Christine Subratie, a native of New Mexico and a student at Belmont University is featured in Belmont University’s PBS National special “Christmas at Belmont,” which airs at 8pm on 20 December.(Courtesy from Christine Subratie)
Nashville, Tennessee, is away from the MorenoValley in NewMexico.
Despite the radical shift in her life, ChristineSubratie took the step and followed her music interest while at BelmontUniversity.
“It was a culture shock,” she says of her relocation to Nashville.“But I knew that it wasn’t part of the plan and needed to stick with it.My name is one of the 2 NewMexico students at the Belmont.
Subratie was recently featured during The Subratie was recently featured in the “Christmas at Belmont” concert, which was produced by Nashville Public Television.
It will air starting at 8:30 p.m. on Monday, December 20 , on New Mexico PBS, channel 5.1.
This concert took place in the 1 700-seat Fisher Center for the Performing Arts located on Belmont’s campus. Belmont campus.
“Christmas in Belmont 2021” has more than 700 Belmont University students singing their popular Christmas songs, traditional carols, and holiday tunes.
“NPT is thrilled to work together with Belmont University to present ‘Christmas at Belmont” to a wide viewers through PBS,” said Becky Magura the President and CEO of NPT.
Elderbrook, the artist and singer who brought us hits like ‘Cola’ and ‘Inner Light’, took to the stage at the Northern Nights Music Festival Cook’s Valley Campground in Piercy, California.
You can see from the photos we took that the weather at the 2022 festival was hot and humid, but that didn’t stop Elderbrook from showing his heart to a captivated audience.
We were fortunate to enlist the photographic talents of Johnny Edge, who captured the festival experience through Elderbrook’s eyes in our latest photo diary.
See a show through the eyes of a legend: Dubfire Photo Diary
So check out all the photos below along with unique quotes from the artist so you can feel like you’re (almost) at the festival yourself.
Photos of Elderbrook taken by Johnny Edge
Arrived at the Northern Nights Festival. IT WAS HOT. Pictured here with my large fruit bowl and assorted fries.
About Northern Nights Music Festival
Located behind the Redwood Curtain in the fertile crescent of the Emerald Triangle, the festival offers a new-age portal to the Great American West.
Scroll to continue
Established as one of the most unique boutique festivals in North America, Northern Nights brings together a dedicated community of music fans, cannabis enthusiasts and nature lovers on the scenic banks of the Eel River.
Check Out This Burning Man Must-Have: Mayan Art Car Photo Diary
Northern Nights attendees can find themselves floating in the river and listening to their favorite artists on the river stage while doing yoga by day, capturing the future of electronics live on the main stage at bedtime. sunshine, or exploring art installations and dancing the night away at the Bunker Stage.
It’s an experience personified by wild West Coast independence, curated with global sensibilities in mind.
Is Northern Nights Music Festival a weed festival?
Known as a pioneer in bringing music and cannabis together, Northern Nights was the first music festival to offer legal cannabis sales and consumption on-site.
Do you like weed? You will love this article then…
As a result, the festival has become a hotbed for forward-thinking cannabis culture and politics, acting as a forerunner for the live events industry and beyond.
Their Tree Lounge cannabis consumption area remains a foundation of the Northern Nights experience while offering a comprehensive showcase of the best brands in the cannabis industry as well as medicinal culinary experiences, cannabis yoga and other bespoke programs. to announce.
Club Deluxe, a beloved jazz bar in San Francisco’s Haight-Ashbury neighborhood, is closing, said supervisor Dean Preston, whose neighborhood includes the live music venue.
Preston told The Chronicle in a text message on Wednesday that he learned of the closure a day early and asked the owner how his office could help. Preston said his team is considering how Club Deluxe could stay open on Haight Street, including the company’s potential nomination to receive heritage status in San Francisco.
Welsh youngster Ethan Ampadu has just returned on loan from Italian side Venezia. Now the 21-year-old may see himself returning to Serie A but for another club.
Ampadu is another Blue youngster who has been loaned out to various clubs to prepare the player for first-team football in the Premier League. During his career, Ampadu has already played for Exeter, RB Leipzig, Sheffield United and more recently Venezia.
According to the Italian journalist Gianluca Di Marzio, an agreement between Spezia and Chelsea should be concluded quickly. Chelsea are ready to sell Ampadu who has two years left on his current contract at the club.
The Welsh defender has failed to impress at Chelsea first-team level, making just 12 appearances despite signing for the club in 2017.
Scroll to continue
The 21-year-old has learned to be a versatile player in recent years where he has played centre-back, central defensive midfielder and full-back.
Chelsea, on the other hand, have signed Carney Chukwuemeka from Aston Villa for a fee of £20m. The 18-year-old will be in London to complete his medical today with the deal already done to make the youngster a Chelsea player until 2028.
Well, no, despite what you hear in Robert Earl Keen’s best-known song, beloved by many, especially those who learned the songs during their college fraternity days.
Even modern music’s most laid-back road warriors eventually have to stop (with the exception, of course, of Bob Dylan). And so it’s time for singer-songwriter Robert Earl Keen to associate the name “I’m Comin’ Home” with what he says is the end of his touring days, and it’s drawn a crowd. of loyal fans Sunday night at Robinson Performance Hall to say goodbye, having landed numerous shows in Arkansas since he began his career as a Texas minstrel 41 years ago.
It was a show to remember, not just for the songs but also for the stories between the songs, the tasteful lighting and, oddly enough, its empowering Arkansas commentary, which came as a kind of lagniappe or icing on the cake. There were songs with Arkansas references and random comments such as “I’m sure I stopped every ride between Texarkana and West Memphis.”
Keen’s nearly two-hour set began with the playing of Johnny Cash’s “Ring of Fire” as the band entered the stage. Keen wore a shiny suit as he sat at the front of the stage, backed by bass, drums and the superb accompaniment of Brian Beken, a lead guitarist who also played fiddle. Noting that Arkansas has certainly produced many excellent musicians, he cited the late Levon Helm as an example, then recounted how he met Helm, came to write a song about him, and played a song about Helm, “The Man Behind the Drums”.
And the hits, as the saying goes, just kept coming. There was “I’m Coming Home”,https://www.nwaonline.com/news/2022/aug/02/the-road-brings-musician-robert-earl-keen-back-to/”Corpus Christi Bay,”https://www.nwaonline.com/news/2022/aug/02/the-road-brings-musician-robert-earl-keen-back-to/”Copenhagen,”https://www.nwaonline .com/news/2022/aug/02/the-road-brings-musician-robert-earl-keen-back-to/”Dreadful Selfish Crime”, https://www.nwaonline.com/news/2022/aug /02/the-road-brings-musician-robert-earl-keen-back-to/”Shades of Grey”, https://www.nwaonline.com/news/2022/aug/02/the-road-brings -musician-robert-earl-keen-back-to/”What I Really Mean” (with its tender line, “Wish you were here”) and, of course, “The Road Goes on Forever”, which bursts like lightning , electrifying the crowd.
There was a lengthy encore which of course included the hilarious holiday anthem, “Merry Christmas From the Family”, which resulted in a loud outburst of audience participation. And after leaving the stage and returning, Keen, 66, wrapped things up with the most perfect song in his entire catalog: “I Did It All for You.” There couldn’t have been a more perfect finale than this.
Opening act Brent Cobb had nearly an hour, a rarity for most openers, and certainly won over new fans with a raucous, well-paced set backed by drums, bass, guitar and energetic keyboard work from Hope/Nashville, Ark., area native Matt Rowland before heading to the other Nashville to get gigs like this.
Cobb, who turned 36 on Monday, will be the pride of his home country as he progresses.
Do The Pop is the new two-day rock n roll music festival taking over the Port Campbell Hotel in October.
The colorful and bustling seaside village of Port Campbell is set to become an electrifying hub for music lovers in October with a brand new music festival, Do The Pop.
Hosted entirely by members of Melbourne band Grindhouse, Do The Pop (an ode to the 1978 Radio Birdman single) will send the humble town of Great Ocean Road into a high-octane frenzy with a celebration designed to hit the heart of Australia. independent rock’n’roll, while also boasting an international flavor.
Melbourne band Grindhouse have announced the first Do The Pop festival
Over 40 superb rock ‘n’ roll bands will take to the stage at the Port Campbell Hotel in Port Campbell
The festival takes place over two days – October 29 and 30 – and tickets are on sale now.
Check out Melbourne’s most comprehensive gig guide here.
Originally announced for October 2021 and then April 2022 as “Grindhouse in Snake Valley”, the multi-day festival features over 40 killer bands, with 12 hours a day of non-stop rock ‘n’ roll on Saturday, October 29 and Sunday, October 30, 2022.
At the top of the list is STÖNER, the latest project from former members of Kyuss (the most influential desert rock band of all time), Queens of the Stone Age and other precursors of desert rock.
Consisting of Brant Bjork (guitar/vocals), Nick Oliveri (bass/vocals) and Ryan Gut (drums), these guys have become a formidable force in stoner rock. With two albums to their credit, featuring a collection of smooth jams to outrageous punk outbursts, Stöner are masters of their craft.
Joining Stöner, young Melbourne punk trio CLAMM are also leading the line-up following their UK and European tour in support of their forthcoming second album Care. Slated to arrive in August, Care follows the band’s 2020 debut Beseech Me and explores “the confusion of what it’s like to be a youngster trying to live an honorable life in this fucked up world”.
Five-room Melbourne garage stalwarts Civic are also taking on headlining duties for Do The Pop in October. Formed in 2017, having forged the idea of a blistering return to Australia’s massive punk heritage in a Japanese bowling alley, Civic have been one of the most impressive and successful garage bands to emerge from Melbourne over the of recent years. They hit the limelight with their debut EP New Vietnam, hailed for its old-school rock n roll punk aesthetic, then released their debut album Future Forecast, calling on the Proto Punk Rock sounds of The Saints and Radio Birdman. .
Speaking of Radio Birdman, The New Christs also join the lineup of the first Do The Pop festival. This band surely needs no introduction, consisting of three members of Sydney’s famed punk band, including Australian proto-punk godfather Rob Younger. They haven’t played for over three years so it will be a baptism of fire.
Brutal rock ‘n’ roll juggernaut Hoss led by Joel Silbersher (GOD), Scott Bailey on bass and Dean Muller on drums (COSMIC PSYCHOS), and heavy rockers WA Seawitch, led by Def FX legend Fiona Horne also join in the rowdy festivities.
Rounding out the monumental beast that is the Do The Pop lineup are festival organizers themselves Grindhouse, Bitter Sweet Kicks, Penny Ikinger and band, Full Tone Generator, Rockafella, Chimers, Blowers, Mario Lalli and the Rubber Snake Charmers , Juliette Seizure and the Tremor Dolls, The Wardens, The Monaros, Electric Purrs, Watty Thompson, The Fck Ups, The Stripp and Sacremento Sweaters, and more to be announced.
This selection of bands has been carefully curated by Grindhouse, a garage rock ‘n’ roll band that has made a name for itself with Australian production car influences and a high octane proto punk sound.
“[The festival features] a selection of bands that have influenced us; bands we love as friends, have played with and look up to,” the band said.
“Bands that added to the rich tapestry that we still constantly rely on as Australian musicians, punters and music lovers!!!
Along with the blazing music, the festival (18+ only) will also be offering craft beer and festival food to keep punters fueled for this epic new festival dedicated to celebrating Australian indie rock ‘n’ roll. (and international) decades, plus a few other surprises yet to be announced.
With the new festival site there will unfortunately be no on-site camping, but there are a ton of accommodation options in the town, including a BIG4 caravan park 100m from the pub.
Do The Pop takes over the Port Campbell Hotel in Port Campbell on Saturday 29th and Sunday 30th October 2022. Tickets are on sale now via the site here.
The music, in its range of styles, its quality, and the age of the artists performing it, also projected Wein’s spirit. The sets of the two legends suffered somewhat from logistical glitches. Ron Carter’s set opening the Fort Stage was half an hour late to start and then cut short. Likewise, band Jazz Is Dead, featuring saxophonist great Gary Bartz, were still testing the sound on the Quad Stage 20 minutes into their set. Anyone hoping to catch some before heading to Fort Stage for Jason Moran and the Bandwagon faced a tough decision on when to give up and move on.
Get the Big Task
Your guide to staying entertained, from live shows and outdoor entertainment to what’s new in museums, movies, TV, books, restaurants and more.
The Moran set was worth seeing in its entirety – arguably the highlight of the day for hardcore jazz heads. His trio with bassist Tarus Mateen and drummer Nasheet Waits, now entering its third decade as a unit, ripped through a medley of his own music (“Gangsterism on Stages” and “For Love”) and Geri covers. Allen (“Feed the Fire”), Wes Montgomery (“Four on Six”), Fats Waller (“The Sheik of Araby”), and Thelonious Monk (“Thelonious”). “For us, it’s a family,” he told the audience during a break. Later came several plays by James Reese Europe, which Moran described as “the big bang of everything that happens here”.
Moran’s set ended with him leading the audience in a brief accompaniment. Audience participation is commonplace at the Fort Stage, where most bands are chosen to appeal to a large audience. The best of those Sundays was the fiery New Orleans horn ensemble, the Soul Rebels, who carried the cheering crowds to the stage through song and dance missions. Angelique Kidjo was jaw-dropping, but her set didn’t need to get the Fort Stage audience dancing – they were already doing that.
More intellectual things were happening around the corner from the relatively intimate Harbor Stage, among them the Emmet Cohen Trio, saxophonist Melissa Aldana and the Vijay Iyer Trio, which featured Linda May Han Oh on bass and had Jeremy Dutton replacing Tyshawn . Sorey on drums.
British tenor saxophonist Nubya Garcia played a stellar set, her Newport debut, at the medium-sized Quad Stage, mixing tunes from her “Source” album with new material and dancing every time a band member played solo . A new coin had yet to be named, but judging by the audience reaction, it will be a keeper.
