. Pictures to provide a unique opportunity for artists to win $ 15,000 and include their original music in the promotional campaign for the film.

Today UnitedMasters revealed the rising hip-hop artist from Charlotte, NC Quantrelle as the winner of the competition. Quantrelle’s song, “Back to Life,” written especially for the open call, will receive the $ 15,000 cash prize and be featured in Matrix resurrections promotional campaign. Quantrelle’s track was selected as the lead song from over thousands of entries. look the place and Listen to the full song.

Quantrelle shared, “When I first started working on this song, the intention was to create a sound that embodied the energy of the film. Once that feeling solidified, I was inspired to write lyrics that really speak to the music. movie and are words all Matrix the fan would understand. I was really inspired by the scene of Neo dodging the bullets, which I watched during the process, and that illustrious moment seemed so much in tune with what I was looking for, that’s when I knew we had something special. ”

Five finalists were also selected to receive $ 1,000 each to dedicate to their musical careers. Each track has been judged by the professional UnitedMasters timing team and based on The matrix themes, overall creativity, quality of production, lyrical content, dynamics, mood and emotion. Matrix resurrections hits theaters in the US and on HBO Max on December 22.

UnitedMasters’ engagement with Matrix resurrections aligns with their mission to ensure the next generation of creators take charge of their future. UnitedMasters is dedicated to helping artists level the playing field by providing exclusive opportunities and resources often reserved for major labels. The platform gives independent artists access to premium music distribution services, a suite of tools to help connect directly with their fans, and opportunities to connect with brands who want to access music. premium produced and owned by independent artists. UnitedMasters artists retain ownership of their master recording rights while being introduced to millions of new fans around the world through direct brand partnerships.

About UnitedMasters

Launched in 2017 by Translation founder and music industry veteran Steve Stoute, UnitedMasters is a music technology company that gives creators access to premium music distribution services, a suite of tools to help them to connect directly with fans and unique partnership opportunities with some of the world’s biggest brands while allowing them to retain full ownership of their master registration rights.

On Matrix resurrections

Matrix resurrections reunites Keanu Reeves and Carrie-Anne Moss as movie icons Neo and Trinity. Return to a world of two realities: one, everyday life; the other, which is behind. To know if his reality is a physical or mental construct, for really to know itself, Mr. Anderson will have to choose to follow the White Rabbit again. And if Thomas… Neo… has learned anything, it’s that this choice, although an illusion, remains the only way to exit or enter the Matrix. Of course, Neo already knows what to do. But what he doesn’t know yet is that the Matrix is ​​stronger, safer, and more dangerous than ever. Already seen.

The film also stars Yahya Abdul-Mateen II, Jessica Henwick, Jonathan Groff, Neil Patrick Harris, Priyanka Chopra Jonas and Jada Pinkett Smith (TV’s “Angel Has Fallen”, “Gotham”).

Lana Wachowski directed from a screenplay by Wachowski & David Mitchell & Aleksander Hemon, based on characters created by The Wachowskis. The film was produced by James McTeigue, Lana Wachowski and Grant Hill. Executive producers were Garrett Grant, Terry Needham, Michael Salven, Karin Wachowski, Jesse Ehrman and Bruce Berman.

Wachowski’s behind-the-scenes creative team included cinematographers Daniele Massaccesi and John Toll, production designers Hugh Bateup and Peter Walpole, editor Joseph Jett Sally, costume designer Lindsay Pugh, visual effects supervisor Dan Glass and composers Johnny Klimek and Tom Tykwer.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, in association with Venus Castina Productions, Matrix resurrections. The film will be distributed worldwide by Warner Bros. Pictures. It will be in theaters nationwide and on HBO Max via the ad-free plan on December 22, 2021; It will be available on HBO Max in 4K UHD, HDR10, Dolby Vision, and Dolby Atmos (English only) on supported devices for 31 days from theatrical release.

The content and opinions expressed in this press release are those of the authors and / or the companies represented, and are not necessarily shared by Black PR Wire. The author (s) and / or the companies represented are solely responsible for the facts and the accuracy of the content of this press release. Black PR Wire reserves the right to reject a press release if, in Black PR Wire’s opinion, the contents of the press release are not suitable for distribution.

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NHL musician Tom Eaton on his band’s Grammy nomination for Best New Age Album

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Tom Eaton is an East Kingston based musician who has been in the industry for 25 years, but recently his latest album, “Brothers”, which he premiered alongside Will Ackerman and Jeff Oster, was nominated for a Grammy. in the best New Age. Category of albums.

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Eaton grew up in New Hampshire and recently returned. He records and masters from his home studio. Eaton lends his skills playing piano, keyboards, bass, electric guitar and percussion to “Brothers”, supported by Ackerman on acoustic guitar and Oster on flugelhorn and trumpet.

Their music flows effortlessly, with the aim of creating an “illusion of a world” and allowing the listener to exist in this world for as long as they wish, evoking emotions that could be suppressed in the slog. everyday.

Will Ackerman, left, and Tom Eaton, right, in the studio.

All Things Considered host Peter Biello sat down with Eaton to talk about his music career and what the appointment means to him. Below is a transcript of their conversation.

Peter Biello: Tom, thank you very much for speaking with me.

Tom Eaton: Thank you for having me, I am happy to be here.

Peter Biello: And nice to have you in the studio. I wanted to get to know you a little bit about your musical background because you started to get interested in music in high school, didn’t you?

Tom Eaton: I did. As a kid I played the saxophone in the typical kind of things you do in elementary school, but I started playing the piano quite seriously in high school and started to get interested in electronic music in high school, and it opened up a whole bunch of doors for me as time went on.

Peter Biello: And now you’ve been nominated for a Grammy for New Age Music. Can you tell us a bit about how you got into New Age music?

Tom Eaton: New Age music is … the category that I think is a construction like all musical categories are. Most of the people who work in this genre don’t even know what the genre is, I think.

Peter Biello: I was going to say, what do you think of those words, New Age, to describe your music?

Tom Eaton: Well, it’s interesting to describe a 40 year old genre as New Age, like, you know, New Wave music or whatever. But, whatever it is, it kind of describes music that maybe is mostly instrumental and has some sort of relaxation or spiritual quality to it.

Peter Biello: But it’s mostly instrumental music that’s emotionally evocative.

Tom Eaton: Sure.

Peter Biello: Well, let’s listen to a little bit of this album, “Brothers”. This song is called “The Golden Hour”. I read on your blog, Tom, that you are interested in music which has a certain consistency. And I was wondering if you could talk a little bit about what you meant by that, the consistency within a song.

Tom Eaton: Consistency within a song, to me, means you never break the world you created. It’s really important for me as a musician and mastering engineer, which is a whole other half of my life, to create the illusion of a world and never let that illusion break until the listener wants it.

Peter Biello: So, as we listen to this song, “The Golden Hour,” and think about what you say about consistency, what are we listening to?

Tom Eaton: For me, it would be the exact opposite. It would be the thing you never hear. The way I describe it, you only notice the trash on the street when people aren’t picking it up. So the consistency of the music is there by the nature of the inconsistencies removed and ideally you never notice it.

Peter Biello: This album was nominated for a Grammy. So, is there a track here that you think really caught the judges’ attention or what would you like us to listen to?

Tom Eaton: “On the way to heaven”. I really like it.

Peter Biello: So this one is “Head For The Sky”. What can you tell us about your process or the process of you and the other two gentlemen working on this album? What’s your process for a song like this?

Tom Eaton: This song, Jeff Oster, which is the third part of this album and a crucial part of the album, the album is his idea. This song started with Jeff who came into my studio and we worked on a basic track that basically involved a keyboard part which was the chord part and then his brass line. And with us, the three of us, Will Ackerman, Jeff Oster and I have played a lot together in various forms and generally it’s just a fashioned improvisation process. There is a note, and then the note suggests what follows that note. So in this case, it was Jeff and I who came up with a structure and chord progression that we enjoyed and Jeff who came up with a melody that worked on top of that. And then we took it to Will and we recorded Will’s guitars on top of that. So there is a pattern of agreement and there is Jeff’s response to that. And then there’s Will’s response to that. And none of this is intellectual. That’s all, what does it do? What does he want ?

Peter Biello: Is there a unifying theme for the album, “Brothers?”

Tom Eaton: It wasn’t a record designed to have a theme in that sense, except it’s a conversation between the three of us. Much of my job on the post part of the album was to make sure this conversation was as clear as possible. But conceptually, no, I think it was just that we liked to make music together.

Peter Biello: Let’s end with another song. Is there another song you’d like to share, something you’d like to give us a taste of?

Tom Eaton: It’s probably we should play one where Will was the genesis. Maybe “It Had To Be Like That” would be a good idea.

Peter Biello: OK, here’s “It had to be like this.” What do you think works really well about this one?

Tom Eaton: I love Will. And it has that instantly recognizable sound. He plays with metal picks and his touch is incredible. He is an emotionally intuitive player and every note matters to him. Will and I have been producing records together for over 10 years now, and he still wows me every time he picks up a guitar. It’s just that he’s 100 percent there. He is 100% in the music. And that was one of the pieces where his guitar was the genesis of the piece. And then Jeff and I got to answer that, which I love.

Peter Biello: So what does the Grammy nomination mean to you?

Tom Eaton: The Grammy nomination for me is kind of a pat on the back for a job well done and kind of recognition that this thing you did is being heard.

Peter Biello: Well, Tom Eaton, thank you very much for speaking with me and telling us about your music. I really appreciate.

Tom Eaton: Thank you very much.

Peter Biello: Tom Eaton is a musician from New Hampshire. His album “Brothers” was nominated for a Grammy in the Best New Age Album category. His music can be found on Spotify, Apple Music and his website.

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Tennessee vs Purdue Music City Bowl NCAA Odds, Games & Outlook | December 30, 2021

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The Tennessee Volunteers will play the Purdue Boilermakers in the Music City Bowl.

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Odds for Tennessee vs. Purdue

Plus / Minus Insights

  • Tennessee and their opponents have combined to score more than 63.5 points in seven of 12 games this season.
  • Purdue and his opponents have combined to score over 63.5 points in two games this season.
  • The combined points-per-game average of the two teams, 66.3, is 2.8 points above / below on Thursday.
  • The combined 48 points per game these two teams have allowed this season is 15.5 less than the 63.5 over / under in this competition.
  • The Volunteers and their opponents are averaging 62 points per game, 1.5 less than Thursday’s total.
  • In 2021, games involving the Boilermakers averaged 52.9 points, 10.6 short of the over / under play of that game.
  • Tennessee have played 12 games, with five ATS wins.
  • This season, the Volunteers are 3-2 ATS in their five games as a 4.5-point or higher favorite.
  • Tennessee have surpassed the points tally on 75% of their occasions this year (nine times in 12 games with a set point tally).
  • This year, the Volunteers score 18.3 more points per game (38.8) than the Boilermakers surrender (20.5).
  • When Tennessee records over 20.5 points, it’s 5-5 ATS and 7-3 overall.
  • Volunteers are averaging 458.9 yards per game, 117.3 yards more than the 341.6 the Boilermakers give up per outing.
  • In games where Tennessee collects over 341.6 yards, the team is 5-7 ATS and 7-5 overall.
  • Volunteers have 12 gifts this season, while Boilermakers have 16 take out.
  • Find the latest spread and moneyline quotes for Tennessee at SISportsbook.
  • In Purdue’s 12 games this season, he has seven ATS wins.
  • This season, the Boilermakers have two ATS wins in four games as an underdog by 4.5 points or more.
  • Purdue’s games this year have passed four of 12 set point totals (33.3%).
  • This year, the Boilermakers accumulate per game (27.5) that the Volunteers do not surrender (27.5).
  • When Purdue scores over 27.5 points, it’s 6-1 ATS and 6-1 overall.
  • The Boilermakers only rack up 19.3 more yards per game (423.9) than the Volunteers allow per outing (404.6).
  • In games Purdue produces for 404.6 yards, the team are 5-2 ATS and 5-2 overall.
  • This season, the Boilermakers have turned the ball over 15 times, three more than the Volunteers’ take-out (12).
  • Head toward SISportsbook to find the latest moneyline, spread and over / under odds for that match.

Season statistics

Tennessee Statistics Purdue

38.8

Avg. Points scored

27.5

27.5

Avg. Authorized points

20.5

458.9

Avg. Total yards

423.9

404.6

Avg. Total number of yards allowed

341.6

12

Gifts

15

12

Take away food

16

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The most famous electronic music artists of all time

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The most famous electronic music artists of all time

By definition, electronic music uses digital and circulatory music technology and musical instruments to create music. Think of Kraftwerk, Prodigy, Carl Cox, and Underworld. All of these artists put the electronic aspects of music production into practice.

Historically, the 1953 production of the first song solely using electronic generators is one of the most notable developments. Some famous artists who have contributed to changes in electronic music include:

  • Hal Freedman reduced Wagner’s 18 hour recording to 3 minute segments. The 3-minute segments then became examples of compositions whose sound source had only short spoken utterances.
  • The sound sources of Jean Baronnet and François U 47 have been fragmented into an astonishing mixture of long and short voices.
Kraftwerk

As a German group with its roots in Düsseldorf, Kraftwerk made significant contributions to electronic music. The group are among the first to popularize the genre, fully embracing electronic instrumentation. Moreover, with the use of vocoders, drum machines and synthesizers, the growth of Kraftwerk was immeasurable. Finally, the group’s creativity led to the introduction of a robot pop style that had never been heard before. As a result, this formed the basis for the future of hip-hop, techno, among others.

Prodigy

A group from the hardcore techno scene of the 90s, Prodigy’s style is accessible and unsightly, inspired by punk. In addition to that, he made extensive use of breakbeats and sample tracks from animated series. In fact, their fusion of techno and rock elements has led many to place them among the great beat groups. In contrast, others classify them as techno, electronics, and various expressions of dance and electronic music.

Carl cox

Beginning his career at a very young age, renowned DJ Carl Cox began mixing Chicago house music. At that time, the art of mixing using three decks was considered very rare. However, it made him even more famous. Another thing that made him a famous DJ was his first single in the 1990s for Paul Oakenfold’s Perfecto label called “I want you”. In fact, he became untouchable with his deck skills and the Ibiza Space event he hosted every summer.

Underworld

Beginning in 1987 as a funk and synth-pop group, Underworld rose to prominence after morphing into a trance and techno group. In their new venture, the band rose to fame for their dynamic performance atmosphere, cryptic lyrics and progressive compositions. One of their most famous tracks is Born Slippy. In fact, this song is still considered a party hymn to this day. This British group has provided soundtracks for films including Trainspotting. The importance of soundtracks can also be seen in Online casino Games. In fact, casino providers are constantly improving their soundtracks to make the games more engaging.

Conclusion

To conclude, electronic music is only created using electronic technology or by mixing electronic and mechanical instruments. This genre of music dates back to 1953 when the first song was produced exclusively from electronic music generators. Since then, several iconic artists of electronic music have helped improve music. Additionally, to date, some of the most successful electronic music artists of all time include Kraftwerk, Prodigy, Carl Cox and Underworld.

Image Credit: The Prodigy

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Why Josh Turner took 20 years to record a Christmas album

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Josh Turner released his very first Christmas album two months before his 20th birthday as a performer on the Grand Ole Opry. Eight studio albums – including a gospel and cover album – came in between, but the singer insists he wasn’t avoiding the project.

Quite the contrary, in fact.

Turner – including 11 songs King Size Feeder album arrived in October – has fond memories of Christmas growing up in Hannah, SC, and as a person who grew up in the church, he treasured the traditional classics. With an entire family ready to record and tour with him to support the project, the time was right.

“There was no twist of my arm for that,” he said Taste of rural nights host Evan Paul during a sit-down filmed at Table of contents nights studio. “I wanted to make it my whole career.”

VIDEO HERE

Traditional songs like “Angels We Have Heard on High” and “Go Tell It on the Mountain” are accompanied by collaborations on “Joy to the World” with Rhonda Vincent and “Have Yourself a Merry Little Christmas” with Turner’s wife and his four sons. Then there are the originals, like the title song, “What He’s Given Me” and “Soldier’s Gift”. Click play above to hear how “Mele Kalikamaka My’Ohana” was inspired by his wife Jennifer.

“I had to explain to people,” Turner begins, “when you come to Nashville and you’re looking for a recording deal and you’re trying to establish yourself, you don’t think, ‘Dude, I wanna go to Nashville and make a Christmas record. ‘”

So that wasn’t a priority at first, but as Turner’s career developed and he landed eight No.1s. Billboard Hits Country Airplay, he found himself with time and a lot of ideas. In fact, a three-hour planning session with her producer left her counterpart a little overwhelmed. Apparently, with Josh Turner, it’s impossible to put the Christmas genie back in the bottle once it’s out.

During the full interview, Turner opens up about his idyllic Christmases as a kid and how he and Jennifer celebrate with their growing family (spoiler alert: his tour is a family affair). The 44-year-old also talks about his favorite song to play live and the song that gives trouble every time.

See the best country Christmas songs of all time, ranked

This list of the best Christmas country songs has been compiled by mixing staff opinion, reader reviews, and broadcast and sales data.

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Celebrate Beethoven’s Legacy with CPR Classical

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It was Beethoven’s year. In 2020, the world wanted to celebrate Beethoven’s 250th birthday with concerts, seminars, lectures, podcasts, radio broadcasts, etc. At least that’s what had been planned. And then, COVID.

Still, Beethoven’s musical legacy is worth celebrating every year on his birthday, and so for this year’s Beethoven birthday party on CPR Classical, we’re bringing back recent radio reports from his birthday. great year. From how Beethoven was known to smash pianos to exploring how he could compose while still being deaf, these insightful short films will help bring Beethoven to life as a human and an artist.

Hear Beethoven’s greatest pieces live throughout the day on December 16, and Marilyn Cooley’s “Life of Beethoven” is a must-see event at 11:00 am and 7:00 pm.

When you have finished listening, take our quiz to test your Beethoven IQ. And explore Beethoven’s life in relation to other major historical events in our Beethoven timeline.


Our hosts put Beethoven in the spotlight in December – find out more about the composer:

This is the best “Fidelio” RBG has ever known – by Marilyn Cooley “I will never forget the pride I felt when RBG (Judge Ruth Bader Ginsburg) wrote me a letter (saying) that this was hands down the best ‘Fidelio’ she has ever known and she was so moved, ”said artistic director Francesca Zambello.

He wanted bigger and louder: the pianos of the Beethoven era weren’t enough for him – by David Ginder At the age of 26, Beethoven wrote to a piano maker complaining: “… we often think that we are just listening to a harp”. Beethoven wanted a Stronger piano. Yes, he was hearing loss, but he also wrote stimulating music. And he also broke a lot of pianos.

How did Beethoven compose when he was deaf? We asked Evelyn Glennie how she felt – by Karla Walker “When I decided to study music full time, there was still this feeling that being deaf meant silence,” said Evelyn Glennie, who has been profoundly deaf since the age of 12. Glennie was admitted to the Royal Academy of Music at age 16 by persuading the academy that she could “hear” with other parts of her body.

Beethoven’s successors struggled to live in the shadow of the classic GOAT – by Jean Inaba “A few years ago, I was stopped at a traffic light and heard Johannes Brahms’ Symphony No. 1 on the radio. van Beethoven. “


More Beethoven from CPR Classical:


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Discovery of Broadway Script Reveals How Disability Was Erased From The Music Man | News

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One of the most popular musicals in Broadway history was originally intended to be the story of a young boy in a wheelchair, according to drafts of the show recently discovered by a researcher at the University of Sheffield.

  • University of Sheffield researcher has uncovered unseen drafts of one of the most popular musicals in Broadway history
  • The drafts show how The Music Man – who is set to return to Broadway this Christmas with Hollywood superstar Hugh Jackman – was originally a young boy in a wheelchair driven out of cities in the American Midwest due to his disability.
  • The original scripts show how the musical’s author – Meredith Willson – faced a three-year battle to write the show about the discrimination faced by the boy and his family
  • The results show how the original plot was considered too provocative for Broadway, with Willson being forced to abandon his idea for the musical just 10 months before it opened in 1957.

One of the most popular musicals in Broadway history was originally intended to be the story of a young boy in a wheelchair, according to drafts of the show recently discovered by a researcher at the University of Sheffield.

As Broadway prepares to welcome a revival of The Music Man by Meredith Willson starring Hollywood superstar Hugh Jackman later this month, newly discovered drafts revealed that Willson had to struggle for three years to write the series about Jim Paroo, a young boy in a wheelchair who was kicked out of several cities from the American Midwest, cruelly taunted for his inability to speak or walk.

Until just 10 months before the musical first debuted on Broadway in 1957, the plot cornerstone would depict how titular musician Harold Hill challenged community bigotry and put Jim into a new boy group.

However, the plot was considered too provocative for Broadway in the 1950s, a genre that promoted athletic bodies performing complex dance moves, as friends and those involved in the production of the series pressured Willson. to give up the idea, even though they recognized it. was worthy.

Eight newly discovered drafts of The Music Man were discovered by Professor Dominic Broomfield-McHugh, professor of musicology at the University of Sheffield. The drafts, dating from February 1954 to January 1957, were discovered at the Great American Songbook Foundation in Indiana.

Professor Broomfield-McHugh from the Music Department at the University of Sheffield said: “Willson firmly believed that the stigma against young people with disabilities was a major issue in society that needed to be tackled, and he saw this as something he could do through the Broadway musical.

“His idea of ​​putting a young boy with a disability as the main character in The Music Man was provocative. Mid-twentieth-century Broadway writers had tried to focus their attention on important social themes of the day, but ableism had never been approached in this way before.

“What I discovered from the drafts as well as documents from Willson’s life was that it was just too much for Broadway in the 1950s. Broadway’s emphasis on spectacle and normativity meant that Willson was forced to change the show’s plot to what we know today – by erasing what could have been a much-loved and famous disabled character from Broadway.

With its colorful costumes, lively dances and lively marches, Meredith Willson’s show The man of music remains one of the most popular musicals in Broadway history.

Opening in 1957, her cheerful and romantic mood helped her original production run 1,375 performances, beating West Side Story – another classic that opened three months earlier – at most major prices that year.

The Music Man Story Study, conducted by Professor Broomfield-McHugh, also revealed new insights into Meredith Willson’s life and career. The research results revealed the stories behind Willson’s other musicals, his rise to fame through the New York Philharmonic, the Sousa Marching Band, and as songwriter of Charlie Chapin’s controversial film The Great Dictator.

Professor Broomfield-McHugh added: “Willson’s work on The Music Man, and indeed his eclectic career across symphony orchestras, Hollywood and radio, indicate that he was much more innovative and engaged than you might think.

“Willson was genuinely involved in the disability rights movement, which traces its roots back to when Willson wrote The Music Man – he went on a concert tour in preparation for his next musical. The Unsinkable Molly Brown, and donated the proceeds to a charity for children with disabilities.

“A lot of people see Willson as a political conservative and disengaged from socialist issues, but my research shows that was not the case. “

Newly discovered drafts for The Music Man along with new information about Willson’s life and career uncovered by Professor Broomfield-McHugh are published in a new book by Oxford University Press – The Grand Parade: Meredith Willson’s musicals from “The Music Man” to “1491. The book is available in the US and UK.


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Montreal musical artist Wes Walls is coming home for Christmas

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Musical artist Wes Walls loves the holidays. For the Montreal singer-songwriter, the season is a powerful way to bring people together, even in difficult times.