The tribute to Wein on the Fort’s main stage began with an intergenerational all-star jam featuring Faddis and Randy Brecker on trumpet, Lew Tabackin on tenor sax, Anat Cohen on clarinet, Christian Sands on piano, the artistic director of the festival Christian McBride on bass and Lewis Nash on drums. Jay Leonhart replaced McBride on bass for surprise guest Cecile McLorin Salvant’s vocal contribution. She was followed by piano virtuoso Hiromi, who took to the stage holding up a sign saying “Thank you George”, then performed unaccompanied, periodically smiling at the audience as she blazed through surprisingly difficult bursts of notes.
Faddis, Leonhart and Nash joined Hiromi for a touching “Over the Rainbow”. Next came Trombone Shorty, who blew trumpet and sang on “On the Sunny Side of the Street,” then switched to his namesake instrument for “St. James Infirmary. The party of standards Wein adored performed by artists he had loved and defended continued with Cohen’s return for “Jitterbug Waltz.” For the sizable crowd that lingered through it all, Wein’s memory was indeed a blessing.
CELEBRATED Indigenous musician Archie Roach has died in hospital aged 66 after a long battle with illness.
The death of the Gunditjmara-Bundjalung eldest was confirmed in a statement from his sons Amos and Eban Roach, distributed on Saturday by the late singer’s management agency, the Mushroom Group.
“We are so proud of all that our father has accomplished in his remarkable life,” the couple said.
“He was a healer and a unifying force. His music brought people together”
They said their father would want his many fans to know how much he loved them for their support throughout his career.
Mr Roach died at Warrnambool Base Hospital after a long illness, surrounded by his family and loved ones.
“We thank all the staff who have looked after Archie over the past month,” his sons said.
Prime Minister Anthony Albanese said Australia had “lost a brilliant talent, a powerful and prolific national truth-teller”.
“Archie’s music tapped into a well of trauma and pain, but flowed with a beauty and resonance that moved us all,” Mr. Albanese said in a social media post.
“We mourn his death, we honor his life, and we remain hopeful that his words, music, and indomitable spirit will live on to guide and inspire us.”
A private ceremony will follow Mr. Roach’s death and his family has asked for confidentiality, but they have allowed his name, image and music to continue to be used so that his legacy inspires others.
Minister for Indigenous Australians Linda Burney said Mr Roach’s contribution to the country at a time when society was “waking up with the Stolen Generations” was remarkable.
“He was a storyteller. He was a truth-teller. He had the most amazing voice and he explored tough issues,” she told ABC TV.
Mr. Roach was inducted into the ARIA Hall of Fame in 2020.
He rose to prominence with the release of his debut single Took the Children Away in 1990.
The song reflected his experience as a member of the Stolen Generation and earned him ARIA nominations for Breakthrough Artist and a Best New Talent award at the 1991 awards.
It was added to the National Film and Sound Archives in 2013. – AAP
Archie Roach was a familiar face in the North East music scene.
He was a regular and strong supporter of the annual Folk Rhythm & Life festival in Eldorado and performed regularly at venues in the area, inspiring many of our local artists. – EDITOR
Two tourist attractions in Songjiang District are holding a variety of activities including a music festival and a float parade to ignite the city’s summer tourist market.
About 100 tuanzhangor Group Buying Coordinators, who attended to the needs of neighbors during the Shanghai lockdown, had a fun tug-of-war at Playa Maya Water Park on Sunday.
As night falls, the park will turn into a big stage with live music and dancing.
“I don’t want to travel far due to the resurgence of COVID-19, and the cool water world is a good relief in the summer,” said Li Yan, a Shanghai resident who visited the park with her husband. and his son.
In Shanghai Happy Valley, an electric music festival is underway until mid-September, featuring light shows, float parades, dancing, and performances by DJs and bands.
Visitor numbers are kept below 75% of their maximum daily capacity and compulsory reservation is required.
Playa Maya Water Park’s water treatment system circulates disinfection and purification every four to six hours to ensure a safe environment, the park operator said.
Models pose in Shanghai Happy Valley.
Night tours are growing in popularity in the summer, contributing to a booming nightlife economy, Shanghai-based online tour operator Trip.com revealed in a recent report.
Between the end of June and the beginning of July, reservations for night tourist attractions increased more than 10 times compared to the same period earlier, according to the online travel site.
People going on night tours are getting younger and those born after the 1990s and 2000s are on the rise.
Light shows, food festivals, music festivals, and cruises are popular nighttime activities.
Ever since the Utah Jazz fell to the Dallas Mavericks in the first round of the 2022 NBA Playoffs, it seemed inevitable there would be a lot of change in Salt Lake City this offseason. The team would then trade Rudy Gobert to the Minnesota Timberwolves for a handful of players and a royal ransom of draft picks, and since that time there have been rumors about all of Utah’s top players, including the pick in the first round of 2018 and All-Star Scorer, Donovan Mitchell.
Since then, rumors have swirled with the New York Knicks seen as a heavy favorite to land the hometown kid, and while jazz fans hate the idea, the comeback is going to be great for the future of this. organization. Bleacher Report tried his hand at a fake trade that would send Mitchell home, and while it might not be the loot Danny Ainge wants, it’s a good enough one for both parties.
It looks like Danny Ainge intends to take at least six first-round picks from the Knicks, as well as their two highest-rated young players in Immanuel Quickley and Obi Toppin, but ultimately it could be the trade that gets it’s made for the Knicks.
On top of that, Bleacher Report also looked at a side trade, which would allow two more jazz veterans to thrive, while allowing Utah to add more first-round picks (which would give them a historic streak of one-time pick-season), as well as losing more and more salary, which will help them as they look to build this new team from the ground up.
G, Russell Westbrook
2029 First-Round Pick
Two second-round draft picks
The Lakers get
G, Mike Conley
F, Bojan Bogdanovic
While neither trade looks like a clean win for the Jazz, this one feels a bit more unfair, as the Lakers get two veteran starters who can help this team right away, so like other fictional Lakers trades over the last few weeks, they would likely have to add a young player into the mix, or add another first-round draft pick. Either way, it would add to Utah’s pick count, and it would also give them leeway to be as flexible as possible going forward as they look to build a winner and win their first NBA championship in franchise history.
So what do you think of these jobs? Could the Jazz get more from the Knicks and Lakers? Are there any other jazz players you would like to see traded? Should the Jazz keep Donovan Mitchell and retool around him? As always, let us know all your thoughts in the comments!
Twitter Blue is experiencing a price hike for new and existing subscribers.
The monthly subscription rate has increased from $2.99 to $4.99.
Early adopters will start paying the new monthly fee in October.
According to the company, Twitter Blue is seeing a price hike to continue developing new features and improving existing ones, marking the first time the subscription rate has been increased since its launch in June last year.
In an email sent to subscribers, Twitter said it has raised the price of the subscription service for new users starting July 27 or July 28, depending on their time zone (via Max Weinbach (opens in a new tab)). It now costs $4.99, a 67% increase from $2.99.
The new monthly rate is effective immediately for new members. Twitter, on the other hand, won’t charge the new fees to early adopters until October. This means that they will continue to pay the same monthly introductory fee until then. Twitter will notify them 30 days before the new pricing goes into effect for their account, but they can cancel their subscription at any time.
Beyond the United States, the price of Twitter Blue has also been increased in countries where it is already available, including Australia, Canada and New Zealand. Services help page (opens in a new tab) provides more information on the increase by country. The rate was raised to $6.99 AUD in Australia, $6.49 CAD in Canada and $6.99 NZD in New Zealand.
Twitter did not explain in its help page why it is raising the price. But in its email to Blue subscribers, the company says the price hike will be used to create new, high-request features, improve existing capabilities, and continue to support journalism. Since its launch, Twitter Blue has rolled out a few handy features, including the ability to undo a tweet to make quick edits and customize the navigation bar, among others.
However, some subscribers still struggle to understand the price hike, doubting that it’s even a worthwhile investment for a limited set of premium features.
With the higher price tag, Twitter should finally give us what we’ve been asking for: the ability to edit tweets. That might be enough to justify it.
Christian Buttshaw is ready for his big moment. He just needs the stage.
Buttshaw, who graduated from Austin High School in 2012, is taking his music career to a new level this year and he hopes to make a splash by entering The Opening Act competition.
If he wins, Buttshaw will open for a major recording artist at the Hollywood Bowl in front of thousands of fans. Last year, Coldplay was the lead artist in the contest, which is vote-based.
With a clear outlook on life, Christian Buttshaw enjoys Austin’s support to make his music. Eric Johnson/[email protected]
“I have great fans and great people here supporting me,” Buttshaw said. “I love music more than anything. There’s no better feeling than getting on stage and motivating people. Everyone here matters and I’m proud of every single person. Be you.
Buttshaw discovered the competition on an Instagram announcement and he is currently in the top five of his group with a good chance of advancing to the next round.
Buttshaw recently released his debut album “Dad Shoes and Tattoos” on YouTube which features 11 songs. One song is called “What Makes Me” which highlights his upbringing and life in Austin. The song mentions his struggles with drugs, where he nearly died from a methamphetamine overdose, his time in the military, and his acceptance of fatherhood.
“That’s part of what made me, me,” Buttshaw said. “It humbled me. I’m more grateful for my life now. I just feel like a new man.
Buttshaw recently played a show at the Paramount Theater and hosted an album release party in Austin. He has learned a lot about the process of creating music and performing over the past year.
“This year, I am fully into the music. It’s something I love and I feel like I’m going to turn over a new leaf this year,” Buttshaw said. “It’s like having a second job. I work as a union glazier during the week and work on my music during my lunch breaks and on my way home from work.
Buttshaw’s music spans various genres and he has kept the curse of his recent songs.
“You have to set a good example for the kids with your music,” Buttshaw said.
Follow Buttshaw and his music on Facebook or YouTube.
To vote for Christian and help him move forward, visit this link.
Santa Fe Chamber Music Festival, St. Francis Auditorium
The Santa Fe Chamber Music Festival opened its 2022 season with two well-crafted and strongly executed programs. I found the second more satisfying overall than the first, due to a surprisingly intense reaction to one of the first program’s standard works.
by Kaija Saariaho Semafor for eight instruments, a co-commission with Carnegie Hall, opened the July 18 concert. The unusual spelling of semaphore comes from the composer’s admiration for a series of works by Finnish visual artist Ernst Mether-Borgström of the same name, which he considered “traffic signs in our urban jungle”, according to Saariaho’s program notes.
The 13-minute piece alternates between relatively calm passages and much more vigorous passages based on glissandi passages. The composer describes the vigorous passages as “joyful”, even if they sounded more like juxtapositions of non-tonal urban sounds, a kind of “An American in Paris” of the 21st century.
The meaning of the road signs was clear; the piece evoked the feeling of strolling uptown New York through the Theater District or Midtown, with the alternation of frequent street crossings and (relatively) quieter mid-block sections. James Gaffigan, in Santa Fe to direct Tristan and Isolda at the Santa Fe Opera, conducted a string quartet, flute, clarinet, bassoon, and piano in what sounded like an authoritatively performed rendition of the score.
The most satisfying piece overall was Mozart’s Piano Quartet in E flat major. Mozart didn’t quite invent the genre, but he was the first to perfect it, giving equal weight to all four instruments in his G minor quartet of 1785 and this one a year later.
Its performance here captured the fresh, almost improvisational quality it would have had in what was almost certainly its first performance, in a guest room where Mozart was staying in Vienna, furnished with an “excellent fortepiano” and played by the composer and three friends.
The piece has a kind of relaxed grandeur, and the players here – Paul Huang, violin, Che-Yen Chen, viola, Peter Stumpf, cello, and Nicolas Namoradze, piano – have adapted it perfectly to St. Francis Auditorium, with really calm pianissimos, well-mastered dynamic contrasts, and a real sense of intimate exchange.
The delicate touch and rhythmic variety of Namoradze’s solos were particularly noteworthy. The final allegretto had a genuinely playful quality, with fast piano tracks played “like oil”, as Mozart had always hoped, and a charming little exchange “Anything you can do, I can do better ” between the violin and the piano towards the end.
In 1874, César Franck heard the Prelude to Tristan and Isolde and the experience greatly influenced much of his later music, including the Piano Quintet in F minor, written in 1879. It is a large, dramatic, even ostentatious piece, full of thick Wagnerian chromatic harmonies and extremes of volume, presented in sonata form, except in the first two movements. Franck also deploys a sort of cyclical unification, with the themes of the first movement returning in different forms in the second and third.
I started by admiring Franck’s craft but I quickly got tired of his repeated efforts after small and big effects, especially big ones. (You know you’re in trouble when a movement is marked “Slowly, with a lot of feeling.”) Despite the cyclical unity of the work, there were also themes that seemed to arise from a very different piece, then fade away, and it’s often so pompous that I ended up noting, “It’s a symphony-sized sausage stuffed into a chamber music case.”
It is not a hit at the festival for the programming of the Franck quintet — it is an important piece of chamber music from the romantic era — nor for the performers — the pianist Zoltán Fejérvári and the Escher String Quartet — who played with tireless energy and total commitment. The quintet has many fans, including a large part of the audience at Monday night’s performance. I’m just not among them.
The July 20 program included Gabriel Fauré’s Sonata in A major for violin and piano and Dmitri Shostakovich’s Piano Trio in E minor, as well as the Requiem: Songs for Sue.
The requiem dates from 2006 and commemorates Knussen’s wife, Sue Freedman. Although they separated at the time of his death in 2003, they remained close and the piece is a heartfelt, loving, and unsentimental keepsake.
Its creation intrigued the composer. “I have no idea where the notes for this piece came from,” Knussen said. The Guardian in 2006. “I have no raison d’être for them, I just wrote it from memory. It was very strange. Bizarre at least for a composer famous for missing deadlines while compulsively revising works in progress.