To remind everyone of the joy of being with loved ones this time of year, Walls has released a new independent Christmas single called “This Christmas, I’m coming home” which won a festive audience on streaming platforms and radio.

Wes Walls (Philippe Thibault / Submitted)

“I had written the core of the song years ago when I moved to Montreal and felt so far away from my family in British Columbia,” Walls said. “I also lamented the long trip I would have to make across the country in the winter to come back for the holidays.

“But the song is fundamentally upbeat and I think it celebrated how worth the trip, even if it was long and tiring, and how nice it would be to be back home. thinks that only talks about family ties no matter the distance. ”

Walls has a long musical career, producing and releasing two anthemic pop-rock EPs, playing in British rock band Whitfield and leading his own band, and leading dance tracks such as “Carry Me to Paradise” by Christina Walls (his sister) on international radio.

His latest work, “This Christmas I’m coming home, ”Is a song that has gone on for years. Walls wrote and recorded a first version of the holiday tune, but it wasn’t until the fall of 2020 that he was inspired to bring it back to life.

“This song came back to me at the height of the pandemic and the isolation. Knowing that flying across Canada to visit family was not an option at the time, and that friendliness was what we needed most, but couldn’t have. The idea really resonated. I needed the song to remind myself of those good feelings and to be optimistic about the future. And I thought other people might need it too.

The new version of “This Christmas, I’m Coming Home” was co-written and recorded with Vancouver music producer Ryan Stewart as part of a pan-Canadian collaboration. Walls describes the song as a “catchy piano pop song with a bouncy, upbeat vibe and a touch of classic jazz swing.”

“I had worked with Ryan Stewart, an amazing drummer in Vancouver, on my two EPs, and he has since become an accomplished songwriter and producer, working with artists like Carly Rae Jepsen, Simple Plan, Victoria Duffield and Smash Mouth. “said Des Murs. I knew he would be the perfect person to collaborate with to bring the song to life.

“We wrote the final version of the song and produced it during remote video call sessions and numerous emails between my studio in Montreal and his in Vancouver. For the guitar solo, we brought in Jesse Tucker, who recorded his parts from his studio in Nashville. This was all happening in the depths of the days when Montreal was strictly closed with a nighttime curfew, so for me recording this song in collaboration with these talented musicians was a very inspiring project to work on.

“This Christmas, I’m Coming Home” has aired on Canadian and international radio stations, appeared on dozens of Spotify playlists and created a buzz on social media. The single was followed by an official music video released in late November.

“I hope ‘This Christmas I Come Home’ can be a soundtrack to be together this holiday season and many more in the future. Hope this uplifts people and makes them excited and to spend time with loved ones, especially if the pandemic has kept them apart for too long.

“And for the people who cannot be with their loved ones this year again due to the pandemic or for any other reason, I hope it will cheer them up and help them feel a little comfort and optimism. “


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Rapper Aitch offers to pay Liam Gallagher £ 7million for album E! News UK

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Aitch has said he will offer Liam Gallagher £ 7million to feature on his album.

Rapper ‘Rain’ took to Twitter to reveal the huge price he would pay to have the former frontman of Oasis on his record.

He wrote: “I’ll pay £ 7million to get you on my @liamgallagher album.”

The ‘Wonderwall’ star has yet to respond to the offer on the microblogging site.

However, the comment saw the 22-year-old Mancunian compatriot receiving hatred from a follower who offered to pay him £ 6 to stop the music.

Aitch – whose real name is Harrison Armstrong – jokingly replied, “I’ll send you my bank details now.”

The star has made no secret of his dream of collaborating with the Manchester legend, 49.

He told BBC Radio 5 Live: “I wanna do a song with Liam, man.”

And he would settle for a clip from the hitmaker ‘Wall of Glass’ delivering a one-liner.

When asked if his team had approached Liam, he said in the 2020 interview, “I don’t think so. We’ll have to do something. Even if it’s just a sketch for my album, just telling her something, I just need something. “

The BRIT Award nominated artist has previously appeared on hits with Stormzy, Ed Sheeran and AJ Tracey.

And he also ditched Harry Styles and Rita Ora as other artists he wants to record a song with.

Meanwhile, Aitch, who rose to fame after uploading clips to YouTube, previously revealed he learned to rap while watching the horror comedy blockbuster “Scary Movie”.

He said, “There’s a scene where the character of Scream starts to spit bars about slicing people up and me and my boy just thought it was so funny.

“We were rewinding this scene all the time and remixing the bars. We kept doing it for hours, writing our own rhymes. ‘Scary Movie’ made me spit bars.”

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Meet the Dumfries and Galloway duo delivering a soundtrack this Christmas

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A musical duo of Dumfries and Galloway provided the soundtrack of Christmas worldwide.

The bookstore group, Wigtown, composed and performed the music of Robin Robin, a seasonal film for Netflix produced by Bristol-based on Aardman Animations, best known for the Wallace and Gromit movies.

The husband and wife duo – Beth Porter and Ben Please, from Bath – also trained film stars Gillian Anderson, Richard E. Grant and Bronte Carmichael to sing their compositions.

The 30-minute animated short tells the story of a little bird raised by a family of criminal mice, Robin, who is about to steal a Christmas sandwich so they can all enjoy a real treat festive, going on an adventure along the way. This is the first time the studio has made a musical.

This is the first time that the duo have created music for a project of this scale. Normally their work revolves around literature, although they also worked for short animations.

Ben is the older brother of one of the film’s directors, Mikey Please, and this is their 10th professional collaboration.

He said : “Mikey has a great appreciation for music, so he knows what we’re doing and if it’s right for a project, and we know exactly what kind of thing he’ll like.”

Mikey added, “Because we know each other very well and also have a strong working relationship, we were able to develop the music alongside the story, from the moment we presented it to the point where it was made.”

Robin Robin is available to stream now.

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Olivia Rodrigo is Music Week’s 2021 Artist of the Year | Talent

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Olivia Rodrigo said Music week that the “honesty and vulnerability” of his music has led to his astronomical success this year.

The Drivers License singer is on the cover of our brand new issue and is Music week Artist of the Year 2021. In a lengthy cover interview, alongside Interscope CEO John Janick, Polydor co-chairs Tom March and Ben Mortimer, producer Dan Nigro and his team, Rodrigo reflects on a groundbreaking campaign and looks at the sequel.

“This is so cool!” she said. “I am truly honored, it’s always amazing to feel the love from abroad. This past year has been surreal … “

Thinking back to the success of his debut album Sour, which topped the UK charts with 377,048 sales, Rodrigo said: What about that? ‘ I’ve always admired women who are really vulnerable and honest in their music, and all of my idols are, so I would appreciate that for my music, I hope.

Rodrigo, who recently announced his first UK tour dates, said “honesty and vulnerability” will continue to characterize his future releases.

“I still want to write when I’m 75,” she said, adding that songwriting “always comes first”.

“It’s what I think about the most and what excites me the most,” said Rodrigo. “I certainly tried working with other writers early in my career, but I think what makes me special as an artist is my perspective and the way I say it. “

“Olivia is a force of nature and we immediately saw how special she was as an artist and as a person,” said John Janick, CEO of Interscope. Music week. “It’s so important to give artists with that kind of potential the support they need to be as successful as possible. Beyond that, it’s about building the right team. And we’ve built a great team at Interscope and Geffen that gave Olivia the support and expertise she needed to become the kind of global success she is.

Ben Mortimer, co-chairman of Polydor, which led the campaign in the UK, said: “I think we would all be lying if we said we knew the extent of what was to come with Olivia. The fact that she is named Artist of the Year is incredible. It’s great and I think she deserves it. We had ideas for a new signing Interscope was really excited before Christmas in 2020. Then, when we came back after Christmas, Olivia’s world had gone completely crazy. It became clear, very quickly, that they had signed a wonderful artist who was riding the wave of a cultural phenomenon.

His fellow co-chair Tom March said Music week: “The second I heard the driver’s license, I knew it was special. I obviously didn’t think it would be one of the most memorable world songs of the year. But there was something magical, something that struck you. Then when the song came out, we knew within hours how fast it was going and that something unique and spectacular was happening. Olivia was already a superstar for children and young people. The rest of us were just catching up.

Dan Nigro, who wrote on Sour alongside Rodrigo, also spoke about how the story unfolded in 2021.

“One of my favorite things about Olivia is her daring,” he said. “After I got out of the driver’s license, she would tell me the last thing she wanted to do was recreate the same song, even though she felt people were expecting it. She had moved on and it was inspiring to hear. Most artists fall into the trap of giving audiences what they think they want, especially when they have a huge song. Olivia just wants to do what feels natural and right for her. ”

Read the full interview with Olivia Rodrigo and her team, including Hannah Flaherty of Polydor and Thomas Krottinger of Sony Music Publishing, in the new edition of Music week.

PHOTO: Lissyelle Laricchia

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Album Review: They Could Be Giants – BOOK

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Album Review: They Could Be Giants - BOOK

Bringing their usual whimsical energy

They Might be Giants returns to the musical world with their latest studio album, DELIVERED. This is the band’s 23rd full album, including their children’s albums. Filled with all kinds of driving sounds and tones, DELIVERED just never has a dull moment. The group brings their usual fun and carefree attitude, taking listeners with them for the ride.

John Linnell and John Flansburgh met and began playing and writing music together as a teenager in Lincoln, Massachusetts. Even after parting ways to venture out to different colleges, in 1981 the duo reunited. They released their first record in 1986, now fast forwarding, DELIVERED is their 23rd album after their release in 2018, My murdered remains. Their musical creations also extend to children’s music and podcasts as well as other independent releases.

The opening track, “Synopsis for Latecomers” invites listeners to join them in trying to make everyone understand the madness that is They Might be Giants. The song plays like a march, or rather a sailors’ working song, which answers curious questions about the weird sounds and bustle emitted by the songs that are about to play. It’s simple with a catchy snare percussion and a gritty, hard-cut guitar.

Resembling a modern-day Beach Boys track, “Moonbeam Rays” opens with an over-exaggerated nasal voice that is joined by sunny surfer rock instrumental. As the song progresses, it quickly takes on a mellow punk element, combined with an indie rock mix from the early 2000s. The drums begin to crash and roll, and the guitar whispers in the background. . Certainly, by the time the song ends, the nasal quality of the voice makes it impossible to want to replay it.

“Lord Snowdon” greets the listener with a delicious’ 60s style organ that plays throughout the song. Among the organ playing, the song gives the impression of an incoming army march as the fighters “show up for work.” “If Day for Winnipeg” hits ears with a clash of several sounds culminating in a deep, whining bass buzz. With all the different elements, this song feels like a fanciful fever dream.

The oddly playful but terribly dark track “Drown the Clown” sounds like a colorful children’s party song, but it portrays quite the topic of adults. The hoppy twangy of the organ in the background brings the track to the major key, making the dark lines sing along with a smile to the listener.

“Part of You Wants to Believe Me” is an unrecorded single that showcases major tone and energy throughout the album. This happy, happy track sings about the high caused by taking a drug and the confusion that comes with going down the ride. No matter what the subject is between the lines, the song is a total snapper that comes alive and rising with every listen.

The closing track, “Less Than One”, is a song full of energy from start to finish, ending the record on a powerful note. Vocally, this gives the effect of the song continuing to rise and rise as the voice rises higher and higher in the hook.

Globally, DELIVERED is a fun, eccentric record full of excitement and upbeat musical talent. They could be giants once again bringing their personal tone, leading to a never dull moment.


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It’s a family show: actors with new babies share lead roles | Acting

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In a theater disaster, an understudy replaces a lead actor, sometimes even during intermission. The public adapts and sometimes a star is born. Yet performers, on stage or on screen, are always seen as the last people who should ask for flexible work. Instead, they are expected to give everything, until everything gives way.