Knussen initially thought he should never be publicly executed (“It’s very personal”), fearing it might seem indulgent. His concern for his personal nature actually reflects one of his strengths. There’s an emotional directness here that isn’t evident in much of his often scintillating and painstakingly crafted work.
Sue’s four songs are settings of poems by Antonio Machado (“Los Ojos”/The Eyes) and WH Auden (“If I Could Tell You”), as well as a quatrain from “Requiem for a Friend”. by Rainer Maria Rilke. The text of the first song was more controversial in some quarters. Remembering that Emily Dickinson had written many poems to her sister Sue, Knussen read her entire poetic output of over 1,700 in a week, copying sections of 35 and creating her own text from them. ‘they. The Dickinson purists weren’t amused.
Soprano Tony Arnold does not have a beautiful conventional voice, but she sings with great expressiveness and admirable diction; most of the text was easily understandable without reference to the printed document. John Storgårds skilfully conducted a 15-player chamber orchestra in which low instruments predominate, reflecting Knussen’s desire for the sonic palette to be predominantly autumnal.
Requiem: Songs for Sue It’s not long – around 13 minutes of performance – but it has a powerful cumulative quality in its short duration and feels like repeated listens would be rewarded.
Shostakovich’s Piano Trio performance was a great reminder of why digital music can never quite match live performance. I found it emotionally involving when listening to recordings, but it was devastating to hear it in person, at least as performed here by Storgårds – who swapped his conductor’s baton for the violin – with Stumpf and Namoradze.
Shostakovich wrote the play in 1944, partly in memory of his best friend, Ivan Sollertinsky, who died at an early age, and partly in response to newly discovered atrocities committed by the Nazis against Jews and Roma in Eastern Europe. East. death camps like Treblinka.
Piano trios often begin with a rapid movement, but that is not the case here; the opening is not only slow but enervating, with a cello solo in very high and harmonic notes. Eventually the violin joins in, playing lower notes below, and finally the piano. The short second movement, marked Allegro con brio (Fasting with vigor), is at times demonic and at times fiery.
The slow third movement begins with a series of deep grand piano chords which are then repeated as the violin and cello play haunting melodies above. This leads directly into the smashing finale, a quirky dance of death that features a distinctly Jewish melody from the piano – almost certainly a reference to reports that the Nazis made Jews dance next to their graves before executing them.
The tension builds throughout the movement, which ends with a return of cello harmonics and grand piano chord themes, followed by a decrease into nothingness with a few slightly plucked chords. No praise for the performers could be higher than the long silence that followed the final notes, though they no doubt also enjoyed the resounding applause that finally broke out.
Fauré’s sonata for violin and piano opened the program. It is a relatively old and very charming work, with a lot of melodic and harmonic variety. It’s also surprisingly passionate and dramatic, especially for a composer to whom the term “soft” is so often attached as a descriptor. Violinist Huang and pianist Fejérvári gave the sonata a persuasive reading, with Huang’s heart on the sleeve playing particularly effectively in conveying its emotional component.
PANAMA CITY, Fla. (WJHG/WECP) — If you’ve lived in begging for any length of time, chances are you’ve heard Suzanne Stewart perform.
“A lot of theater shows, a lot of concerts, I had bands, I played Newby’s and I used to play Ruthie T’s,” Stewart said.
You can now catch it at the Shrimp Boat in St. Andrews or on Facebook Live. Although she loves all styles of music, she has a soft spot for one genre in particular.
“My favorite is jazz,” Stewart said. “I listened to everyone. Ella Fitzgerald, Sarah Vaughan, Anita O’Day, Peggy Lee, all the greats.
His love for music continued in the military.
“I was in the Army Band,” Stewart said. “I sang for jazz bands and army rock bands. I played flute and piccolo in the big army band.
She shared her talents with the likes of President George HW Bush, Colin Powell, George Schultz, and even Clint Eastwood.
“After playing for Clint Eastwood, we went over there and said we wanted to meet him,” Stewart said. “We go up to him and he says, ‘Were you in that group up there?’ We said yes. He says. ‘you made my day.’ We almost fell.
For the past few years, Stewart has been toying with an idea that might appeal to the ears of jazz lovers.
“There is no jazz museum in Florida,” Stewart said.
But not just any jazz museum. A place where local jazz musicians can come and sing their own horn so to speak.
“We have a surprising number of notable jazz aficionados and players in the state of Florida,” Stewart said. “One being Ray Charles. He grew up in Greenville, Florida and attended St. Augustine School for the Blind. Arturo Sandoval in South Florida to Miami, Latin jazz player and trumpeter. Friend DeFranco. He lived in Panama City. He and his wife lived here. He lived here until his death. “
Defranco even managed the famous Glen Miller band for almost a decade. But he’s not the only one to call Bay County home.
“We had Danny Knowles. He went to Bay High, he was born here,” Stewart said. “He had a very famous club in Key West called Captain Horn Blowers and he opened one here for a while on Grace Avenue and brought in some fabulous jazz players.”
Our area still has fabulous jazz musicians making great music all over the city. “You have Chris Godber, Luke Penegar, Jason Bennett, you have Joe Fucci,” Stewart said. “And much more.”
At the moment, the Jazz Museum is in the planning phase.
“We rent Roberts Hall on the third Wednesday of the month and we’ll do something like fundraisers there,” Stewart said. They said we could put about 5 exhibits on the floor where the stage is.
The first event Stewart plans for Robert’s Hall, which is in Lynn Haven, is a meet and greet on the third Wednesday in September.
Stewart said that right now what she needs most are artifacts. “The artifacts I have so far are record covers,” Stewart said. “This one has Steve Gilmore, a double bass player who played with Phil Woods, who was an extremely outstanding jazz saxophonist. Gilmore still lives here. He’s kind of in charge of the jazz society.
In the future, the hope is to unveil the museum in the arts district of downtown Panama.
“I think it would be a huge draw…a bigger draw than people realize,” Stewart said.
If you have any jazz memories or are interested in helping with this project, you can call Suzanne Stewart at 850-771-8795.
The harmful effects of daily and permanent exposure to blue light from phones, computers and household appliances worsen as a person ages, according to a new study from Oregon State University.
The study, published today inNature Partner Journals Aginginvolved Drosophila melanogaster, the common fruit fly, an important model organism because of the cellular and developmental mechanisms it shares with other animals and humans.
Jaga Giebultowicz, a researcher at the OSU College of Science who studies biological clocks, led a collaboration that examined the survival rate of flies kept in the dark and then gradually moved to an environment of constant blue light from light-emitting diodes, or LEDs.
Transitions from dark to light occurred at two, 20, 40 and 60 days of age, and the study looked at the effect of blue light on fly cell mitochondria.
Mitochondria act as the powerhouse of a cell, generating adenosine triphosphate, or ATP, a source of chemical energy.
As soon as possibleto researchGiebultowicz showed that prolonged exposure to blue light affected the longevity of flies whether or not it shined in their eyes.
“The novel aspect of this new study shows that chronic exposure to blue light can impair energy-producing pathways even in cells that are not specialized in light sensing,” Giebultowicz said. “We determined that specific responses in mitochondria were significantly reduced by blue light, while other responses were decreased with age, independent of blue light. You can think of this as blue light exposure adding an insult to injuries in aging flies.
Yujuan Song, Jun Yang, and David Hendrix of the OSU College of Science, Matthew Robinson of the College of Public Health and Human Sciences, and Alexander Law and Doris Kretzschmar collaborated with Giebultowicz on the work, partially funded by the National Institutes of Health. from Oregon Health and Science University.
Scientists note that natural light is crucial to a person’s circadian rhythm – the 24-hour cycle of physiological processes such as brainwave activity, hormone production and cell regeneration that are important factors in eating and sleeping habits.
But there is evidence to suggest that increased exposure to artificial light is a risk factor for sleep and circadian rhythm disorders, Giebultowicz said. And with the widespread use of LED lighting and device screens, humans are subjected to increasing amounts of light in the blue spectrum because commonly used LEDs emit a high fraction of blue light.
“This technology, LED lighting, even in most developed countries, has not been used long enough to know its effects throughout human life,” she said. “There are growing concerns that prolonged exposure to artificial light, particularly blue-enriched LED light, may be detrimental to human health. Although the full effects of blue light exposure throughout are not yet known in humans, the accelerated aging observed in a short-lived model organism should alert us to the potential for cellular damage caused by this stressor.
In the meantime, there are some things people can do to help themselves that don’t involve sitting for hours in the dark, researchers say. Glasses with amber lenses will filter blue light and protect your retinas. And phones, laptops and other devices can be configured to block blue emissions.
“Our previous work has demonstrated that daily exposure to blue light, but not to other visible wavelengths, has adverse effects on the brain, motor skills and lifespan of the model organism” , said Giebultowicz. “Now we report that the harmful effects of blue light on flies are highly age-dependent – the same duration of exposure to the same intensity of light decreases lifespan and increases neurodegeneration most significantly in older flies. than among young people.
In previous research, flies subjected to daily cycles of 12 hours in light and 12 hours in darkness had shorter lives than flies kept in total darkness or those kept in light with the lengths d filtered blue waves.
Flies exposed to blue light showed damage to their retinal cells and brain neurons and had impaired locomotion – the flies’ ability to scale the walls of their enclosures, a common behavior, was diminished.
Some of the flies in the experiment were mutants that didn’t develop eyes, and even these eyeless flies were deficient, suggesting that the flies didn’t need to see light to be harmed.
Verde Valley News – Local musician Christy Fisher will walk the red carpet on August 6, 2022 at the Sandy Springs Convention Center in Atlanta, Georgia for the International Singer-Songwriters Association (ISSA) awards ceremony. Fisher is a finalist for two awards to be presented at the ceremony: Female Album of the Year for her 2021 release Mixed Signals and Female Single of the Year for “I Don’t Want To Love You (But I Do).”
Fisher has lived in Jerome since 1990. She began her musical journey as a teenager with piano lessons. “I wasn’t as interested in playing Beethoven as I was in playing Lennon/McCartney,” she said. “I taught myself the guitar and started writing my own music. I had a little reel to reel player and stayed in my room for hours.
Along with singing and making music, Fisher began creating her own clothes using bedspreads and curtains she purchased from thrift stores. “It was in the 1960s,” she says. “There were no cool clothing stores in my area.” She was living in central Florida at the time, in a place that was a hub for bands touring the big cities. “We had artists like Mitch Ryder, Sam the Sham and the Pharaohs coming through town,” Fisher said. “The guys in the bands were asking me where I got my clothes.”
By the age of 18, Fisher was designing clothes for artists like Frank Zappa, Eric Clapton, Jimi Hendrix and Warren Zevon, to name a few. On occasion, she was asked to sing backup vocals for other artists and eventually landed her own recording contract. But Fisher refused to be “wrapped” by the industry, and the record deal fell through.
“The record company wanted to replace me,” Fisher said. “They changed the spelling of my name and added a nickname they thought was more appealing, wanting to call me ‘Krysti Starr’. They tried to change my style and ‘give sex’ to me. I hated the name and refused to wear the dress they wanted me to wear for an appearance on the Merv Griffin Show.The record company tore up the contract.
Fisher continued to run a successful clothing and jewelry business for the next few decades, opening his own stores, including The Fool On The Hill in Jerome and three outlets in Old Town Cottonwood. She used to play music at home, but that took a step back from her other business.
A few years ago Fisher was invited to join the Jerome Ukulele Orchestra and rediscovered her spark for music. She began performing with local legend John Zeigler in his band Mountain Stranded Time and eventually formed her own band, Cattywampus, playing major venues in the Verde Valley. But when Covid hit in 2020, that all came to a screeching halt.
Having rediscovered her love for music, Fisher decided to keep her momentum going during lockdown. She built a recording studio in her home and started doing live broadcasts on the internet. The end result was the release of his new album, Mixed Signals.
“The album was fun to create,” Fisher said. “I was able to work with very talented people.” Fisher laid down basic tracks in his home studio, then brought in sound engineer and musician Mark Gifford from Sedona as co-producer and co-engineer. “We worked from two separate studios,” Fisher said, “bringing players in for live sessions and working remotely with amazing people from other cities.”
Mixed Signals is a collection of original Fisher songs that puts his songwriting skills front and center. His unforgettable hooks and distinctive melodies rooted in rock and American traditions led to the success of several tracks, including the Song of the Year nominee, “I Don’t Want To Love You (But I Do)”.
“This album definitely opened doors,” Fisher said. “It’s such an honor to have reached the top 15 in a world competition. And, if I’m lucky, maybe I’ll come back to Jerome with a small statue in my backpack.
The ceremony can be viewed on the ISSA channel on Roku TV starting at 9 a.m. on August 6. Fisher’s performance schedule is available at christyfishermusic.com. Mixed Signals is available to stream on all major platforms including Spotify, Pandora, YouTube and iTunes.
Utah Jazz can’t shake Russell Westbrook rumors this offseason. By Athleticismby Shams Charaniathe flamboyant Los Angeles Lakers point guard has attracted interest from the New York Knicks, Indiana Pacers and Jazz.
If Utah ends up dealing All-Star guard Donovon Mitchell this summer, then a trade to the Lakers makes too much sense.
LeBron James’ window to win championships is closing, and Westbrook’s contract prevents the Lakers from being competitive in 2022-23. Bojan Bogdanovic and Jordan Clarkson would be players the Lakers would most certainly target in a trade.
The Lakers need ground spreaders, which is exactly what Bogdanovic and Clarkson bring to the table.
The Lakers are handcuffed on what they can deliver in the near future because of what’s due to the New Orleans Pelicans, but in 2025 opportunities could open up for a franchise that has time to be. patient.
Targeting the unprotected draft picks of teams that should enter the lottery would be Jazz executive Danny Ainge’s game plan. The Lakers would be a prime candidate during a post-James era when you factor in that Anthony Davis could opt out of his contract in 2024-25.