Now, calls for the sharing of work between actors, as well as for members of the backstage team, are increasing, with the aim of making entertainment a better working environment. Leading the campaign are many new mothers, who argue that there is no real reason why the burden of long hours and late evenings cannot be borne by two pairs of shoulders.

“People are really reacting to it. The idea of ​​sharing now really strikes a chord, ”said actor Naomi Sheldon, who shared the role of Adrianna in the Royal Shakespeare Company (RSC) production. The comedy of mistakes at the Barbican in London with actor Hedydd Dylan.

“I was pretty hesitant about it all,” said Sheldon, “but it was all an absolute dream.”

Dylan played the role of pregnant Adrianna in Stratford upon Avon and on tour. She then shared the role with Sheldon, before stepping down in November before her son was born.

“At first I was nervous about how Hedydd would feel about the arrangement,” Sheldon recalls. “But having been an understudy for Hayley Atwell before, I knew that whatever my own take on the role, I had to fit in.

“It wasn’t a production that I had helped shape, so I made sure I knew where I needed to be to make my mark on stage.

Naomi Sheldon: It’s been an absolute dream. ‘ Photograph: RSC

“Lucky for me, Hedydd turned out to be a class number,” added Sheldon.

When the director of the play, Phillip Breen, learned that Dylan was pregnant, he decided to make his character pregnant to match, allowing the actor to remain in the role throughout the race to Stratford upon Avon and into tour.

“This worked pretty well, ”Breen said. “It raises the stakes between Adrianna and Antipholus of Ephesus and explains some of the intricacies of their relationship, but also ultimately their great bond as well. It also adds an extra dimension to the family reunion at the end.

Sheldon found that the tight stage choreography and strict discipline of a production she describes as a “shrewd prank” helped her find her niche, as she navigated her arrival in the cast. It soon became clear, however, that she couldn’t just copy Dylan’s comedic techniques.

“We are very different creatures,” she said. “Hedydd is tall and sleek, with a lot of natural status on stage, while I’m smaller and I have an erratic energy within me. Some actors have described it saying that Hedydd’s portrayal of Adrianna is “like a greyhound walking around” while I am “more of a persistent terrier”. So even if I had wanted to do a performance version of Hedydd, I couldn’t have. “

Sheldon took over the role full-time last month after Dylan left before his son was born. As the new parent of a baby girl and boy, Sheldon said she “never would have believed that I would be able to play a demanding lead role at RSC at this point,” adding, “And when my babies were small, while we shared, I was able to spend the first half of the week at home with my babies.

“I felt proud that other actresses in a similar position could be encouraged and inspired by my experience and hopefully less afraid of juggling an acting career and having a baby,” Dylan told The Observer.

The RSC was following in the footsteps of the Chichester Festival Theater, which enabled Nellie Forbush’s central role in the musical South pacific to be shared by actors Gina Beck and Alex Young in summer.

Beck, who played Rodgers and Hammerstein until the end of August, said she hoped then that the “pioneering attitude” of theater would spread throughout the industry: “When I bore my first child , I became unemployed and didn’t get paid for six months because I looked, well… Pregnant. “

Actor Romola Garai is among other artists campaigning for better work practices for families. Garai, who just wrote and directed the horror film Amulet, released next month, remains committed to campaigning for more production companies in theater, film and television to allow cast and crew to share their workloads.

Talk to Observer A few years ago, Garai said, “Liberal industries are seen as so leftist, but it masks the incredible backwardness of our employment practices – it’s terrible for caregivers and parents. I recently requested a four day week for the first time and was laughed at.

Actor Romola Garai, writer and director of horror film Amulet, has said that employment practices in theater, film and television are terrible for caregivers and parents.
Actor Romola Garai, writer and director of horror film Amulet, has said that employment practices in theater, film and television are terrible for caregivers and parents. Photograph: Taylor Jewell / Invision / AP

The organization Raising Films, which makes these arguments, offers employers in the film industry a checklist of tools to improve hiring practices. “It’s difficult for independent producers to put together teams, but we are facing such a massive skills shortage that we need to think about better ways to attract and retain talent,” said Nicky Bentham, co- founder of Raising Films, a producer at Neon Films. “Not all roles or all productions will suit a job-sharing scenario, but I think there’s probably more room for that than people think.”

Raising Films also operates a website that connects workers to job sharing programs, including Media Parents, the union Bectu’s TakeTwo and Share My Telly Job (SMTJ), set up by Louise Patel in 2015.

Patel argues that the lack of flexibility in TV production means talented people leave the industry or find themselves stuck in roles below their skill level. It’s a sadly limited attitude, she believes, in contrast to the premium of entertainment over creative thinking. Job sharing, Raising Films argues, also helps prevent career burnout that can hamper careers, and it provides vacation cover for anxious employers.

SMTJ co-director Michelle Reynolds likens a good deal of work to a marriage. “Trust and communication are essential because there will inevitably come a day when your job sharing partner makes a decision that you don’t agree with. You have to have some respect for that person to see their choice as equally valid. “

SMTJ, explains Reynolds, was born out of frustration with the struggle to return to work after children were born. The campaign was boosted by reports of the huge drop-out rate of women working in television production. As a result, this year they created The Time Project, a means of recording hours for anyone working off-screen on UK television.

“There is a myth that people who want to work flexibly are less engaged in their work than their full-time counterparts. At that, we’re saying no one is going to want job sharing to be successful more than the job sharers themselves, because that’s their key to staying in the careers they love, ”said Reynolds.

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Chargers vs Bengals, week 13: roundtable on match predictions

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The Chargers will pick up Mike Williams and Chris Harris Jr. after all on Sunday, as both were activated from the COVID-19 list on Saturday afternoon. Not that the team really needed them against the Giants 4-8, but it’s always a bright spot that neither ended up missing a ton of time.

As you might expect, our writers are feeling pretty good about this showdown. There’s little to no stress, which couldn’t be a more appreciated feeling when it comes to rooting for this team.

As of Saturday, the Chargers are the 8.5-point favorites over the Giants according to DraftKings Sportsbook.

Curious to see what our writers predicted? Let’s go ahead and take a look.

Michael Peterson: The Chargers will be without Keenan Allen and there is now a chance Derwin James will miss Sunday’s game with an injury that just put him on the team’s injury report. But despite the potential shortage of two of their best players, the Chargers should be able to get away with this one fairly easily. With Allen out, rookie Josh Palmer could be in the running for a mini-breakout if he was in the same role.

Looks like the Giants are going to launch Mike Glennon on Sunday, which is music to the ears of Chargers fans. The guy has won two games in his last 15 pro starts on that date through 2014. If that doesn’t tell you the Chargers defense should be able to capitalize on this game smoothly, then I don’t know what is it? than.

If this team play the way they should on Sunday, I couldn’t imagine why they could hang more than 30 points on the Giants. Final score: Chargers 31-17

Matthieu Stanley: The Chargers will win this weekend against the New York Football Giants. The Giants aren’t a great football team right now and play a Brontosaurus named Mike Glennon in QB. After last week’s win, the Chargers have no excuse not to absolutely run away with this game, even without Keenan Allen. Final score: Chargers 34-13

Garrett Sisti: The Giants will be the least talented team the Chargers have played this season, given that they are in great health. Their offense is bad with Daniel Jones but on Sunday they won’t even get it, their explosive receiving weapon Kadarius Toney is out for this game, Kenny Golladay is questionable and DB Adoree Jackson will miss this game on top of all that. Take into account that Giants judge HC Joe has become one of the most conservative coaches in the NFL, they just don’t have the talent to win this game and at some point you know they are getting down. will get in their own way, so it has implications for it to get out of hand quickly. Evan Engram is going to get a ton of targets but the offense won’t be able to keep pace with Mike Glennon. Keenan Allen’s absence won’t be enough to keep this game close. Final score: 30-10

Dimensions / lines subject to change. The T & Cs apply. See draftkings.com/sport bets for details.

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Popular musical artists draw inspiration from famous literary works

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How storytellers inspire songwriters

Popular musical artists draw inspiration from famous literary works

Madison Palmieri ’22

From Gatsby the magnificent to the Harry potter series, many beloved novels have inspired blockbuster movies or TV shows. Less frequently discussed, however, is the degree of inspiration that the world of literature provides to the music industry.

Some examples of this phenomenon are more obvious than others. For example, several tracks by the famous English heavy metal band Iron Maiden, “Brave New World”, “Lord of the Flies”, “Rime of the Ancient Mariner” and “Murders in the Rue Morgue”, recount the literary works of these same names by Alduous Huxley, William Golding, Samuel Taylor Coleridge and Edgar Allen Poe, respectively.

Elton John is another renowned artist who has adapted literature to his music. Like Iron Maiden, John has a song called “Lord of the Flies”. Another of his tracks, “All Quiet on the Western Front”, is based on the famous First World War novel of the same name by Erich Maria Note. Although its title is a little less obvious, another song by Elton John, “Restless”, is inspired by that of George Orwell. 1984.

Likewise inspired by this dystopian novel is the fellow musician of John David Bowie. Three of Bowie’s songs, “1984,” “Big Brother,” and “We Are the Dead,” recount aspects of Orwell’s book.

Another famous act was forced to write a song about 1984: Tears for fears. While the band’s song “Everybody Wants to Rule the World” is a less obvious homage to Orwell than Bowie’s tracks, a close examination of the lyrics, especially the bridge, makes it clear where the band drew inspiration for. the song.

British rock band U2 have taken a unique approach to literary allusions in their discography. They named their 13th studio album, released in 2014, Songs of innocence and named their 14th studio album, released in 2017, Songs of experience. These titles are taken directly from a collection of poetry by William Blake. Blake originally posted Songs of innocence in 1789 before republishing it with new poems in a combined volume titled Songs of Innocence and of Experience in 1794. Notably, like Iron Maiden and Elton John, U2 was also inspired by Lord of the Flies. Their song “Shadows and Tall Trees” from their debut album Boy takes its name from the seventh chapter of Golding’s novel.

Another British rock band inspired by literature is Bastille. Their song “Icarus” tells the myth of the same name, “Four Walls (The Ballad of Perry Smith)” tells the true events detailed in Truman Capote’s In cold blood– and checks the name of the novel’s title – and “Weight of Living, Pt. 1” chronicles the events of “The Rime of the Ancient Mariner.” Additionally, in a question-and-answer session on Twitter, the Bastille frontman , Dan Smith, revealed that the band’s song “Poet” was inspired by Shakespeare’s Sonnet 18.

Folk rockers Mumford and Sons also drew on sources ranging from The Bard to 20th century American literature. “Sigh No More” is inspired by Shakespeare A lot of noise for nothing and actually incorporates several lines from the play into his lyrics. “Dust Bowl Dance” is an interpretation of John Steinbeck Grapes of Wrath. Their song “Timshel” was inspired by another Steinbeck novel, East of Eden.

Other notable literary-inspired tracks include “If I Die Young” by The Band Perry, inspired by Alfred, “The Lady of Shalott” by Lord Tennyson, “Cassandra” by ABBA, inspired by Homer’s The Iliad, “For Whom the Bell Tolls” by Metallica, inspired by the novel of the same name by Ernest Hemingway, and “The Ghost of Tom Joad” by Bruce Springsteen, inspired by Grapes of Wrath.

Another song, “Lost Boy,” was inspired by JM Barrie’s Peter Pan. Specifically, singer-songwriter Ruth B. came up with the idea for the song when she watched Once upon a time, a television series that weaves together different fairy tales and similar stories and places their characters in the modern world.

It should come as no surprise then that the artist whose fans have dubbed her “the music industry” has perhaps the most impressive amount of literary references across her eleven album discography. Indeed, while Taylor Swift’s most obvious homage to literature is her hit “Love Story,” which tells the story of Shakespeare’s work. Romeo and Juliet and includes a nod to Nathaniel Hawthorne The scarlet letter, the singer’s albums are full of tributes to her favorite novels and characters.

1989Lewis Carroll’s “Wonderland” Plays Out Alice’s Adventures in Wonderland; reputation‘S’ Getaway Car ‘borrows from Charles Dickens’ front lines A tale of two cities and “This Is Why We Can’t Have Nice Things” from the same album Gatsby the magnificent.

However, these are the two most recent albums by Swift – re-recordings not included – sister discs. folklore and always, in which his love of literature is most visible. On the first, “cardigan” refers to the Peter Pan characters Peter and Wendy, “invisible chain” nods to a famous replica of Charlotte Brontë Jane eyre, “Illicit business” paraphrases the “The road not taken” and “the lakes” is named after the famous poet William Wordsworth, who resided in the Lake District in England.

On the latter, “it’s the damn season” directly integrates “The road not taken” as lyrics, “tolerate it” tells with subtlety that of Daphné du Maurier Rebecca, and “happiness” refers to Gatsby the magnificentis the infamous green light.

Needless to say, storytellers have provided songwriters with a lot of inspiration across all literary and musical genres. Just as directors and actors bring the book’s adaptations to life on screen, musicians draw on the works of others and create enjoyable new art forms.

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Frequency Conspiracy announces debut album “Quarantine Covers”

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The Frequency Conspiracy – a project featuring members of Last in Line, Tyketto, 24-7 Spyz and others – confirmed the release of the debut album Quarantine blankets January 1 via Alliance Entertainment.

Led by 24-7 Spyz drummer Joel Maitoza, the LP features contributions from Andrew Freeman (Last in Line, Lynch Mob), Jamie Scott (Tyketto), John Gallagher (Raven), David Pasorius (Pat Travers) and many others. A promotional clip can be seen below.

The band released their covers of Kansas’ “Carry On Wayward Son” and Montrose’s “Rock Candy” last year, both of which appear on the LP. “The album features a handful of amazing musicians that I’ve wanted to work with over the years,” Maitoza said. “I feel blessed that everyone I have reached out to made my dream come true and I am delighted that everyone can finally listen to these songs.”

He explained last year that he was also working on an original music album. “The Frequency Conspiracy isn’t exactly a band, but a collaboration between myself and other musician friends I’ve always wanted to work with,” noted Maitoza. “When I write a song I hear the finished version with vocal melodies in my head… I am primarily a drummer and songwriter who can play a bit of guitar, bass and keyboards. I can’t sing very well or play a guitar solo to save my life, so I will have friends who will appear on many songs. “

“This project is very personal to me and close to my heart,” continued the rocker. “This is something I need to finish to move on to the next chapter in my career. If people like it, I will continue to write, create and record music. If not, I can at least say that I have accomplished what I had originally planned to accomplish. Anyway, I’m delighted to finally have the opportunity to share it with all of you.

Frequency Conspiracy – “Quarantine Blankets” Promo

44 famous records you probably didn’t realize were covers

I bet you didn’t know someone else recorded these songs before they became popular.

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Final Notes for Virginia Music Store Specializing in Children’s Musical Instruments

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Playing a musical instrument can be both rewarding and stimulating, and a music store owner who has helped young students along the way is retiring after more than 40 years.

Many parents will agree that it is difficult to call the first notes a child makes on a rented musical instrument “music,” but it is a necessary step in ultimately learning to play.

“The first sounds on many instruments can be really off-putting,” said Sheila Burns, owner of Roberson’s Music, which will close permanently on December 23, after more than 40 years in Fredericksburg and Richmond, Virginia.

Burns and her first husband, Harry Roberson, started the business as a small repair shop for area high schools. It ended up “getting out of hand, where we offered rentals, repairs, sales, lessons – the whole nine yards,” she said on Friday.

Over the past few decades, much of Burns’ job – and joy – has been in introducing children to music.

Children in school usually have the option “to join a band or an orchestra, depending on what school systems allow,” Burns said. “We go to schools and demonstrate the different instruments by a professional who knows how to play the instrument correctly, so that the child has the opportunity to hear it live. “

Which leads to what Burns calls an “adjustment” instrument, where the students have the chance to try to make a sound: “We put the instrument in their hands, up to their lips. “

Students and their parents are given guidelines on which brass instruments work best, depending on the child’s ability to blow into the mouthpiece.

Tooth and lip structure and dexterity are key, Burns said, and some mouths don’t fit well with some mouthpieces: “If it’s something they really care about, sometimes they can get over it. Other times, it is better to encourage them slightly in another direction.

While the initial horns, scratches, and empty gusts of air can be frustrating, young musicians are eventually able to play what would be considered a note. “You just see their eyes light up. Smiles come to their faces, and the excitement begins, and that’s when you know you’ve found the right instrument for them.

For a brass instrument, “making a good sound depends on breathing control, breathing downward from the diaphragm, not just shallow breathing,” Burns said.

As the beginning student tries to coax the notes of the new instrument, “the parent who listens to their child and encourages them to practice and keep going is a major factor,” she said.

“Usually by the end of the first two months you start to recognize the songs they’re playing and you’re like, ‘Oh, I know what this is,’ she laughs.

In the final days of the company, which she has run for more than four decades, Burns reunites with former students who are now music teachers. The students who receive private lessons have had time to find new teachers.

“The music is going to be very alive and well in Fredericksburg,” she said.

Even as musical trends, technology, and culture have changed, Burns said, learning to play a musical instrument has always been a microcosm of life.

“To play an instrument you have to set a goal for yourself,” Burns said. “Very like life – if you want to be successful, you have to work at it. “

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Ichiko Aoba imagines a musical journey between the islands on Windswept Adan

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The Ryukyu archipelago that stretches across southwestern Japan, from Kyushu to Taiwan, serves as the backdrop for Ichiko Aoba’s first international release, a record that places her fragile guitar melodies in the context of chamber and sometimes ‘orchestra. Aoba, who has previously contributed video game soundtracks including the 2019 iteration of THE Legend of Zelda, designs Adan windswept like the score of an imaginary film. The otherworldly tale sees a girl traveling from the isolated (and fictional) island of Kirinaki to the titular Adan, to trade seashells with local wildlife.

The opening “Prologue” sets the scene: a lazy and lingering stream of waves, tiny bells, a voiceless voice that could be the voice of a breeze. The sound universe of the album blossoms on “Pilgrimage”, with repetitive harp motifs, melodies and counter-melodies and arpeggio flutes. Aoba worked on the album with Milk (the working name of pianist and arranger Taro Umebayashi) and the production showcases his melodies amid a soundscape of lush coral, tiny tinkles that reflect the made up language of the song.

If these set up the story, it goes to “Porcelain”. “The waves dance in a moonlit waltz,” she sings, “up and down. So wonderful. There are dolphins and bougainvillea. An orchestra dances around sound, a refracted version of Ravel’s fin-de-siècle Orientalism. The sound offers other hints: the harmonium drone on “Horo” could be the Penguin Café Orchestra (whose own harmonium was discovered abandoned in a Kyoto street) heating up; Umebayashi’s moody and unresolved piano melodies on “Parfum D’Étoiles” might be Satie; the interlocking marimba patterns and abrupt changes of “Ohayashi” owe more than a nod to Steve Reich. These Western musicians drew on what they heard in Eastern music; it is reappropriation rather than pastiche.

The album comes closest to “Easter Lily”, where two sung melodies nestle in each other. “A long time ago”, says the top line, “we gave ourselves fragments of seashells and the timbre of our song and our dance”; underneath, like a whispered minimalist haiku, “that girl shining / singing flowers / and wind”.

For an unruly precursor of this album, try Akiko Yano’s Ai Ga Nakucha Ne, from 1982, recently reissued by Wewantsounds. For this recording, Yano uses three quarters of the British group Japan (also fascinated by the constructions of the Orient), to which she was introduced by her new husband Ryuichi Sakamoto. The record is an insane dream-pop masterpiece at the height of Japan Pewter drum.

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Adan windswept‘is published by Badabing

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Thai Artist Numcha Teams Up With Sunset Rollercoaster Kuo For Christmas Single “Merry Midnight”

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Thai singer-songwriter Numcha and Kuo, frontman of Taiwanese rock band Sunset Rollercoaster, have teamed up for the Christmas-themed track “Merry Midnight”.

The dream single arrived on major streaming services via NewEchoes on Thursday, December 9 alongside a romantic music video. It portrays a couple who live in different timelines but can’t wait to meet on Christmas Eve across different time dimensions.

Watch the music video below

“Having the opportunity to work with Kuo on this project has been a wonderful experience because he is an amazing artist and a wonderful person,” Numcha said of his collaborator, real name Tseng Kuo-Hung, in a commentary. Press release.

“We shared a lot of ideas, both lyrically and instrumental. Kuo was extremely professional; he got the project done very quickly and made everything easy.

Numcha, real name Bangkok-based Numchacha Chukate, has released a series of pop singles which she debuted with the track “Keep Cold” in 2019.

In 2020, she released the singles ‘Dirty Shoes’ and ‘Kryptonite’. Prior to “Merry Midnight”, the Thai musician released the songs “April Loop” and “Butterfly” earlier this year. In June, Numcha also featured in a collaborative track titled “Real Eyes” with fellow Thai artists Motley Flower and Pae Arak.

Meanwhile, earlier this year, Sunset Rollercoaster released a live concert video titled TYPHON’S RIDERS which sees the group performing their 2020 album “Soft Storm” at the Taiwanese music venue Legacy Taipei.

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French Montana: new album “They Got Amnesia”, Puff Daddy, Max B

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I said they had amnesia about everything: the City of cocaine DVDs, the Coke Boys era, from Chinx to Max B collaborations, ”French Montana tells me. “I felt like they had amnesia about my accomplishments.” The rapper has spent the past two years out of the limelight, partly to focus on fatherhood, partly to focus on his health. He quit drinking after being hospitalized in 2019 for exhaustion – or, as he put it, “showed up too much”.

Montana’s new album, They have amnesia, plays on the idea that some rap fans sleep on his work. But anyone who remembers, say, 2009 Coca wave – his collaborative band with Max B, an east coast version of what Thug and Rich Homie Quan are to the south – recognizes French as a very important New York figure. If Max was the street legend of the 2000s, the Gotham singer and rap singer, the Frenchman – who grew up in Morocco before moving to New York City as a teenager – was his muscle, with a dizzying delivery in the South Bronx that would get him to sign Puff’s Daddy’s Bad Boy Records. the Cocaine city The DVDs functioned as a documentary for the streets of New York, and Montana and Max kept New York afloat when Roc-a-Fella disbanded and G-Unit began bickering like the Roy family (the 50 being Logan). Despite a few disappointing verses and a few trending trends in the years that followed, New Yorkers with Yankee hats who thrive in disgust have not forgotten French Montana.

They have amnesia follows a French model set up during Obama’s second term, when he showed he was one of hip-hop’s first collaborative artists. Features are rife with Lil Durk, Doja Cat, 42 Dugg, and Saweetie making appearances, among many others. Just like Pop Smoke, a friend with whom French recorded frequently. (The French was even supposed to hang out with Pop Smoke the night before he was killed.) The French also shows daring in his songwriting; he is motivated, and it is his best record since 2012 Mac and Cheese 3 ribbon. (All was not quiet during French’s mini-hibernation – last year he and his business partner were prosecuted for allegedly sexually assaulting a drunk woman. The case is still ongoing. When asked to comment, French declined to talk about the trial.) We caught up with the French to talk about They have amnesia, his friend Pop Smoke, and how the game has changed.

What have you been doing in recent years?
My son is getting old, so I was a father. I spent time outdoors just to focus on my health, especially my mental health. Sometimes you are trying to make money and you forget to rest your body.