If Westbrook were to be dealt to Utah, expect a buyout or the former MVP to be waived. Not all first-round picks are equal, and Lakers management isn’t pretty.
The Jazz would be well advised to take full advantage of it.
The latest details of the breakdown of talks between Sevilla and Chelsea over Jules Kounde have been revealed.
The 23-year-old looked set to move to Stamford Bridge this summer after months of transfer rumours.
However, it now looks like the France international will join FC Barcelona rather than Thomas Tuchel’s side.
Kounde is staying with Sevilla for their pre-season tour of Portugal but it looks like he is closing in on a move to Barcelona.
“There is no update, no update,” the head coach said of Koundé after their 4-0 loss to Arsenal.
Recent reports have now revealed why a deal with Chelsea hasn’t been reached over Kounde’s transfer saga.
According to Jose Manuel Garcia, Chelsea offered a first 55 million euros for Koundé who was rejected by Sevilla.
The Spaniards informed Chelsea they wanted an additional €10m in order to complete a deal and the Blues accepted it, reaching a verbal agreement with the La Liga outfit.
However, after agreeing to send a written counter-offer, it never arrived in Sevilla.
This was later confirmed by Matteo Moretto, who said the deal stalled on Friday as the final documents were exchanged.
It’s still unclear why Chelsea haven’t sent the paperwork to Sevilla in order to complete a deal, but with Barcelona appearing to be Kounde’s preference, the Blues may have learned from their past mistakes.
Earlier in the transfer window, Chelsea saw an accepted £55m bid for Raphinha from Leeds United.
However, the Brazilian waited two weeks before accepting an offer from Barcelona, leaving Chelsea in the dark.
Anxious to avoid a repeat of lost time, the Blues may have decided to end their pursuit of Koundé early and focus on other targets.
Besides, reports in England said that Tuchel still had concerns about Kounde regarding his size and his ability to handle the physicality of the English leagues.
It remains to be seen who Chelsea will pursue in place of the France international as Tuchel looks to add to his squad ahead of the start of the Premier League season next month.
Joanne Gallagher (second from left) with Ciara O’Donnell, Shane Ruane and Finéinn Quinn, after winning the Ballina Salmon Festival busking contest.
By Thomas Lawrence
Dozens of buskers took to the streets of Ballina last week to compete on stage and kick off the Salmon Festival’s ‘Pearse Street Party’. After a week of selection by the judges, three finalists out of 30 buskers were chosen to compete for a cash prize of €500.
Joanne Gallagher, 15, was chosen as the winner. The talented musician from Killala has already been scouted by The Voice UK and it was her bold song choice that won her victory, according to one of the judges, as she performed a powerful rendition of ‘I Will Survive’ by Gloria Gaynor.
Joanne’s performance, along with that of Aisling Mullarkey, of Enniscrone, and Winos in Suits, of Dublin, showed that she has a professionalism well beyond her years. Judge Finéinn Quinn, a former winner of the competition, was impressed by her confidence.
“When you’re up there as a new artist, it’s nerve-wracking. Your nerves are on edge, but it’s something that helps you grow. I see it as a starting point for everyone.
“She was so energetic on stage. Judging them on the street and judging them on stage are two completely different things. She was a different performer when she was on the street, because there weren’t many people in front of her, but when she was on stage she really showed her colors, her stage presence was amazing and her voice matched perfectly.
Joanne has started creating and releasing her own original music, as she plans to continue pursuing her dream.
“It’s like heaven, I love it. It’s my passion and I loved it so much. I really didn’t expect to win, because there was great competition.
Event organizer Cian Gilmartin thanked Callan Tansey Solicitors and David O’Malley for their sponsorship of all cash prizes, which amounted to €750 in total awarded to the three finalists, and €50 distributed to buskers throughout the week.
Cian congratulated Joanne on her victory and spoke of the high level of competition: “Joanne is brilliant. This voice! Unbelievable. She moved the crowd, lifting the city. It’s great for their confidence. That’s why I got involved. There are chances for them to get gigs now.
Cian looks forward to next year, which is the city’s 300th anniversary.
“We have another great year next year, with Ballina 2023. I can’t wait for it all to start again and I’m so happy to have moved on.”
JThe chaos started early. Over fifteen hours of waiting – with no food or water – to enter a campsite that was mostly underwater. No staff on site to pass cars. No information from anyone in authority. As news outlets began reporting on the miserable conditions of this year’s Splendor in the Grass festival, the event’s latest Twitter update read, “You won’t see disposable cups in Splendor bars.
Friends of ours who were driving a motorhome from Sydney couldn’t even get through the gates; after 20 hours of driving, with other cars ahead of them in line running out of gas and/or getting stuck in mud, they called a night at 3:30 a.m. and slept in an underground car park in the Woolies.
We were staying at an AirBnB, and as we descended to catch a bus to the venue the next morning, news leaked that the first day of the festival had been canceled – despite assurances hours earlier that it would continue to “rain , hail or shine”. Poor campers who braved a night of on-site watersports were soothed by a few tentpole DJs blasting repetitive beats into their sleep-derived brains.
“Day two is on,” read the cheerful message posted to Splendor’s social media at 9:45 a.m. the following day. “The site is affected by weather conditions! However, don’t let it take your mind. The update described the terrain as “soft” and recommended wellies – but locals tell us stores sold out weeks earlier.
Minimizing the reality of the situation was a constant theme that seemed deceptive at best and borderline dangerous. The festival had been canceled for the previous two years, and heading into the weekend it weathered major last-minute lineup changes and a liquor license controversy. Friday’s dropped roster included headliners Gorillaz and the Avalanches. It is understandable that the festival wants to recover as much money as possible.
The party line was that there was a completely unpredictable weather event over 50 years. But Byron was underwater only a few months ago; there was an obvious risk in hosting 50,000 bettors on the field.
At 9.45am on day two, Saturday, we were warned to be prepared for bus delays – with some mega-pumped Splendor social media advice: “Carpool or taxi are also great options!” It was particularly infuriating: Splendor had sold bus tickets in advance, priced at $20 a day – they had a literal tally of how many buses they had to provide. It would have cost us $304.70 to take an Uber XL to our bus stop.
Yet we persevered. I was preparing for The Strokes to be replaced by a local slammer and Tyler the Creator to be replaced for a jumbotron screening of The One Where Ross Asks Out Rachel – but the sun was threatening to break through the clouds and the wind had picked up. is extinguished with a dull roar, so that the spirits have not yet been carried away. Who knows, we might not even be strip searched at the entrance. Optimism is one hell of a drug.
By mid-afternoon it became apparent that the buses would not arrive for hours. It took energy drink V and their merciful party bus — complete with an onboard DJ, free glitter makeup, and drag queens handing out designer hats and beach balls — to bring people to the festival. But they weren’t allowed to drive the bus on the pitch: Splendor was officially sponsored by a competing energy drink, the one that claims to give you wings. Wings would have been useful: some musical tents were inaccessible due to the sewer-smelling streams that clustered around them.
When we finally arrived, Splendor organizers were struggling to contain the chaos. As we got off the party bus and strolled down the street, a member of staff yelled at us to “get off the fucking road”, instructing us instead to wade through the deep mud so as not to block non-existent buses.
Once through the gates, there was no way to enter the park without wading through a slippery mix of mud, vomit and piss, a knee-high bog of horror that smelled of death and you wished. People were openly pissing in the mud between the food stalls – which raises some additional health and safety questions.
As we walked towards the main stage areas, I passed by people coming out. I saw tears. I saw blood. We turned to Splendor social media for advice. “We are all here for the love of music! Be patient, be kind and be careful.
We had Gold Bar tickets, which promised shelter from the storm for an extra $220 per person. Alas, Splendor oversold those tickets – and the queue to get in was over a hundred meters long. When we told a security guard that we had paid for access, he told us to “queue or Kiss my ass– angrily shouting the last two words.
We ditched the Gold Bar, and it turns out we didn’t miss the Avalanches – but instead of the bunch, it was an avalanche of humans, sliding and falling down the steep muddy hill, that noxious mud on their faces, in their eyes and in their mouths.
The situation for the buses leaving the site on Saturday evening was even worse than on the outward journey: queues of seven hours for some, people only returning home at dawn. Their stories littered the comments under brightly lit photos from the fun-filled day that were posted on Splendor’s official Instagram feed. “We got home at 6am after the bus disaster!!!!! I’ve ruined so many people’s day!!!” wrote one person. “Queuing for a bus at 12 and by the time I type it’s 4:20 and I’m not even close to the end :(” wrote another. And, from a third: “No water for 3 hours Couldn’t get to bathroom because we were crammed in like sardines 0 communication from all staff Freezing cold We know there are queues and festivals aren’t always glamorous, but it was incredibly gruesome for everyone involved.”
The Strokes ended at the stroke of midnight. It was reported that people were still waiting at the site at 4am – along with hordes of others – for buses they had already paid for.
“We hear you and we understand your frustration with our bus services last night,” the festival posted on Instagram on Sunday, blaming the shortage of bus drivers for some delays which they say affected around 1,000 people. Their statement said 90% of bus customers were offsite at 3.30am after the festival ended at 2am – but in the comments below, people who were there called these claims a “serious understatement” and “absolute bullshit”. Splendor in the Grass did not respond to Guardian Australia’s request for comment.
Natalie Mikkelsen waited five hours with her 16-year-old daughter for a bus to Murwillumbah on Saturday evening. They had left the festival before 11 p.m. and missed the Strokes in an attempt to beat the crowds – but did not return to Burringbar (10 minutes by car) until 4 a.m. “They can’t control the weather, but they just don’t have the infrastructure in place…and they didn’t have enough buses,” she told the Guardian. “There was no communication…it was just dark…it was cold, people were hungry and thirsty.”
We bailed out long before that – at 9 p.m. – after seeing just one group, Violent Soho. They played an excellent set of greatest hits, with nearly every song sung to them at the highest volume; all the frustrations of the weekend expelled in an energetic “hell fuck yeah”. Many punters were determined to have fun – and news broadcasts some of them even succeeded.
Not my friends and me. Our bus to Byron was like a war hospital. Bloodied, muddy, shocked people sitting in silence with stares a thousand yards away, shaking their heads now and then. No one spoke; the only sound was that of quiet rage. We did not return for the third day.
As Donovan Mitchell trade rumors mount, many remember the Utah Jazz trade 11 years ago of fellow All-Star guard Deron Williams to the New Jersey Nets.
Last week, ESPN ranked 15 of the NBA’s biggest trades of the past 20 years (their story revolved around the trade discussion surrounding current Brooklyn Net superstar Kevin Durant). The Williams-Jazz trade — which brought Derrick Favors, Devin Harris, a draft pick who became Enes Kanter and a draft pick who became Gorgui Dieng to Utah — came in at No. 4.
“Almost immediately after the Nets missed (Carmelo) Anthony, they reached a deal with Utah to get disgruntled star point guard Deron Williams, who became the face of the team’s eventual move to the other side of the Hudson River in Brooklyn a year and a half later,” ESPN wrote. “Things quickly deteriorated, however, and he was bought out of the last two years of his contract in 2015.
Utah, meanwhile, got the No. 3 pick in the 2010 NBA draft, Derrick Favors, and they knew New Jersey’s pick was destined to be a high pick — and it was. , which resulted in the No. 3 overall pick in 2011, who became Enes Kanter.After that move, the Jazz began to revamp their roster around young forward Gordon Hayward, who in 2016-17 helped lead the Utah’s current streak of six consecutive playoff appearances – the longest active streak in the Western Conference.
The 2019 trade that sent Anthony Davis from the New Orleans Pelicans to the Los Angeles Lakers in exchange for Lonzo Ball, Brandon Ingram, Josh Hart, the No. 4 pick in the 2019 draft (now De’Andre Hunter) , a 2022 first-round pick (became Dyson Daniels), a trade pick in the 2023 draft, and the Lakers’ 2024 first-round pick with the right to carry it over to 2025 at the top of ESPN’s list .
ESPN wrote two key takeaways from its review of these deals: first, “the leverage is huge – and can drive massive returns” and “choices matter more than ever before.”
On the second point, ESPN wrote: “The structure of these agreements has changed significantly. In the mid-2000s, when Tracy McGrady and Shaquille O’Neal were traded, the deals were built around the players – Steve Francis in the McGrady deal and Lamar Odom in the O’Neal trade.
“Over time, however – and particularly over the last decade – the returns have become much heavier, as teams now seek more future project assets than current talent.”
Carlton will be hoping to continue his push for an unlikely top-four spot on Sunday as he hosts guns defenseman Mitch McGovern for his matchup with the Giants.
The Blues (11-6, 113.4%) can further solidify their place in the final and fend off a host of teams trying to squeeze into the bottom half of the eight by two games.
The Giants (5-12, 87.4%) are hoping a new ruck setup — Braydon Preuss and Kieren Briggs return after Matt Flynn’s departure — can turn things around after four losses in their last five games under the interim coach Mark McVeigh.
Stream all the action from the French F1 GP this weekend on Kayo. Pre-race coverage begins Sunday at 9:30 p.m. AEST, with live racing starting at 11 p.m. New to Kayo? Try free for 14 days >
There were no late changes on either side, with Jack Newnes (Carlton) and Jake Stein (Giants) named as medical subs.
This match kicks off at 1:10 p.m. AEST from Marvel Stadium.
Watch it live on Fox Footy (channel 504) starting at 1 p.m. AEST.
QUARTER BY QUARTER MATCH REPORT
As both teams adjusted to the pace of the game, the Giants hit the scoreboard first as Stephen Coniglio finished a quick pass of play with a nice running goal.
But Will Setterfield got a quick response for the Blues, scoring an unusual pocket goal against his former side.
“I’m not sure the equation fits a kick from this angle… How the hell does he thread the needle?” Fox Footy’s Jason Dunstall said.
Follow Carlton vs. GWS Giants in our live blog below!
Fans had been excited for the return of Splendor in the Grass, a three-day festival featuring international artists like Liam Gallagher, Gorillaz, Tyler The Creator and The Strokes, after a two-year hiatus imposed by the pandemic.
But uninterrupted rainy weather along the New South Wales coast throughout the week created dangerous conditions at the festival site near Byron Bay, the upscale coastal town popular with Hollywood celebrities.
As they canceled Friday’s programme, organizers said “weather and staff shortages were worse than expected”.
“A significant weather system is currently sitting off the east coast and could reach land later in the day, bringing more precipitation,” organizers said in a statement posted on the event’s Facebook page.
“In the interest of patron safety and in consultation with all relevant emergency services, we have decided to err on the side of caution and cancel performances on the main stages for today only.”
About 50,000 people were expected to attend this year’s festival, most of whom paid between A$189 ($130) for a one-day pass and A$399 ($275) for three full days.
Photos and videos posted on social media showed muddy water and dozens of poncho-clad festival-goers braving heavy rain. Many lamented the poor organization of the event, sharing their “nightmarish experiences” on social media coping with winding traffic jams and bogged down vehicles as people tried to enter and leave the festival site.
One attendee, who said he was stuck in his car for 8.5 hours, compared the event to Australia’s ‘Fyre Festival’ – an event billed as a five-star experience in the Bahamas in 2017 that offered little more than tents and bad sandwiches.
“No staff, no information, I think it’s the Australian Fyre festival. Hellish scenery in Splendor,” he said.
Others have called for the festival to be canceled in the interest of public safety. “I honestly believe that if you put the safety of staff and attendees first, you should cancel,” one Facebook user said.
But organizers have promised the show could go on Saturday and Sunday. “Rest assured that our events team is working very hard to provide the best possible experience under the current circumstances,” they said in a statement.
“We look forward to the Saturday and Sunday lineup proceeding as planned.”
While much of the world sweltered during summer heat waves, Australia experienced a particularly wet winter, punctuated by flooding along the east coast.
According to experts, the climate crisis has increased the frequency and intensity of the La Nina weather system, generating above-average rainfall.
Devastating floods hit New South Wales, Australia’s most populous state, earlier this month, damaging homes still awaiting repairs from previous floods and forcing businesses to close.
The Litchfield Jazz Festival has made a last-minute addition to its 27th annual festival, which begins July 29 at the Frederick Gunn School in Washington, Connecticut.
Trumpeter Jean Caze will give two performances and do a guest teaching session at Litchfield Jazz Camp. Haitian-born Le Caze, a longtime friend of the festival and camp, has traveled internationally every year for the past twelve years with Michael Bublé, playing venues from Cardiff Castle to London’s O2 Arena. as well as coliseums, castles and stately homes for audiences of 20,000 and more per show.
Caze – whom New York Times jazz critic Nate Chinen compared to Miles Davis on works ranging from pensive ballads to fast-paced anthems – performed with legendary artists like Herbie Hancock, Aretha Franklin, Mariah Carey, Al Jarreau, Roy Hargrove, Arturo Sandoval and George Duke.
He will perform at the Litchfield Jazz Festival on July 30, alongside prodigy drummer, pianist and composer Anton Kot, and again on July 31 with the Albert Rivera Band at the festival’s Jazz Brunch.
Growing up in Queens, NY, Caze started playing the trumpet at the age of 9. He immediately developed a passion for the instrument and later won scholarships to the Juilliard Music Advancement Program and the Queens College Center for Preparatory Studies in Music. He received his bachelor’s degree from the Manhattan School of Music in 2004 and won the National Trumpet Jazz Competition the same year.
In 2006, Caze won the International Trumpet Jazz Competition. He earned a master’s degree at Florida International University right after taking second place in the Thelonius Monk International Jazz Trumpet Competition in 2007.
In 2009, Jean began his long-standing position with the teaching faculty at Litchfield Jazz Camp. The following year, he accepted a leading position in Bublé’s touring band, which he still holds today.
Caze, who now lives in Miami, conducts masterclasses and offers lessons for students of all skill levels.
Tickets for the Jazz Festival are available at ljf2022.eventbrite.com. (Tickets for the Sunday Jazz Brunch at Bourne Courtyard must be purchased in advance.) Visit litchfieldjazzfest.com for details.
CONTEST: Enter to win a pack of 2 LPs “Nothing But the Blues” by Eric Clapton! (Album/Film out now)
On June 24, an old lost in the vaults Eric Clapton documentary, nothing but blueswas unearthed for a major reissue.
Originally airing once on PBS in 1995, the doc was directed by filmmaker Scooter Weintraub and lists Martin Scorsese as executive producer. The doc captures a deft performance by “Slowhand” and his band at San Francisco’s legendary venue, the Fillmore:
Two Nights at the Fillmore in San Francisco (November 8 and 9, 1994) was filmed and recorded on his acclaimed From The Cradle tour, and highlights from both shows were selected for this release. Clapton’s longtime co-producer Simon Climie remixed the audio for these performances from the original multitrack recordings.
To help celebrate this release, Rock Cellar has set up a nothing but blues thanks to Rhino/Reprise, and one lucky winner of our giveaway will win it all!
nothing but blues 2 LP set Picks Bandana guitar strings
Simply enter below. Please note that the giveaway is restricted to the United States and is only open to those 18 and older. Applications can be submitted until Monday, August 5.
**Note: By participating in this giveaway, you are signing up to receive our Get Up to SPEED email newsletter. You can unsubscribe at any time.**
You can buy a copy of nothing but blues at the links below:
Passion has a different meaning for everyone in the world. Some consider it a hobby and use it as an escape but never dare to pursue it. However, others dare to pursue their passion because it is all they have ever lived for. Their whole world revolves around this dream. These people are resilient, hardworking and inspiring.
Zeedajeweler is someone who dared to pursue what was meant for him. He is a passionate artist who is eager to make a name for himself in the industry. He is an up-and-coming hip-hop artist from Atlanta, Georgia and had the opportunity to connect and network with various famous artists like Kodak Black, Young Thug and others.
Zeedajeweler is rocking the rap scene and working on creating new music. He is passionate about gaining more visibility and being open to new experiences that come his way. Moreover, he has solid goals for his future and aspires to become a big hip-hop star.
Zeedajeweler may be a relative newcomer, but he’s sure his name will one day be known around the world. Zeedajeweler has been making music for a few years now, but only now has he realized his talent. His loved ones and supporters helped him gain the confidence to share his music with the world. Some of his most listened songs include “New Drip”, “Zoeshit”, “Up ONE”, “Free YSL” and “Free Gunna”.
Zeedajeweler’s aspirations are as concrete as his vision is inspiring. He believes in creating music that touches the soul. Zeedajeweler’s perspective and lyrics are unique, and the tremendous hard work that has gotten him this far will take him even further. He is working on releasing more music soon and giving his fans the kind of artistry they are looking for in a unique rap artist.
Becoming a millionaire in the industry and working with popular artists is something Zeedajeweler is looking forward to. His advice to budding musical artists is to set goals at a young age and save money to invest in promising projects. He also suggests keeping your circle small and focusing on functioning as a team you can rely on.
Zeedajeweler has faced many challenges in her life and getting there has not been easy. He lived in poverty growing up and life taught him to understand the difference between right and wrong. These lessons were hard to learn, but they are important for growth.
Artists like Zeedajeweler are a source of inspiration for many budding musicians. Her journey proves that if you’re passionate about something in life, giving up should never be an option. He created a successful career in the music industry and fought every chance that came his way.
Hard work pays off if you believe in your ability to keep moving forward in life. Zeedajeweler is well on his way to proving himself as a world-class rapper, and his fans now have the chance to know his worth.
Musicians from Lincoln, around the country and around the world will be on Capitol Hill July 23-31 for the third Lincoln Crossroads Music Festival.
Organizer Eric Higgins told KLIN News that the festival was founded in 2019 after attending a similar event and performing with musicians from around the world. He is a professional bassist and has just performed with an international ensemble where musicians meet and teach each other different styles. He says it was such a great experience that he thought Lincoln had a lot of artists and something could be done here.
He says, “It’s a combination of internationally recognized artists who come to Lincoln for the festival. The program is made up of their performances but also the performances of those who live in and around Lincoln. Local and established groups that include choirs but also musicians from Syria, Iraq, Turkey, Vietnam, all over the world.
Higgins says Nebraska is in the middle of everywhere culturally, so the perfect place for this festival. The last two events were well received and filled a need.
Fifteen events are planned during the 9 days of music in seven locations. Many events are free.
For times, dates and locations, visit lincolncrossroadsmusic.org.
IThis is New York’s most exclusive jazz concert. Only about eight guests can attend the weekly, invite-only shows by sneaking into 32-year-old jazz pianist Emmet Cohen’s fifth-floor walk-up in Harlem. Meanwhile, thousands more around the world are watching live streams of the event on Facebook and YouTube.
Live From Emmet’s Place began as an almost desperate response to the disappearance of concerts for musicians when the Covid-19 pandemic began. Ninety-four shows later, the weekly gig featuring Cohen, his trio with bassist Russell Hall and drummer Kyle Poole, and a roster of guest musicians who represent some of the jazz world’s leading lights, has become the most-watched regular online jazz show. in the world.
Speaking on a recent Monday afternoon four hours before showtime, Cohen, a former child prodigy who became one of the most acclaimed jazz pianists of his generation, relaxed in a T-shirt and shorts. At this hour, his one-bedroom apartment seems relatively spacious by New York standards. But that wasn’t until the technicians – a piano tuner, a sound engineer, a videographer – started arriving and setting up the equipment for what, after two and a half years, has passed from a live shoot using only an iPhone to a hi-tech, multi-camera production with pristine sound.
Superior production values would count for little were it not for a trio of charismatic, often dazzling performers. Part of it is Cohen’s energy, exceptional musicianship and likeable personality. That’s part of the appeal of its inclusive brand of jazz, incorporating the genre’s entire tradition from the 1920s to the present day. And in part, it’s the joy and esprit de corps with which the trio perform, evident in Cohen’s frequent ear-to-ear grin and the trio’s telepathy.
At first, the current Harlem music scene was the focus of the show. “There’s such a concentration of great musicians living here, just around the corner,” he said, citing regular guests like saxophonists Patrick Bartley and Tivon Pennicott and trumpeter Bruce Harris, all stars rising stars of jazz on the New York scene.
“There is a rich history of great jazz musicians living in this neighborhood: Billie Holiday lived around the corner, Mary Lou Williams down the street, Thelonious Monk hung out here… all the great stride pianos played rental parties in Harlem . Duke Ellington and his whole band used to live here, Sonny Rollins… So it was only natural to have a rental party in Harlem, but a virtual, digital, updated version, where we could invite people to try to do the rent and get the musicians paid at a time when people were really struggling.
These days, Live From Emmet’s Place has an audience of around 1,000 fans on average every Monday night on Facebook and YouTube, but most shows’ videos, along with dozens of individual songs, have garnered dozens of thousands more views on YouTube. A video, featuring the sparkling French-born jazz singer Cyrille Aimée, has racked up 4.6 million views.
In its pre-pandemic early days, the unlikely success of webcasting could hardly have been imagined. In February 2020, Cohen and the trio were flying high. “I had a full year of major gigs booked, including a show at Jazz at Lincoln Center booked with Freddy Cole [he died shortly thereafter]”, Cohen said. “Suddenly we had no more gigs and no idea when we would play again.
“I wanted to figure out how to create an online community where we could play and earn money. When you play [the New York City jazz club] Smalls there are 80 people, if you sell; at Birdland, 250. When we did the first live from the apartment on March 22, 2020, after a week the livestream had 40,000 views. For a jazz group to reach so many people, it takes months, even years, of touring.
Cohen’s quick action to provide live jazz during the pandemic – he was one of the first jazz musicians to enter the internet performance space – resulted in an immediate outpouring of love, not to mention the generous tips, from enthusiastic fans around the world, according to bassist Hall. “They provided the support we needed from the early stages” of the webcast, he said, reporting that in the first few weeks each member’s weekly salary was in the four figures – not bad for a show. two hours.
It quickly became an international “community gathering,” Cohen said. “And community, in times of hardship, has proven to be the most important thing.” The show also reinvigorated demand for Cohen and the trio. Prior to the show, their European tours were a somewhat dicey proposition. “Now when we go to Europe, for example on our recent trip to Budapest, we sold 400 tickets, and it sold out two weeks in advance. It exponentially increased our fan base.
“When I’m on the road,” Poole said, “people tell me, ‘I’m part of the Emmet’s Place community. They keep in touch, they meet for dinner!
“The pandemic caused incredible destruction and consternation, but there was a silver lining,” Cohen explained. “It made everyone stop running on the hamster wheel for a while. In my artistic community, we got to reflect on all the hard work, the gigs, the workouts. I had been in New York for eight years and had never taken a week off. My self-esteem was based on how many gigs I had. Now I have a foot-tall stack of fan mail, people thanking us for getting them through the pandemic. I try to answer every email. It’s a full time job. A lot of people were really lonely and depressed during that time. The fact that we are a family, Kyle, Russell and I showed brotherhood and what it means to be a group in times of crisis. I think it really touched and changed people’s lives.
By Chris Villani (July 18, 2022, 7:18 p.m. EDT) — Federal prosecutors argued Monday that the legal theory that led a jury to convict a former University of Southern California coach in the college admissions case university “Varsity Blues” is valid, as they sought to convince a skeptical judge that the school was a victim of the scheme.
The government is trying to keep intact the jury’s finding that former USC water polo coach Jovan Vavic conspired with scheme mastermind William “Rick” Singer to pass off unqualified students as rookies in exchange bribes.