You got to the 2000s, where mixtapes were real street tapes, and albums were albums. Those lines are sort of blurry now. Everything has to be retailed. What is that dynamic for you as a veteran of the game?
Man, this is actually something that I got used to. Either you know what’s going on or you end up with the dinosaurs. Do you know what I’m saying? When we first came out, YouTube was a platform, and then WorldStar took over. Then for me, even when I was a kid, I would buy tapes and watch them turn into CDs. It’s the same thing. Like CDs to streaming play now. So you just have to adapt, shape your own style around what’s current.

Does that make it easier?
There are definitely ups and downs with everything. I just want to adapt to City of cocaine to the music thing. It’s like, you walk in, you figure out who’s the best, you see what they do, you put your own style on. You make it yours. Everyone has the possibility to appropriate what they want by attaching their style to it.

Tell me about seeing New York rappers receive their flowers.
Oh, I love it, man. New York is like the Chicago Bulls when Michael Jordan was playing. It is the mecca of hip-hop. I feel like when you get out of here, it’s not about rapping, making songs. 80 percent you are who you are. And culture, right down to the roots. What was your story, who do you know, who vouched for you?

Because so many things that go with it. You could be from somewhere else, you don’t have to go through it. It’s like, “Oh, do you have a dope song? All right, let’s get on the radio. But there are ups and downs to it. The ups are, once you learn and get past all the obstacles you will last a very long time in the game. This is what artists like me, like Jadakiss, like Fab, a lot of artists are able to maintain their quality. star for years. It’s unheard of to come out of nowhere else.

What is your favorite memory while doing the Coca wave band with Max?
Being in love with the music and loving the process. I have the impression that a lot of people are not in love with the process. They always look at the game, like ‘let me go from point A to Z’. Everyone, as soon as you get into the game, you automatically want the Grammys, you automatically want those awards. You want the number one diamond single, you want a platinum album. But a lot of artists don’t appreciate the process and embrace the grind. I feel like I was really having fun kissing the grind. Even talking to him now, we still remember those moments.

Max has been in prison for over a decade. Have you spoken to him recently? How is he doing?
Max is doing very well. His mind is on a whole new level. He acts like I’m the locked one.

Were you aware of the City of cocaine impact when this happened?
City of cocaine was probably the first thing that showed me how fast the records go. It showed me how fast rappers go, so I was able to be a student of the game while gradually, slowly but steadily learning the process of being an artist. Learn the dos and don’ts of each artist. City of cocaine was my college.

Do young artists have this education?
I feel like artists have the chance to learn and study and the process, and through your growth and trials you can choose. “Alright, do I want to be here forever?” Alright, let me study some greats so that I can stay here forever. I don’t think people can choose that. You can’t cheat hustle and bustle, hustle knows exactly what you are doing. So if you want to be here forever, take the steps.

Photograph by Giancarlo Valentine for Rolling Stone. Fashion direction by Alex Badia. Market editor: Luis Campuzano. Fashion assistant: Kimberly Infante. Blazer by Dolce & Gabbana

What is your state of mind on this record compared to the others?
It’s like the record I’ve always wanted to make. It felt like I was starting from scratch, but I wasn’t, I was starting from experience. I was talking this morning, there was this artist who drew a picture in 15 minutes, and billed a guy $ 2 million. And he said, “Why are you charging me $ 2 million for this painting?” It was like, “It took me 40 years of my life to be able to do this.” This is how I feel.

What are you trying to accomplish now?
Reach my peak. Reach my peak. I feel like I couldn’t reach my climax, I was distracted. I wasn’t standing on my right foot, I was digging too much into my hands. Worrying about other artists, worrying about this, worrying about that. Not in the right place in my head.

You have a single with Fivio Foreign on the album “Panicking”. How did it happen?
One thing about French Montana is that I test myself against all the artists who come from New York. Before that, Shmurda, where there was Lil Tjay who was dating for the first time, there was Pop Smoke when they were dating for the first time. No matter who came from New York, I will always show my support and bring the city together. Just to have those special moments. I’ve been doing this for a very long time.

Do you have any specific memories of Pop Smoke?
I had to go see him [the night he was killed] in LA, and I was at a strip club. He said to me, “Yo, come to the cradle. We were going to go to the nursery, but it was already four in the morning. So I was like, “Yo, let’s go to my place, I need to get some sleep. So instead of going to Pop Smoke’s birthplace, I went home. It just shows you, man. You have to be careful how you do it. If you are not in control of your life anything can happen. Treat each day on this path the way you want everyone to remember you. Don’t waste time wasting time.

Do you give advice?
I always give advice. I preach until they no longer want to listen. I remember meeting Pop and talking to him and my man was like ‘cool dude they don’t listen anymore. So I always try to play.

What does Allah mean to you?
There is a higher power. So you have to really understand where you are going and embrace it, and make sure that you and the Higher Power are on the same path. Some people get out of their way with God, and you won’t get as far as you can.

A few years ago you said you could outdo Kendrick if the two of you were headliners at a festival. Do you really think you can beat Kendrick?
That was awhile ago, man. The internet took it and worked with it but I wasn’t talking about Kendrick himself. I was just saying that I can go against anyone you suggest to me.

How often do you talk to Puff?
All the time. Whenever it’s time for work or fun, Puff and his energy are always there.

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Review of “Kimberly Akimbo”: What is an anagram for “Wonderful”?

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The sweetest love scene on a New York stage right now doesn’t involve left bank bohemians, Orpheus and Eurydice, or even that monster with the mask on. Rather, it’s between a high school über-nerd who plays tuba and speaks Elvish and a girl who looks like her grandmother.

That’s because the daughter, Kimberly Levaco, born with a genetic disorder of aging related to progeria, appears to be in her 60s even though she just turned 16. In the fun and soulful new musical “Kimberly Akimbo”, which debuted on Wednesday in an Atlantic Production by the theater company at the Linda Gross Theater, Victoria Clark brings her to life so believably and beautifully that you find yourself looking for a kiss. that you might otherwise find scary.

It is not a surprise ; Clark, 62, is one of our great singing actresses, standing exactly where the two impossible arts intersect. Role after role – particularly as an anxious mother in “The Light in the Piazza”, for which she won a Tony Award in 2005 – she makes music not an afterthought on the character, but the thought she -same.

What is surprising is that “Kimberly Akimbo”, based on the 2000 play of the same name by David Lindsay-Abaire, achieves a similar feat. Unlike adaptations which do little more than nail some vocal Sheetrock to bare elements of a borrowed story and have much the same elegance, this one – with music by Jeanine Tesori and a book and lyrics by Lindsay-Abaire – remakes the original in new terms, with songs that tell us new things beautifully.

This is done without undue violence to the ingenious original premise, which makes comedy, as we all have to, tragedy. Kimberly is overwhelmed not only by an illness for which the average life expectancy is 16 years (“It’s only an average though,” she says happily) but also by a family that hasn’t treated her. as well as her.

Her mother, Pattie (Alli Mauzey), is ridiculously hypochondriac, as if to redeem the chromosomal crash that produced her rapidly aging child. Her father, Buddy (Steven Boyer), is irresistibly irresponsible, breaks his promises and gets drunk in amazement. Her Aunt Debra (Bonnie Milligan) is a cheerful, amoral tornado of bad ideas who crouched down in Levaco’s basement to advance a counterfeit check plan. In a household filled with impulsive and appetizing childishness, Kimberly, who has to feed Pattie her morning cereal because both of her arms are in plaster, is the adult by default.

It’s this quality, more than her looks, that makes Kimberly an outcast at school. The upside is that it draws him to the must-see Seth, played in a terrific New York debut by 18-year-old Justin Cooley. Seth is very familiar with Premature Adulthood Syndrome: his widowed father barely notices, letting him figure out how to be a “good kid” (as one of his songs calls it) on his own. Recognizing this trait in each other, Seth and Kimberly bond over their parallel irregularities: his obsession with anagrams and its genetically scrambled codons.

Each of these subjects produces a wonderfully unexpected song that advances the plot while deepening characterizations. In the first, as Seth struggles to make an anagram of “Kimberly Levaco,” his bizarre stab wounds on solutions (“My olive blacker! My crab love!”) Point of view: “I love it. the way you see life and think outside the box, ”she sings. ” A little weird. A little behind. A little unorthodox.

And when students present science projects on diseases of their choice in a hilarious ensemble issue called “Our Disease,” Kimberly departs from the script she and Seth wrote on hers. Their classmates may have chosen scurvy and fascioliasis, but what they really suffer from is “a bad case of adolescence,” she sings. “Growing old is my affliction. / Getting older is your remedy.

These classmates (charmingly played by Olivia Elease Hardy, Fernell Hogan II, Nina White and Michael Iskander) are the most obvious addition to the musical, having been invented to provide a social context, a singing ensemble, and a broader humor. Less convincingly, Lindsay-Abaire links them to the story as accomplices in Aunt Debra’s forgery scheme; they hope to raise enough money to buy stunning costumes for a choir competition. Still, since it allows them to provide a backup for Milligan’s barn numbers, I won’t complain.

That Tesori can write any kind of music is old news. (For more proof, see “Caroline, or Change,” Now on Broadway.) What is evident in “Kimberly Akimbo” is that she can also write infallibly for any type of show. It mustn’t have been easy to find the right times and the right tone for the songs in a two-sided story like this, where every joke is also a memento mori, and vice versa. (One number is called “The Inevitable Turn”.) Its sound universe – comprising ukulele tunes, surprise double melodies, and an awesome pastiche – most closely resembles that of the musical “Shrek”, another collaboration with Lindsay -Abaire, but it takes its own inevitable turn, becoming richer and more ardent as the material demands it.

As his star demands too. I wish Clark had a bigger solo in the penultimate scene; at that point we won the right to a major statement from an interpreter capable of delivering it.

As long as we strive for excellence, I will add that “Kimberly Akimbo” is not yet all it could be. The New Jersey setting is clearly and badly characterized, but the era, so-called 1999, is not; the father’s arch is not clearly inscribed; and using high school students to fill songs they don’t otherwise belong seems demotivated. Although sharp in its emotional details, Jessica Stone’s staging, on a vague setting by David Zinn and choreography by Danny Mefford, is physically undernourished. Skating rink scenes might as well be set in an empty mall, for all the action they offer.

But these are really minor complaints about a show getting so many important things so well. “Kimberly Akimbo” is already the rare example of a good play turned into an even better musical. It warms up the craziness of the original without going overboard and makes it “normal”. Instead of curling up as if embarrassed by the dimension music can bring to drama, she embraces the ability of song, even in tragicomedy, to spread emotion into larger realms.

And don’t let its sheer pleasure make you believe this is not a tragicomedy. To see an old man like Clark sparkle with a newcomer like Cooley is to feel how fast the world is spinning ahead. “Nobody gets it a second time,” they sing in the finale (although “Kimberly Akimbo” thankfully did). It could be an old-fashioned ‘carpe diem’ message – or a ‘crazy recipe’, as Seth might say – but in this case, lifted by exceptional craftsmanship, it makes a totally satisfying meal. .

Kimberly Akimbo
Until January 2 at the Linda Gross Theater, Manhattan; atlantictheater.org. Duration: 2 hours 20 minutes.

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Massive archive of photographer James Van Der Zee’s work lands in two New York museums

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James Van Der Zee, “Self-Portrait” (1931), gelatin silver print (all images courtesy of the Metropolitan Museum of Art)

Yesterday, the Metropolitan Museum of Art and the Studio Museum in Harlem announced that they would jointly own 20,000 prints and 30,000 negatives of James Van Der Zee, a prolific photographer known for his lush portraits of black middle-class city life. during the Harlem Renaissance. The prints and negatives, along with his studio equipment and ephemera, will be held in the James Van Der Zee Archives – the third archive of an American photographer at the Met to date (the other two contain the works of Walker Evans, created in 2000, and Diane Arbus, created in 2007) and one of the largest collections of works by an individual photographer in the world. The archives not only contain Zee’s vast collection of works, but also launch an initiative to conserve and digitize his works, and research the context of his photographs, his singular photographic techniques and his life. This is the first time that the Met will collaborate with a partner institution to “safeguard the legacy of an individual artist”.