But U.S. District Judge Indira Talwani flagged a potential problem for prosecutors during a recent post-trial hearing. The…
Stay one step ahead
In the legal profession, information is the key to success. You need to know what’s going on with customers, competitors, practice areas and industries. Law360 provides the intelligence you need to stay an expert and beat the competition.
Access to case data in articles (numbers, filings, courts, nature of lawsuits, etc.)
Access to attached documents such as briefs, motions, complaints, decisions, motions, etc.
Create custom alerts for specific article and case topics and more!
Ambient music must be able to adapt to many levels of listening attention without imposing one in particular; it must be as ignorable as it is interesting.
In the original liner notes of Brian Eno’s founding document on ambient music – 1978 Atmosphere 1: music for airports — the artist explains that he named his genre after “an atmosphere, or an surrounding influence: a tint. My intention is to produce ostensibly (but not exclusively) original pieces for particular times and situations in order to build a small but versatile catalog of environmental music suitable for a wide variety of moods and atmospheres.
In defining “environmental music”, Eno strives to distinguish his new work from the creators of Muzak. Rather than recreating the familiar instrumental schmaltz and “removing any sense of doubt and uncertainty”, Ambient should stimulate listeners’ minds without disturbing or distracting them, inducing “calm and space to reflect”. rolling stone at the time coined the derisive, but not entirely inaccurate, phrase “aesthetic white noise”.
Reverb Machine painstakingly shows in a deconstruction how Eno himself introduced as much uncertainty as possible into the composition process. music for airports is not, i.e. a composition, but layers of tape loops with excerpts of recorded music. These loops, he turned them on and “let them set up however they wanted”. Acting as the initial sound selector and engineer, Eno’s role as composer and performer of the piece involved “barely interfering at all”, he said.
How could such a composition translate into a traditional performance setting, in which musicians, raised on a stage, play instruments for spectators facing them, listening intently? The situation seems contrary to Eno’s conception. And yet, somehow, the musicians who make up the Bang on a Can All Stars ensemble have made it work beautifully, performing music for airportsThe first track from, the nondescript “1/1,” in an arrangement by the band’s Michael Gordon, above, for a grateful audience at the San Diego airport terminal.
Bang on a Can is a group committed, like Eno, to “making new music”. Since 1987 they have been doing this (unlike Eno) in a live performance-based way, holding 12-hour marathon concerts, for example. These performances have included their interpretation of music for airports full. The Voice of the village described a 2007 performance in New York for hundreds of attentive fans as “magnificent,” a word that is often applied to Eno’s random masterpiece. Eno himself described the results as “very, very good”, and he is perhaps the last person to be surprised that a live performance of Ambient’s first record would work so well.
“Interestingly, it doesn’t sound mechanical at all like you’d imagine,” he wrote of those early tape loop experiences. “It looks like a guy is sitting there playing the piano with a pretty intense feeling. The spacing and dynamics of ‘his’ playing sound very well organized. See a quintet of “guys” just above – on cello, bass, keyboard, percussion and guitar – recreate the slightly disjointed vibe of standing in the liminal space of an airport, for a crowd of people who, presumably, came there for the express purpose of hearing background music.
Brian Eno explains the origins of ambient music
A six-hour stretch of Brian Eno’s music for airports: meditate, relax, study
The Therapeutic Benefits of Ambient Music: Science Shows How It Eases Chronic Anxiety, Physical Pain and Critical Care Trauma
Discover the background music of Hiroshi Yoshimura, the pioneering Japanese composer
Josh Jones is a writer and musician based in Durham, North Carolina. Follow him on @jdmagness.
LAHORE: A two-day classical music festival held at Alhamra to honor Ustad Salamat Ali Khan concluded here on Saturday.
The ticketless event, jointly organized by Sham Churasi Music Circle and Lahore Arts Council (LAC), brought together a good number of classical music lovers.
Singers including Sheheryar Ali Khan, Nadir Ali Khan, Akbar Ali Khan, Faizan Ali Khan, Suraj Khan, Ustad Faheem Mazhar and Ustad Hussain Bakhsh Gullo performed at the event to pay tribute to classical music maestro Ustad Salamat Ali Khan, who belonged to Sham Churasi Gharana.
The festival also aimed to promote classical and semi-classical music.
The audience, especially those interested in Ragas and classical singing, really enjoyed the event. The festival had a live orchestra and many musicians showed their skills as well.
LAC officials told Dawn that the council also plans to hold a ghazal festival by the end of August. They said that the genre of ghazal singing was a dying art and needed to be promoted.
The ghazal festival would feature not only seasoned singers but also youngsters from colleges, universities and different music academies.
The Denver Nuggets prepare to face the Utah Jazz at the Cox Pavilion in Las Vegas on Sunday night. Both teams hope to perform well. The Nuggets and Jazz sit at 2-2.
The Nuggets lost to the Philadelphia 76ers and Minnesota Timberwolves, the former being a blowout. Denver beat the Los Angeles Clippers and the Cleveland Cavaliers.
Meanwhile, the Jazz picked up two wins over the Atlanta Hawks and Dallas Mavericks. Despite their good start to the summer championship, they have lost two in a row. Their losses came to the Toronto Raptors and the Los Angeles Clippers.
Match:Utah Jazz vs. Denver Nuggets | NBA Summer League 2022.
Date and hour : Sunday July 17; 8 p.m. ET (Thursday, July 14; 5:30 a.m. IST).
Venue: Cox Pavilion, Las Vegas, Nevada.
Utah Jazz Preview
The Jazz are currently 17th in the summer league standings. The Jazz have been lacking offensively in the summer league, struggling to score more than 75 points in three of their four games.
Despite Tacko Fall and Jared Butler, the Jazz couldn’t get going offensively. Leandro Bolmaro started slow but scored in double figures in the last two games.
Key Player – Jared Butler
Jared Butler played with Jazz last season but didn’t see many minutes. However, the Summer League allowed him to show his abilities.
Although he missed the loss to the Los Angeles Clippers, Butler had two double-digit games. His best performance came against the Atlanta Hawks. He scored 15 points on over 54% shooting from the field.
Scheduled Utah Jazz Lineup
peak guard – Jared Butler shooting guard – Leandro Bolmaro small forward -Johnny Juzang, Power forward -Xavier Sneed Center -Bruno Caboclo
Overview of Denver nuggets
The Nuggets have been inconsistent in the summer league. They started with a loss but followed with two wins. However, they lost their fourth game against the Los Angeles Clippers.
They are 18th in the summer league standings, one place behind their next opponents. They struggled to score. Their shooting percentages are among the lowest in the Summer League.
Key Player – Colin Gillespie
The Nuggets signed Colin Gillespie from Villanova to a two-way deal after the guard went undrafted.
Gillespie scored double-digit points in three games. His best performance came against the Clippers. He was down 17 points on 40% shooting from the perimeter.
Denver Nuggets Scheduled Lineup
peak guard – Collin Gillespie shooting guard -Matt Mitchell small forward – Peyton Watson Power forward – Christian Brown Center – Ishmael Kamagate
Utah Jazz vs Denver Nuggets Prediction
Read also The story continues below
The momentum is undoubtedly with the Denver Nuggets as the Utah Jazz enter this game after two straight losses. However, the Nuggets have been one of the worst offensive teams in the summer league. This match will be a battle between two teams struggling to score.
Where to watch Utah Jazz vs Denver Nuggets?
The game will air on NBA TV nationwide, while viewers can also catch the action on NBA League Pass.
Sunday assembly: 11 a.m. today, Liberty Center, 3131 NW 13th St. Free. (sagainesville.weebly.com, [email protected]) In person and via Zoom. Music by SA musicians. Guest speaker Tom Kay, lawyer and president of Gulf Coast Land Conservation Trusts. The title of his lecture will be “Nature for all: the case for land conservation and uncertain times”.
The blues meets the girl: 6:30-8:30 p.m. today, Heartwood Soundstage, 619 S. Main St. Tickets: $15 general admission, $8 North Central Florida Blues Society members. (258-8557) Opening the show is The Blues Art Form, a Gainesville/Micanopy act. Presented by the North Central Florida Blues Society.
Smooth Flava Line Dance Class: 5:45-6:45 p.m. Tuesdays and Thursdays, Bo Diddley Plaza, downtown Gainesville. Free. Everyone is welcome to come dance and have fun. Bring your launch chairs and join the fun.
“The Rocky Horror Picture Show” live: 9 p.m. Tuesday and Friday, High Dive, 210 SW Second Ave. Tickets: $13 in advance, $15 the day of the show. (highdivegville.veeps.com)
Comedian Michael Palascak: 7 p.m. Wednesday, High Dive, 210 SW Second Ave. Tickets: $12 in advance, $15 the day of the show. (highdivegville.veeps.com)
Phillips Center 2022-23 season preview: 7 p.m. Wednesday, Phillips Center, 3201 Hull Road. Free. (392-2787) In person and online. Get the scoop on upcoming performances.
“Spamalot” by Monty Python: 8 p.m. Thursday-Saturday, 2 p.m. Sunday-August 7, Gainesville Community Playhouse Vam York Theater, 4039 NW 16th Blvd. Tickets: $23 general admission, $19 seniors, $12 students. (gcplayhouse.org) Musical comedy that elevates silliness to an art form and features beautiful show girls, a killer cow and bunnies. Ripped off from the movie “Monty Python and the Holy Grail”.
Wired – Metallica and the Pantera Experience: 9 p.m. Thursday, High Dive, 210 SW Second Ave. Tickets: $12 in advance, $15 the day of the show. (highdivegville.veeps.com)
The Ruckus: 7-9 p.m. Friday, Bo Diddley Plaza, downtown Gainesville. Free. Folk music. Part of the Free Fridays concert series.
The Original Gainesville Food Truck Rally: 4 p.m. Saturday, High Dive, 210 SW Second Ave. Free admission. ([email protected], 872-5949)
Gainesville Bromeliad Encounter: 2:00 p.m. July 24, Entomology Building, 1881 Natural Area Drive, University of Florida Campus. Free. Ray Lemieux of Sarasota will discuss ground care and maintenance of bromeliads. There will be plants for sale and free plants also available.
Inner Beauty Exhibition: Florida Museum of Natural History, 3215 Hull Road. FREE ENTRANCE. Colorful, high-resolution images showcase the artistic marvels of modern preservation science while real specimens from the museum’s collections show their true size.
Natural Beauty Salon: 10 a.m.-4 p.m. through Aug. 5, Santa Fe College Art Gallery, Northwest Campus, 3000 NW 83rd St. Featuring painting, printmaking, photography, ceramics, and sculpture by local artists including John Moran, Wendy Free, Deb Lindberg, Vicki Santello , Veronica Villasenor and others. The exhibit is a partnership between SF Art Gallery and SF Teaching Zoo.
“Speechless: Text and Image in Global Culture”: To discover until December 30, Harn Museum of Art, Southwest 34th Street and Hull Road. A fascinating look at how words, aesthetics and materials have supported religious, political and socio-cultural agendas for millennia.
“Elusive Spirits: African Masquerades”: Current exhibition, James G. and Caroline Julier Richardson Gallery, Harn Museum of Art, Southwest 34th Street and Hull Road. Masks from the mid-twentieth century to the beginning of the twenty-first century show the continuity of masking but also present new directions in masquerades. Although much of the exhibit focuses on the spiritual and religious underpinnings of masking, it also explores the aesthetics of masking by looking at the dazzling costumes, music, and dance.
“On the first draft”: Noon-4 p.m. Thursday-Sunday, Cade Museum, 811 S. Main St. (cademuseum.org) The permanent exhibit explores the history of the invention of toilets and how they made modern cities possible. He questions the science of soap and introduces visitors to NASA’s Zero-G toilets, which help astronauts boldly go where no human has gone before.
“Science up close: fantastic fossils”: Florida Museum of Natural History, 3215 Hull Road. Admission: $7 adults; $6.50 Florida residents, seniors, and non-University of Florida students; $4.50 from 3 to 17 years old; free for museum members, children 2 and under, and UF students with a valid Gator 1 card. (floridamuseum.ufl.edu/visit/plan, floridamuseum.ufl.edu/exhibits/fantastic-fossils, 846-2000) The exhibit is a collaborative venture linking museum exhibits and collections staff, giving people a peek on never before- seen specimens and real fossils. Researchers from the Vertebrate Paleontology, Invertebrate Paleontology and Paleobotany collections will be present in the exhibition as part of its working laboratory, offering insight into the daily lives of curators, collection managers, students and volunteers.
“She/Her/Hers: Women in the Arts of China”: On view through March 24, 2024, David A. Cofrin Asian Wing. (harn.ufl.edu/exhibitions/current) The exhibition uncovers the intersecting roles played by women as subjects, artists, and art consumers in traditional, modern, and contemporary China. Features a wide range of works – paintings, calligraphy, textiles, ceramics, bronzes, photographs, lacquerware and silverware, some of which have never been exhibited before. Organized around four themes – “Representing Femininity”, “Anonymous Beauty”, “Female Artists” and “Beyond the Boudoir” – this exhibition not only achieves a full spectrum, but also offers a more nuanced view of the dynamic engagements of women with and contributions to the arts of China throughout history.
Recently, the self-proclaimed “World’s Greatest Rock Band”, Rockin’ 1000, covered the hit song “Paradise City” by Rock and Roll Hall Of Fame inductee Guns N’ Roses. According to a post on NME, Rockin’1000 performed this rendition of the hit classic at a Paris concert celebrating their band’s 8th anniversary. More than 50,000 people attended this concert, which featured musicians from 25 different countries. A video of this performance is available on Youtube, where it has amassed nearly one hundred thousand views since it was uploaded last week.
Musically, this interpretation of “Paradise City” is amazing to say the least. The cacophony of the drums, the howling notes of hundreds of guitars, and the choir come together amazingly, mimicking the original song in all the right ways while adding their unique elements. All of these components come together to celebrate musicality at its finest and create a cover like no other.
Despite this incredible feat, this isn’t the first time Rockin’1000 has made headlines. In 2015, the band managed to convince The Foo Fighters to play in Cesena, Italy after covering their song “Learn to Fly”. The following year in 2016, Rockin’1000 organized a big concert which covered several well-known artists such as David Bowie, Nirvana and The Beatles.
All in all, this musically impressive rendition of “Paradise City” featuring 1000 musicians from the band Rockin’ 1000 is sure to please fans of the Guns N’ Roses original, while also being a full-scale musical spectacle that looks like nothing else.
From July 22 to 24, you can celebrate Creole music and culture at Parc Frédéric-Back in Saint-Michel. For its ninth edition, the International Mizik Kreyol Festival of Montreal invites Montrealers of all ages to come and listen to tropical tunes… for free!
This year’s lineup includes well-known artists from the Creole music industry, including Nu-Look, Djapot, Fly, Katel Mizik, Ekip, 911 Konpa, Florence El Luche, and more. In addition to the concerts, the outdoor site will include food kiosks, on-site entertainment, inflatable structures and face painting for children.
Up to six food stalls will serve traditional Creole dishes, such as Haitian griot, galettes, sticky rice and fried chicken. Thirsty festival-goers will find alcoholic and non-alcoholic beverages at the bar, including Caribbean rum cocktails, beers and cognac. Prices vary between $8 and $15 per meal.
Laurraine Leblanc, organizer and spokesperson for the event, told MTL Blog that this new free format makes it especially accessible to the entire community. She also hopes the event will inspire young people who aspire to work in the entertainment industry.
“This is the first time that a three-day festival will take place at Frédéric-Back Park. It was important for us to stay in Saint-Michel, home to a large Haitian community living in Montreal.
Visitors are encouraged to use public transport as the park has limited parking spaces.
Those who want to keep the party going after the shows can purchase tickets online and attend four after-parties at Complexe La Providence. Tickets will be available at the door if not sold before the event.
The International Mizik Kreyol Festival of Montreal
2019 edition of the Montreal International Mizik Kreyol Festival.Courtesy of the International Mizik Kreyol Festival of Montreal
When: July 22-24, 3-10 p.m. (9 p.m. on the last day)
Where: Frédéric-Back Park, 8400 2nd Ave, Montreal, QC
“Whether [Donovan] Mitchell is finally emotional, and the Jazz is just kind of a wasteland of young picks or young players and draft picks, there’s been more and more talk in the league about teams wondering if the Jazz would be a potential landing spot for the Lakers to send Russell Westbrook, where they could potentially pick up Patrick Beverley and other salaries,” Fischer said. “I’m not saying it was discussed. I’m not saying that’s likely to happen, but in theory if the Jazz in this rebuild, who just want picks, can get a pick or two from the Lakers to get an expiring contract and buy Russell Westbrook, that seems like a likely scenario. League people believe at least to be plausible.
The Lakers are rumored to be interested in Beverley, a veteran guard who could give them reliable 3-point shooting and exceptional offensive point defense on opposing ball handlers.
Obviously, due to Westbrook’s contract, which will earn him around $47 million this coming season, more players would have to be included by the Jazz to bring salaries in line with NBA rules.
Sending him to Utah for two or three complementary players would be a huge disappointment for Lakers fans after all the Irving rumors that have been circulating for the past few weeks.
Hypothetically, the Jazz could also get involved as a third team in an Irving trade to absorb Westbrook, but there’s no indication if they’d be willing to do so.
LA is in dire straits, as most believe keeping Westbrook would prevent him from becoming a championship contender again.
Also, LeBron James is entering the final year of his contract, and there’s a chance he won’t sign an extension unless the Lakers make a big move, like landing Irving.
NSW were overwhelming favorites to retain the Origin title, but Billy Slater’s men pulled off a shock in the highly anticipated series finale.
Gould, the most successful NSW manager in Origin history, visited the Blues hangars before Game 3 and immediately noticed the “eerily quiet” atmosphere.
“When I walked into the locker room it was strangely quiet, it was really quiet,” he told Wide World of Sports. Six tackles with Gus podcast.
“I even mentioned it, I said, ‘It’s very quiet in here’ and he (Fittler) said, ‘Yeah’. Brad was silent.
“Obviously there’s a lot of pressure building up and grabbing you by the throat and it’s a tough environment. You just have to be prepared for whatever comes your way.
“It’s high-pressure work. It really is.
“He’s beaten the best of them over the years. I mean, they’ll all tell you what it does to you emotionally.
“The emotional drain it takes on you, they say players are hungover after Origin, coaches too.
“It’s totally absorbing. All the preparation, the pressure, the selections, the training, the strategy, the matches themselves. It really wears you out.
“For Billy and Brad (Wednesday night) and even watching them during the game a few times, we ran into them (during the broadcast) and you could see the intensity of it and you kind of relived those feelings that you had, but it was visible to them.
“That’s the environment they wanted to put themselves in. There can only be one winner.
“Billy will be on cloud nine today and Brad will feel like the world is coming to an end and he has to bounce back and start again.
“He’s done a great job for New South Wales. He brought in a lot of good young players and it’s still a young New South Wales team.
The myth that Queensland players are more passionate about playing for their state was brought to life after the Maroons’ upset victory, but Alexander defiantly dismissed the fallacy about SEN breakfast.
“Anyone who says Queensland cares more about the shirt is talking absolute rubbish,” he said on Friday morning.
“It’s disrespectful even to say it. The comment makes me so angry because they have no idea what’s going on inside the camp.
Alexander confessed the NSW sheds were completely quiet after a full time.
“It was tough,” he admitted.
“The origin is like nothing else. It’s almost a different game from club football. The disappointment is greater when you lose. It was a very flat dressing room. Nothing was said. was dead silence in there for at least half an hour. There’s nothing to say.
The mere mention of the red-eye trip is enough to make one groan. But Filipino singer-songwriter VJ Rosales, aka VRO, has arrived to change your mind with his upbeat and energetic new single, “Red Eye.”
Rosales has been making music all his life, first singing karaoke at parties (“You know, being Filipino American,” he jokes) and later performing in a high school choir and marching band. . He went on to earn a performing arts degree from California State University, Long Beach, and made crucial connections that would later lead him to co-found The Filharmonic with fellow Filipino singers Jules Cruz, Joe Caigoy, Trace Gaynor, Barry Fortgang and Niko. Del Rey. The a capella team has since appeared on “Pitch Perfect 2” and “The Sing-Off,” and supported Lizzo and Camila Cabello on James Corden’s “The Late Late Show.”
Nine years after joining The Filharmonic, Rosales began his solo career. He released “Red Eye” in early June and released the music video for the track today, July 14. But don’t worry, Filharmonic fans, he won’t be abandoning his a capella roots anytime soon. Check out our full interview below to learn more about Rosales’ upcoming work, her experiences with The Filharmonic, and her goals for her music. And after reading our conversation and listening to “Red Eye”, don’t forget to follow VRO on Instagram and Twitter to follow its latest news!
CM: How does it feel to pursue a solo career after playing with the Filharmonic for so long?
VR: It’s interesting. Although I love being in the band, there’s a different aspect to going solo and doing your own projects because it’s all you, which is really fun. But you are used to relying on the other members of the group. It’s something to adapt to, but I really like it. It is also a creative cleaning. It’s thinking differently and being creative in a different way.
It’s also such a genre shift for you, from a capella music to pop music with instrumental accompaniment. How has this transition been for you?
It’s nice to sing along with leads and instruments because it’s such a sonic change.I’ve sung with bands before, and will sing with a band here and there, so it’s not new to me, but it’s still a change. When I sing at my own gigs now, it’s cool; it’s fun and challenging.
What are some of your inspirations behind your new track, “Red Eye?”
I wrote this song in 2019 with a ton of writers. We wrote it in London for a songwriting camp for another artist, and I won’t say any names, but a lot of these songwriters write for huge R&B artists [like] Chris Brown and Janelle Monáe, to name a few. So, we wanted to put those songs with their teams, but none of them took “Red Eye,” which is a song that really meant a lot to me. During the session, the songwriters said, ‘Hey, VJ, if nobody takes this, you should probably take this yourself, because this is definitely your sound. It is made for you. I didn’t even know the songwriters. They just knew that was who I was as an artist, and at that time I didn’t really consider myself a solo artist. So, I was like, ‘I’m going to take it for myself and present it as my own art.’ I’m really happy and proud of it because I loved the song from the start and felt like I found my sound with that particular song.
What kind of response did you receive after “Red Eye” came out, especially since you also came out publicly as queer at the same time?
I’m not going to lie, it’s kind of scary to finally represent who I am. For so long I was afraid to be transparent and to be an artist. But you realize that you have to know yourself; you must live in your truth. Once inside, it becomes easy. So, I felt that with “Red Eye”, I was finally myself. I’ve had some great feedback and it’s been a supportive period for me, so I’m really grateful for that.
What can fans expect from the clip?
Some of the guys from The Filharmonic will be there, so there will be a few cameos. It’s a really fun video. My goal for this song was just to get people up and dancing. I got that vibe so far from the people who listened to it, so I want this music video to take that a little further.
So, the other members of Filharmonic also support your debut?
That’s why I love The Filharmonic so much. The opportunity to be in this group has changed me in many ways. I have grown so much and we have all become this brotherhood that supports each other in our different undertakings. So they were very supportive of this solo move.
They are a big part of why I do this too. I attribute a lot of my success to being in this band, so I want to continue with this new art form and continue with them as well.
And what are some of your other goals as you move forward as a solo artist?
I want to release an album; I want to keep releasing new music all the time. I want to be that artist who creates music that is authentic to me, with what I experience as a human, and I want those to be amplified through my art. So, I will continue to write songs; I’m going to keep making albums and perfecting my craft and getting better and better.
But at the end of the day, I want to represent the [LGBTQ] community and I want to represent Asian Americans. We are underrepresented, and I want my music to transcend and reflect those groups of people.
CHICAGO (SCS) — Lollapalooza doesn’t start for another week, but anyone driving in the city center will find a number of street closures already in place and more underway next week.
The Chicago Office of Emergency Management and Communications (OEMC) said people should plan alternate routes for getting around downtown. Several streets were already closed due to Taste of Chicago last weekend.
Balbo Drive from Columbus to DuSable Lake Shore Drive is closed until Sunday, August 7; Balbo’s closure extends to Michigan Avenue on Monday, July 25 at 8 p.m. and remains closed through Monday, August 1.
Jackson Drive from Columbus to DuSable Lake Shore Drive is closed Monday morning July 18 through Saturday August 6; Jackson’s closure extends to Michigan Avenue on Monday, July 25 at 8 p.m. and remains closed through Monday, August 1.
Columbus from Monroe to Roosevelt will be closed Monday, July 25 at 8 p.m. through Monday, August 1; Columbus’ closure is extended to Randolph Street on Wednesday, July 27 at 11:59 p.m. and continues through Monday, August 1.
Additional northbound center lanes on Columbus, from 13th Street to Roosevelt Road, will be closed Monday, July 25 at 8 p.m., and Columbus will reopen Monday, August 1.
Ida B Wells is closed from Michigan to Columbus on Monday, July 25 at 8 p.m. and remains closed through Monday, August 1.
Monroe Street from Michigan to DuSable Lake Shore Drive is closed Wednesday, July 27 from 11:59 p.m. to 6:30 a.m. Monday, August 1.
Chicago CBS Team
The CBS Chicago team is a group of experienced journalists who bring the content to you on CBSChicago.com.
Danish contemporary jazz guitarist, composer and improviser Kristian Borring will release a new album ‘Earth Matters’ next month from Number Junky – a trio based in Perth, Western Australia (WA) which includes Australian musicians Zac Grafton on double bass, Peter Evans on drums, as well as the excellent New York pianist Fabian Almazan on selected tracks.
“Earth Matters” (released August 26 via Cool it! Records/Symphonic Distribution) is Borring’s sixth album, but his first album to top Number Junky and since moving to Australia. It features his original compositions and modern arrangements of tunes by Charlie Parker.
It is an instrumental album rich in lyrical melodies and ultra-lush harmonies, rhythmically hip and endowed with extraordinary technical prowess.
After cementing his name as a contemporary jazz artist in Europe, Borring settled in Perth with his Australian wife and multi-talented percussionist Genevieve Wilkins. The couple met in London where Kristian lived for 12 years, playing with Canadian pop artist Karen David and later in the band Dekata Project. Now both teachers at the Western Australian Academy of Performing Arts and with three children aged 5, 7 and 10, Kristian continues to juggle his international musical career.
However, Number Junky is based in Perth – a new project that formed in 2020 to explore the love of odd numbers and time signatures. At the start of the pandemic, Kristian, Zac and Peter started playing once or twice a week, practicing and working on the music for over a year before recording.
Cuban/American pianist Fabian Almazan who was in Covid exile in Perth at the time of recording (along with his wife and bassist, Linda May Han Oh) also plays on a handful of tracks.
“For us, exploring numbers is really about time and rhythm,” says Borring. “As we play with polyrhythmic ideas, we particularly explore the notion of complex musical meter – in the world of jazz, also called odd meter and mixed meter.”
The title track “Earth Matters” embodies an aspect that Borring strives for in songwriting – the balance between simplicity and complexity.
“The melody seems to be quite simple with a memorable melody and a seemingly laid-back feel to time, but rhythmically and harmonically it’s actually quite complex,” says Borring. “The trick isn’t to make these challenges obvious to the listener, which I think creates an underlying tension in what seems like a sweet little melody.”
“Earth Matters” was inspired by a trip to see an interactive Earth exhibit with her children at Scitech – a local science museum.
“The exhibition was about innovations and solutions to help our civilization adapt and create a more sustainable future through compassion and science,” he says.
“I think a lot about the future of our planet and the harm we do to it, and I try to help watch over our planet in my daily life with a green mindset, which I also teach my children.