Currently, the Studio Museum in Harlem already has around 6,000 prints and 7,000 negatives, and the Met will acquire the remainder – 14,000 prints and 23,000 negatives – from its widow Donna Mussenden Van Der Zee and her institute. The Met will also own the copyright in all images of James Van Der Zee. Efforts to establish the archives were launched by Mussenden Van Der Zee in the summer of 2018.

Van Der Zee was born in Lenox, Massachusetts, a predominantly white town that was a popular summer retreat for wealthy New Englanders. His parents had worked as a maid and butler at Ulysses S. Grant’s White House, and he grew up with musical aspirations: he learned the piano and violin very early in his youth and dreamed of becoming a professional violinist. His expressive inclinations didn’t stop with playing music. At 14, he got his first small case, which he earned by selling sachets of pink and yellow silk powder, and immediately got to work taking hundreds of photos of his family and the city. .

James Van Der Zee, “Woman Holding Folding Camera” (1922), gelatin silver print

In 1906, at the age of 20, he moved to New York City with his brother, where he worked as an elevator operator and waiter. After spending a year in Newark in 1915 as a darkroom technician and photographer in a portrait studio, he returned to New York and established his first portrait studio. Two years later, together with his second wife, Gaynella Greenlee, he established the Guarantee Photo Studio in Harlem, where he has produced countless portraits over the years. By this time, Harlem was already beginning to rapidly change from the middle-class white neighborhood that it was when Van Der Zee first moved to New York – and by the mid-1920s, 200,000 black Americans were living there, a A by-product of The Great Migration stages the demographic backdrop of the Harlem Renaissance artistic, literary, and cultural surge.

Van Der Zee has taken photos of the vibrant people, places and events of Harlem – from weddings and funerals to barber shops and pool halls, from Bill “Bojangles” Robinson to the United Negro Improvement Association to Marcus Garvey. Some of his most famous subjects included Muhammad Ali, Jean Michel Basquiat, and Countee Cullen. His clients showed up in their best clothes and he chatted with them to better capture their likeness. When working in the studio, he relied on a range of glamorous accessories, such as architectural pieces, backgrounds and fashion accessories, perfectly matched with the personality and appearance of his subjects. Sometimes he would ask sitters to play the characters of a little situational drama: a child on the phone or a gypsy fortune teller speaking a judgment. “I tried to pose each person in a way that told a story,” he once said.

After posing his subjects and taking their photographs, he frequently retouched and manipulated his negatives. Often times, this involved “sprucing up” her photographs, straightening crooked teeth, smoothing out wrinkles and filling in bald areas. “A woman came to me and said, ‘Mr. Van Der Zee, my friends tell me it’s a nice picture, but it doesn’t look like you.’ It was my style, “he explained. He also uses the technique of photo montage, superimposing the musical score of a song on a funeral portrait and adding a spectral child to a wedding portrait.

James Van Der Zee, “Parade, Harlem” (1924-6), gelatin silver print

It is fitting that the Met should take custody of Van Der Zee’s work, given the central role he once played in bringing a wider audience to his work. Although Van Der Zee was well known by Harlem’s black community to be a handsome portrait painter and a coveted photographer for hire, his work had not captured the attention of a wider audience. In 1967 Reginald McGhee, a consultant working on an upcoming show at the Met, arrived on Van Der Zee’s studio in Harlem and discovered his collection of 75,000 photos taken over six decades. He was conducting photographic research for what would prove to be the notoriously controversial subject. Harlem in my mind exhibition the following year. Van Der Zee had until then been more or less indifferent to seeking recognition from the art world – but the reverse could not be said: when his photographs were presented in the exhibition, he was immediately acclaimed.

But his overnight fame didn’t come fast enough: weeks after the exhibition opened, he was kicked out of his home in Harlem, a house he had lived in for nearly three decades. His business never fully recovered after the Great Depression, and the growing ubiquity of personal cameras reduced the demand for professional photography. By the time of the 1969 show, his wife’s health was in decline and her finances were worse than they had ever been. To protect the large volume of prints and negatives that have now found themselves homeless, McGhee established the James Van Der Zee Institute (which for two years was located at the Met), and under considerable emotional strain, Van Der Zee bequeathed his collection to the institute. “There was so much confusion at the time that I did everything I was asked to do,” he said later. “I didn’t have a lawyer or anyone else to represent me. In 1978, the institute became part of the Studio Museum.

James Van Der Zee, “Bride and Groom” (1927), gelatin silver print

Later, Van Der Zee’s relationship with McGhee, the Studio Museum, and the Met turned sour. In 1981, at the age of 95, Van Der Zee continued the Studio Museum in order to regain possession of its some 125,000 prints, negatives, plates and transparencies. Van Der Zee said he had lived off public and charitable aid during the years his work was in the collections of their museums, and that the compensation he had received for his collection amounted to “a car , a costume and a turkey ”. “I intended to protect my collection” – which he valued at $ 10 million at the time – “and ensure my financial well-being. I had no intention of transferring my collection permanently, ”he said. “In those 12 years my intentions have been completely frustrated.” More than two years later – and a few weeks after his death – the lawsuit was settled, the estate of Van Der Zee recovering half of its collection and the other half divided between the Studio Museum and its institute.

This collaboration between the Met, the Studio Museum and Donna Mussenden Van Der Zee marks a happier end to the disagreements that marred Van Der Zee’s rise to fame, and gives Van Der Zee’s work the place of honor. ‘he deserves. “The collection has found an ideal permanent home,” says Mussenden Van Der Zee.

Braque’s paintings speak of autonomy, of a quietly passionate and continuous dedication to the task at hand.


In Amber Robles-Gordon’s work, borders between states are less important than overlapping territories, the endless negotiation of identity.


Schulte seems at the same time focused and restless, determined and open.


In 1996, members of the Nez Perce tribe had to raise hundreds of thousands of dollars to pay the Ohio History Connection to secure the artifacts that were rightfully theirs.


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Karol G was the world’s most viewed artist on Vevo in 2021, with 3.11 billion views

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Following the announcement that Puerto Rican rapper Bad Bunny was the world’s most broadcast artist on Spotify in 2021, today we learn that his colleague Reggaeton star Karol G was the world’s most watched artist on Vevo this year.

Karol G tops the charts of the most viewed artists in 2021 in the world on the music videos platform with 3.11 billion views.

The Weeknd came in second, with 3.10 billion views worldwide.

Ariana Grande has reached the third highest number of views on the platform worldwide, with 2.47 billion.

In the United States, Lil Baby is the most watched Vevo artist of the last year with 770 million views, followed again by The Weeknd with 558 million views.

Doja Cat and Lil Nas X were two of Vevo’s most popular artists, both appearing as newcomers to this year’s Ten Most-Watched Artist list.

In the US and around the world, Lil Nas X took # 1 on the Vevo Engagement Chart, which ranks videos according to the highest number of likes, shares and comments on the Vevo network.

Montero (Call me by your name) was n ° 1, with Baby Industry with Jack Harlow taking second place.

Vevo attributed Lil Nas X’s success to her “always creative outings and imaginative marketing efforts,” such as her sneaker launch in partnership with art collective MSCHF.

The modified Nike Air Max 97 sneakers Helped six-fold viewers to Lil Nas X’s music videos, Vevo says.

Meanwhile, Olivia Rodrigo has also increased her audience eightfold to 357 million views in the United States in 2021.



Elsewhere, Vevo says he saw Adele’s catalog evolve following the announcement of his new studio album, 30, with tenfold views, and his single Easy on me became the # 7 most engaged Vevo music video of 2021 in the United States.

Following the announcement of their first new album in 40 years, ABBA hits such as Dancing queen and Give me a chance saw a 170% increase in the United States in American views.

In November, Taylor Swift’s catalog was also multiplied by 5 when it was released. Too good (Taylor version), the first 10-minute song to reach No. 1 on the Billboard Hot 100.

“In 2021, consumption and fan engagement with the music videos continued to provide a great deal of information about the music video’s vital nature.”

Alan Price, VEVO

Alan Price, CEO of Vevo, said: “Vevo is the destination of music videos for artists of all genres and career stages.

“Our cards feature both established stars, such as Taylor Swift and Future, and more recent names that have made headlines this year, like Lil Nas X and Olivia Rodrigo.

“In 2021, consumption and fan engagement with music videos continued to provide a lot of information on the vital nature of music video to drive, shape and respond to cultural moments.

“And, artists such as The Weeknd, Doja Cat and Ariana Grande have collaborated with Vevo to advance develop their visual catalog and storytelling through original Vevo content series, such as LIFT and official live performances. Music trade around the world

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First in over a year to do so – Billboard

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that of Adele 30 is the first album released in over a year to sell a million copies in the United States

30 has sold just over a million traditional album sales in the United States, in all of its formats (CD, vinyl LP, cassette tape and digital album download), through December 6, according to initial reports from MRC Data. The album was released on November 19.

30 sold 692,000 copies in its first week in the US (week ending November 25), then sold 225,000 copies in its second week (ending December 2).

To explore

To explore


Adele

See the latest videos, graphics and news

See the latest videos, graphics and news

The last new album released to have sold a million copies in the United States (i.e. out of catalog [older] albums that may have reached the threshold) was Taylor Swift’s Folklore, which was released on July 24, 2020. It topped one million sales in the week ending October 22, 2020. Its total sales stand at 1.55 million through December 2. Folklore was the only album released in 2020 to sell a million copies in the United States

In recent years, it has been rare for an album to sell a million copies in the United States. The frequency of millions of albums sold declined as fans began to consume music through streaming services.

Only three albums released in 2019 have sold a million copies to date (Billie Eilish’s When we all fall asleep, where do we go?, Swift Lover and Harry Styles’ Fine line) and in 2018 only one album released sold for a million (Lady Gaga and Bradley Cooper’s soundtrack to A star is born).

Keep in mind that traditional album sales are different from equivalent album units. The latter is the metric used to rank the week’s most popular albums on the Billboard 200 chart. In 2021, through December 2, there are 19 albums that have earned over one million album units. equivalents in the United States, and nine of them were released in 2021. (Equivalent album units include album sales, track equivalent albums [TEA] and streaming of equivalent albums [SEA]. Each unit equals one traditional album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported official audio and video streams or 1,250 paid / subscription-on-demand generated songs from an album.)

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Get $ 10 off tickets to GIVE ‘EM HELL, HARRY at The Encore Musical Theater Company

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Give ‘Em Hell, Harry performs at The Encore Musical Theater Company in Dexter, MI, December 8-12 only.

The production is now running a special offer for $ 10 off tickets with the code PRESIDENT13 at checkout. For tickets and more information, visit https://theencoretheatre.org/2021-22-full-season/.

When Harry Truman was unexpectedly thrown into the presidency of the United States in 1945, he was ridiculed by both the press and the public as “the little man from Missouri.” Seven years later, when he stepped down, he was hailed around the world as one of the great leaders of the 20th century.

Now actor and former US Congressman Fred Grandy, well known for his years as Gopher on The Love Boat, takes a virtuoso ride as our 33rd President in a new Give Em Hell production, Harry.

The one-man show tells the inspiring story of the fiery mule-merchant’s son who emerged from obscurity to successfully guide our country through one of the most turbulent times in American history. Using Truman’s own words, Samuel Gallu’s play reminds us that Harry Truman’s gentle wit and outspoken wisdom is even more relevant and engaging today than when it premiered in 1975.

The production is directed by Broadway’s Hunter Foster.

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Red Mill! The musical is a spectacular feast for the senses

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Notice: Moulin Rouge! Musical comedy

A wise man once observed that the theater is the only art form that recognizes its audience, and that is why it will never die. As patrons eagerly crowd into Melbourne’s Regent Theater, Derek McLane’s blood-red set is already fluttering and several pairs of eyes gaze at us coldly.

The liquid limbs and lacy leather costumes set an unmistakably erotic tone. Two women swallow swords for our amusement. Between the impresario, Harold Zidler (Simon Burke).

Just as he salutes the aspiring composer Christian (Des Flanagan), the bohemians Toulouse-Lautrec (Tim Omaji) and Santiago (Ryan Gonzalez) and the Duke of Monroth (Andrew Cook), Zidler is enthusiastic in our direction:

Welcome, beautiful collection of reprobates and rascals, artists and upstarts, maids and sodomites !.

We take our seats inside the Moulin Rouge.

Those familiar with Baz Luhrmann’s hit musical (2001) are ready and practically foaming up for Lady Marmalade. Samantha Dodemaide, Olivia Vasquez, Ruva Ngwenya and Christopher J Scalzo do not disappoint. They tear up the number, teeth and everything, and we’re off!

A fiercely talented line-up

This long-awaited local incarnation of the ten times Tony award-winning The Broadway production follows the script of the film fairly closely.

Our penniless and poetic hero instantly fell in love with Moulin Rouge superstar Satine (Alinta Chidzey). She, mistaking him for the rich duke she must seduce, drops her guard long enough to be swept away by love at first sight. The club, home to wrecks, wanderers and lost souls, hangs in the balance of their doomed romance. Oh – and to add to the urgency of it all, Satine is dying of consumption.



Read more: Making films is human, for Baz Luhrmann, divine


There are a few notable starting points. The Orientalism that was so brutal in the film is thankfully diminished. There are counterpoint scenes against the backdrop of the Parisian elite. And the score has been dramatically overhauled.

A theatrical riff on one of the 2001 film’s most iconic moments.
World Creatures / Michelle Grace Hunder

More than 70 songs propel us through this tragic love story. Anthems and chart tops like Chandelier and Single Ladies (Put a Ring on It) give way to unexpected strains of Such Great Heights. Omaji delivers a haunting version of Nature Boy. Katy Perry’s hit Firework in 2010 is wonderfully reimagined to reveal the double imperative at play for Satine: her fatigue and rapidly declining health versus her desire to explode on stage with all the strength of her being.

As Satine, Chidzey does just that. It is a virtuoso performance, powerful and mercurial, vocally skillful, technically precise and extremely vulnerable. As soon as she arrives, all eyes slide towards her. While this effect is clearly supported by sumptuous staging, lighting, costumes and choreography, it’s the humanity she brings to the role that compels us.

In a range of fiercely talented artists, special mention is also due to Tim Omaji for his playful but deeply raw portrayal of the revolutionary artist, Toulouse-Lautrec; Andrew Cook for his reinvention of the Dastardly Duke as supremely assertive and menacing; Samantha Dodemaide for her rough, comical but wonderfully layered Nini; and Simon Burke for his heart-of-gold huckster, Zidler.

Production image: the cast
The local cast is spectacular.
World Creatures / Michelle Grace Hunder

The set stands out on its own. As impressive as they are diverse, they belies the tired (read: racist, gendered, etc.) assumption that inclusive casting somehow means ‘sacrificing standards’.

They are artists who can sing a tune, dance a tango, and literally fly through the air – sometimes simultaneously. This depth of representation on stage gives authenticity to the representation of the Moulin Rouge as a refuge for marginalized artists.

Darker dynamics

And now that we’re back at the club and our relative positions on the inside, I have to note that the audience experience remains extremely safe throughout.

Although we are sitting at the Moulin Rouge and being told that Satine got there thanks to child prostitution, we are never made comfortable or complicit in its commodification.

We hear about the fate of those who are rejected by ruthless patrons and ex-lovers: slit throats, acid disfigurement – we even see it stylized in Roxanne’s dance sequence. But the violent dynamics of this world are attributed purely and simply to the character of the Duke.

They are individualized in the text in exactly the same way that the social phenomenon of male violence against women is attributed to individual men. It’s not the system that’s bad, it’s just a few bad apples.

Production image: four pairs dance a tango
Patrons are not involved in the underlying operating currents of this world.
World Creatures / Michelle Grace Hunder

Yes, I know – this is a review of the book, not the production, which is meant to be a scorching game. But I believe in the public. We can manage the complexity a little, especially when it gives a resonance to a work.

Yet the show is an undeniable theatrical achievement – a spectacular and spectacular feast for the senses. Its main creatives should be extremely proud. My latest cry is for music directors, a category of creatives often overlooked in musical comedy reviews, oddly enough.

Well done to Luke Hunter and Vicky Jacobs, both local legends, for their argument over this extravagant and demanding score. Audience of Melbourne, don’t miss this sparkling diamond of a show.

Red Mill! The musical is at the Regent Theater until May 2022, after which it is moved to Sydney.

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Drake turns down 2022 Grammy nominations – Billboard

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Drake’s management asked the Recording Academy to remove him as the final ballot nominee for the 64th annual Grammy Awards, and the Academy honored the request. (Variety first reported the news.)

Drake has only been nominated for two awards this year: best rap album for Boy in love certified and best rap performance for “Way 2 Sexy” (with Future and Young Thug).

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Over the years, Drake has won four Grammys – far fewer than his peers like Jay-Z (23) or Kanye West (22). He’s only exceeded five nominations in a year twice: in 2016 (when he had eight nods) and in 2018 (when he had seven).

Drake has previously expressed his disappointment at never having won a Grammy outside of rap. His only victories are for To take Care as Best Rap Album (2012), “Hotline Bling” as Best Rap / Sung Performance and Best Rap Song (2016), and “God’s Plan” as Best Rap Song (2018).

Boy in love certified was skipped for a snap of the year album this year. Only one rap album, West’s DONDA, was nominated in this category. (The Grammys ranked Lil Nas X’s mix of genres Montero like pop.)

Views (2016) and Scorpio (2020), Drake’s two most recent studio albums before Boy in love certified, were nominated for album of the year. Drake only received three other nominations as lead artist in the Big Four categories. He was nominated for Best New Artist (2010) and Record and Song of the Year for “God’s Plan” (2018).

He was also nominated for Record of the Year as Featured Artist on Rihanna’s ‘Work’ (2016) and Album of the Year as Featured Artist on Beyoncé. Beyonce (2014), Kendrick Lamar good kid, MAAd city (2013) and Rihanna Strong (2011).

Drake was a vocal critic for the Grammys. Last year, after fellow superstar (and fellow Canadian) The Weeknd received no nominations, Drake blasted the Grammys on his Instagram story: “I think we should stop getting shocked every year by the lag. between punchy music and those awards and just accepting that what was once the highest form of recognition may no longer matter to the artist who exists now and those who will come after. It’s like a parent you expect to fix, but they just won’t change their ways. The other day I said @theweeknd was a lockdown for the album or song of the year with countless other reasonable assumptions and it never happens that way. Now is the perfect time for someone to start something new that we can build over time and pass on to future generations. “

Drake slammed the Grammys during an on-air acceptance speech at the 61st Annual Grammy Awards on February 10, 2019, when “God’s Plan” won the award for Best Rap Song. “We play a sport based on opinion, not a sport based on facts,” he said. “You’ve already won if you have people singing your songs verbatim, if they sing in your hometown. You are already winning, you don’t need it here.

Future had no other Grammy nominations this year. Young Thug has two album of the year nominations, as a featured artist on Doja Cat’s Planet Her (Deluxe) and the West DONDA.

The Recording Academy has already added Drake’s changes to their list of changes, which includes this note: “Each year the Recording Academy makes adjustments to the nominations list as necessary after the list is first published. Current changes are often the result of updated credits and may include spelling corrections, title changes, and the addition of candidates that were not included in the original submission, among other revisions. This year, for the first time, we are making these updates public to ensure transparency and accessibility to the most recent and accurate information.

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The 50 best albums of 2021, n ° 10: Mdou Moctar – Afrique Victime | Mdou Moctar

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In The universe, the riff and the rhythm of Mdou Moctar count but the solo is king. Its anchoring in the nomadic Tuareg style of assouf (desert blues) has made it a popular option on the Niger wedding circuit, but the guitarist breaks with convention by stubbornly following his fingers to a new place. A decade of refinement has led to Africa Victim, the most comprehensive document on Mdou’s abilities to date and one of the most electrifying releases of 2021.

Young Mahamadou Souleymane was not only self-taught, but self-assembled: he fashioned his first instrument from bicycle yarns and scrap wood and quietly maintained his passion for music in defiance of his family. His first recordings crossed the Sahel via Bluetooth and pricked up ears for their application of AutoTune and drum machines – common in the charts of neighboring Nigeria but unfamiliar in Tuareg lore.

In the early 2010s, the specialized music label Sahel Sounds began to distribute Mdou’s music around the world. Label founder Chris Kirkley then spent months trying to track down who they called Mokhtar (The Chosen One) to give the left-handed player a better-equipped guitar for his needs. In 2015, he wielded the instrument in a quasi-adaptation of the film by Prince Purple Rain (Akounak Tedalat Taha Tazoughai). Mdou, flanked by a full band, has honed his reputation with international tours in which his hypnotic guitar twang established itself as a lively and daring sound. It is this sort of intuitive fretwork that elevates Afrique Victime, while Mdou transforms stable two-chord songs into thick curls of down that engulf the stereo field.

Mdou Moctar: ​​Africa Victim (live in Niamey) – video

Two theoretically opposed rock impulses come together in Mdou’s music. On the one hand, the band’s adaptability has a clear connection to the no-frills enterprise of punk and hardcore. They lug their gear around cutthroat terrain and can trigger a gig just about anywhere with a generator. (And the formats whose fidelity is disputed do not prevent the message from getting across: to serve fans in regions covered by 2G networks, Matador also sold Afrique Victime in the form of a personalized Nokia 6120 phone.) On the other, Mdou’s fixation with the crest Jimi Hendrix and Eddie Van Halen’s lead roles and playfulness sense emboldened the Nigerian to flex his skillful fingering. Already a “feeling player” by nature, as bassist and in-house producer Mikey Coltun puts it, Mdou now embraces classic rock flair.

Afrique Victime streamlines the eye-catching attack on Mdou’s 2019 LP, Ilana: the Creator, into something more complete. Coltun’s sequencing provides pauses between breakwater breakers, giving the necessary silence to introspective ballads Bismillah Atagah and Tala Tannam while allowing the molten psychedelia of Taliat and Asdikte Akal to expand. True to the Saharan origins of music, there is ample space here. Sometimes Mdou’s voice barely exceeds a whisper before the group joins him in heavenly summons.

Singing in Tamasheq, Mdou expands his romantic and hitherto apolitical writing by imploring people to be proud of the beauty of the desert and to train their contempt for the French and American imperial forces who exploit the Tuaregs, the Nigeriens and the communities. from across the African continent.

Mdou’s evolved technique is brilliantly applied to the title song of Afrique Victime, the album’s truest shredder. Tumbling toms and screaming licks slice through the air like jets through a thunderstorm as the singer lashes out at those who commit crimes against his homeland. If Mdou is a cult new DIY hero, it’s his hymn equivalent to Hüsker Dü’s Reoccurring Dreams or Wipers’ Youth of America: moments when underground favorites unlocked new levels of musicality, galloping to the edge of the boisterous expression over double-digit durations with sparkling solos that never seemed to end.

This virtuosity makes Mdou Moctar a curious candidate for weddings (which he always plays when not on tour) but a dazzling presence in left-wing rock. Afrique Victime’s personal and provocative sound is an eruptive declaration of intention, guitar music both familiar and surprisingly fresh.

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