“We need a mindset shift at the top. We have so many smart, forward-thinking minds with ideas and initiatives that need to be supported and rewarded.”
“Earth Matters” will be released digitally and on CD on August 26 via Cool it! Records/Symphonic distribution.
Number Junky will pre-launch the album on August 18 at Lyric’s Underground in Maylands, Western Australia, with local piano hero Harry Mitchell, and opening for the night is Jessica Carlton on trumpet. TICKETS
The album was funded in part by the Western Australian Department of Local Government, Sport, and Cultural Industries (DLGSC).
Left to right, Martel Manning as Jim, Kamal Angelo Bolden as Troy and Shanésia Davis as Rose in ‘Fences’ at the American Blues Theater. (Credit: Michael Brosilow)
It’s been an extraordinary year for stellar revivals of three of August Wilson’s 10 Pieces of the Century Cycle – his stunning evocation of black life in every decade of the 20th century.
First, director Chuck Smith’s searing revival of “Gem of the Ocean,” the show’s origin story, produced by the Goodman Theater last February. Then, in May, there was “Two Trains Running,” Ron OJ Parson’s vivid rendition of Wilson’s 1960s episode produced by Court Theatre.
And now, for American Blues Theatre, director Monty Cole and his jaw-dropping cast have created a stunning production of “Fences,” Wilson’s family drama set in the late 1950s.
A painfully honest look at the relationship between a husband and wife, and a father and two sons, the play captures a sense of generational turmoil in a Pittsburgh family. And, along the way, Wilson subtly foreshadows the more overtly revolutionary era that would unfold in the 1960s.
Furthermore, this riveting production also serves as a powerful reminder of the many electrifying actors at work in Chicago – actors who can grasp Wilson’s writing and soar through the playwright’s most feverish and difficult passages. They turn Wilson’s words into what is almost the verbal equivalent of operatic arias.
Full of resentment, pain, rage, shattered dreams, endurance and yes, love, Wilson’s characters are both painfully real and larger than life. And here, staged in an ideally intimate space in the Theater Wit complex – with several long rows of seats on either side of the stage, and tall, fragmented paneled walls at either end of the room that hint at the towering fence that is not never quite complete – the emotional intensity is fully palpable.
At the center of “Fences” is a husband and wife. Troy Maxson (Kamal Angelo Bolden), a man in his 50s who as a young man excelled in the Negro Baseball League. He dreamed of being a major league player before blacks were accepted into his ranks, served time in prison, and worked for the city’s sanitation department for many years. His second marriage to Rose (Shanesia Davis), lasted almost two decades thanks to her being an indestructible force with a generous heart who tries to maintain peace in the family.
Troy has two sons. Lyons (William Anthony Sebastian Rose II), her child from a previous marriage. He’s a passionate but penniless musician supported by a working girlfriend. When he asks his father for a loan of $10, he is immediately refused.
Cory (Ajax Dontavius), Troy’s son with Rose, is an intense young high school student and gifted athlete who is aiming for a chance to win a college football scholarship at a time when color barriers were beginning to fall. But his father – more envious and bitter than worried – undermines this opportunity, and a furious and defeated Cory joins the Marines.
And that’s not all. A haunting presence throughout the play is Troy’s older brother Gabriel (Manny Buckley), who suffered severe brain damage as a soldier in World War II, and whose government reparations paid for the house of Maxson in which he had a room for many years. And then there’s Troy’s good friend, Jim Bono (Martel Manning), who supports Troy’s attempts to be promoted from his job as a dumpster to the less physically demanding job of truck driver, which he says is a position primarily reserved for white workers. .
Last but not least is the arrival of Raynell (Riley Wells), the baby girl born to Troy’s self-proclaimed mistress who dies in childbirth. Rose will take over as Raynell’s mother, but in a fiery statement she also informs Troy that from now on he will be “a man without a wife”.
August Wilson’s ‘Fences’ plays at the American Blues Theater until August 6, 2022. (Credit: Michael Brosilow)
Cole couldn’t have kicked off this production more ideally, and there are riveting performances from every member of his seven-person cast.
As Troy, the bitter, angry man who is a victim of both racism and his own self-pity, Bolden ideally captures the inner and outer rage that manifests in many ways and culminates in self-destruction. As Rose, a woman of immense strength and heart, Davis all but shuts the show down with her gallant performance of a searing monologue that clearly suggests this woman has finally broken free, painful as that may be. be.
And Dontavius ideally suggests a young man who is both starved of his father’s admiration and support, but fierce enough to face him and push forward to succeed where his father failed. The actor is as powerful in his tense silences as in his moments of fierce physical rebellion (with a cleverly “choreographed” fight scene by Charlie Baker).
Buckley’s depiction of Troy’s brain-damaged brother is uncanny in the way it captures both the tragic and deeply spiritual aspects of the man, and also suggests what’s left of a still sentient being. Like Jim Bono, Manning ideally suggests the nature of a lasting male friendship. And as Raynell, the petite and feisty Wells brings a sense of hope and joy.
Of course, the deep-rooted genius at the heart of everything here is Wilson – a playwright whose understanding of human nature and how language can be both real and poetic was close to magic. “Fences” won the Pulitzer Prize for Drama in 1987 and the Tony Award for Best Play. But there could be no greater testament to the grandeur of the play than this magnificent production.
“Fences” runs through August 6 at Theater Wit, 1229 W. Belmont. For tickets, visit americanbluestheatre.com or by phone (773) 975-8150.
Green Music Australia’s new “Sound Country: A Green Artist Guide” offers a practical solution for musicians to learn how to reduce their carbon footprint.
It also details how artists can take audiences with them.
“Sound Country” covers everything from corner pub gigs to stadium rock tours, from integrating more sustainable practices into their touring operations to becoming vocal ambassadors for change.
Its authors are Rhoda Roberts AO, festival promoter and artistic executive; freelance animator and environmental consultant Matt Wicking, who holds a master’s degree in environment; and Berish Bilander, CEO of Green Music Australia, who is a composer and pianist.
Roberts said working on the project was “an amazing experience” and commends GMA’s “desire to reset consciousness around our nation’s identity, cultural values, and environmental change.”
Contributing musicians include David Bridie, Allara Briggs Pattison, Jen Cloher, Jessica Cerro (Montaigne), Lisa Mitchell, Missy Higgins, Regurgitator, Sally Seltmann and Tim Hollo.
Content is grouped into six key areas: First Nations First, Waste Reduction, Low-Carbon Transportation, Sustainable Food, Ethical Merchandise, and Climate Advocacy.
Each includes case studies, the latest scientific evidence and a comprehensive solutions section, with simple strategies and tips on how to implement environmentally friendly practices.
For example, musicians can green their box office by dedicating a small portion of their box office revenue to environmental actions.
This can be paired with Plus1, a platform created by musicians for musicians, to pledge $1 from every concert or event ticket sold to their favorite environmental group.
A partnership with Feat. Live’s Solar Slice can implement a 1.5% ticketing surcharge that will fund crucial carbon reduction measures for the live music and entertainment sector.
Or they can work with nonprofit ticket providers like Humanitix who dedicate their profits to sustainable projects, such as literacy programs for young women.
The guide suggests releasing music online in physical formats, with digital downloads being the greenest way to share music.
NFTs are the cool thing at the moment. But as the guide puts it, “Environmentally, right now, most NFTs are looking pretty bad.”
“Like cryptocurrencies (like Bitcoin), NFTs verify transactions on the blockchain (like an electronic ledger) using huge networks of computers, solving a cryptographic puzzle through a process called ‘ Proof of Work’.
“As the name suggests, it requires extreme amounts of computer processing work that consume loads and loads of energy.”
An option for merchandise means brands that use organic cotton or hemp, recycled content, and fair labor conditions.
Some merchandising vendors incorporate greener options into their offerings, but that means a bigger expense.
Also, “If you have old products that haven’t sold, reuse them!”. The 1975s reprinted new designs on their old t-shirts, saving money and avoiding waste.
“Opera North has used old costumes to make beeswax wraps. Or consider incorporating an environmental message into your product, like WAAX or Alison Wonderland.
Designed by Melbourne-based illustrator and printmaker Steph Hughes, Sound Country features an interactive website, online shareable PDFs, infographics and social media content.
“As a traveling musician with a conscience, it’s so great that GMA is providing us (and our fans) with specific resources with which we can try to walk the planet more lightly.” said Missy Higgins.
Regurgitator calls it “the perfect starting point for finding ways to approach touring and overall music industry practices with greater awareness, intent, and reform in seeking a future for those to come. “.
“Sound Country” launches July 18 at the Northcote Social Club in Melbourne and is supported by the Victorian Government through Creative Victoria.
A new multi-day, multi-venue classical music festival that started last year will return to NWA this month.
The second Chamber Music Festival on the Mountain will kick off with its first public performance on Wednesday, July 20 at the Fayetteville Public Library, followed by additional performances featuring talented local and regional musicians from across the region throughout July. .
The idea behind the festival, according to the website, is to make classical music accessible to the community through community outreach programs, performances in casual settings and affordable tickets.
The launch performance at the Fayetteville Public Library will feature CMM Musicians and FJC Nonet, and the “program is filled with jazz-influenced classical chamber music repertoire, as well as classically-inspired jazz repertoire.” The show is free and open to the public. A second performance by the same group of musicians will take place on July 21 at Thaden School.
After that, a host of events are scheduled at venues in the area, including fun music with a Latin American twist on July 22 at the Mount Sequoyah Dining Hall, a program from the Concerto for Recorder and Flute by Telemann, Weber’s Clarinet Quintet and a jazzy Piano Quintet. by Zwilich at Miller Lodge in Mount Sequoyah on July 24, and more.
The events included in the festival range from free to around $20, and a full pass for all paid events is available for $100.
A full schedule of events for this year’s festival and more event information can be found at chambermusiconthemountain.org.
The latest headlines from The Fayetteville Flyer, delivered straight to your inbox.
Hello everyone! It’s me, Dylan Siwicki, your Detroit Daily host – back in your inbox with all the biggest things happening in town.
First, today’s weather forecast:
Wind with clouds and sun. High: 82 Low: 64.
Here are today’s top stories in Detroit:
Detroit nurse at grocery store open in the Linwood-Dexter area. Sonya Greene, a registered nurse and entrepreneur, said there are only a few healthy food options in this area. (Detroit News)
Who’s ready to sit down and enjoy some great jazz music? Detroit’s biggest jazz festival is back. (WDIV ClickOnDetroit)
A royal oak Man is accused of forcing a girl to perform sexual acts for him during video calls and exchanging inappropriate messages with several girls on social networks. (Royal Oak patch)
Hi Detroit, Prime Day is officially launched! The Patch Deals team rounds up the biggest and best savings on electronics, Amazon appliances, apparel, kitchen essentials and more. Click here to shop and save!
Detroit Institute of the Arts: “Mosquito Nets is a fine example of Sargent’s ability to translate a momentary impression into a masterful composition. The image depicts the artist’s sister Emily with her friend Eliza Wedgwood, a member of the famed china…” (Detroit Institute of Arts via Instagram)
Detroit Historical Society: “On July 11, 1796, Captain Moses Porter led a party of American troops into Detroit. The Union Jack was pulled down and the flag of the United States was raised over Fort Lernoult for the first time. Read more about the Fort and its roles…” (Detroit Historical Society via Facebook)
Detroit Police Department: “Chief White and members of his leadership team met with this year’s Berry scholarship recipients to congratulate them last week! Retired Lt. Thomas Berry distributes two scholarships to our officers’ children each year. The recipient of this year…” (Detroit Police Department via Facebook)
Detroit Public Library: “What’s going on this week for #Summer Reading at the #detroitpubliclibrary Parkman Branch? Miss Charlene talks about the various programs going on at the library, from storytime to crafts.” (Detroit Public Library via Facebook)
You are now aware and ready to go out this Tuesday! I’ll be back in your inbox tomorrow morning with your next update.
— Dylan Siwicki
About me: I was born and raised on the Westside of Detroit, in the Polish blue-collar neighborhood of Warrendale. I am a Detroit Public School graduate who fought hard to earn my education. My aspiration to journalism came when I was young, when I started following the corruption scandal of former Detroit Mayor Kwame Kilpatrick. My first break into the world of journalism began with the opportunity to work at the Michigan Journal, where I primarily reported on campus and local news throughout the Dearborn community. I finally worked my way to the news editor. So, with first-hand experience growing up in a close-knit neighborhood, I know the importance of delivering news and telling stories that impact local communities. And as the latest news editor at Patch for Metro Detroit, it’s my job to deliver that news. So feel free to contact me about new tips or your own unique experiences at [email protected]
Got a news tip or suggestion for an upcoming Detroit Daily? Contact me at [email protected]
Blues legend Salgado rocks Friday in Florence on the Oregon Coast
Posted 7/11/22 5:39 PM PST By the staff of the Oregon Coast Beach Connection
(Florence, Oregon) – This sometimes raw and gritty – but always powerful – voice pairs well with this deft but imposing harmonica. Together they wield pain and joy into a musical weapon, cutting you down the middle, emotionally – as well as making the hairs on the back of your neck stand on end. Behind it all lies a Pacific Northwest legend, which helped inspire a major cultural phenomenon in the early 80s in the form of the Blues Brothers. Bluesman Curtis Salgado has been strutting around the area’s stages since the mid-’70s during Eugene’s blues heyday, and this Friday, July 15, he’s settling down for more grooves in the coastal city of Florence, central Oregon.
Salgado and his full band will strut the main stage at the Florence Events Center (FEC), beginning at 7:30 p.m. Tickets are usually $35.
It all coincides with Florence’s Block Party, where residents and visitors alike have a blast in the cool breezes of Oregon’s Central Coast.
Hear from the man who taught John Belushi how to sing, dance and howl the blues in 1977 while the actor was in Eugene filming Animal House. Salgado inspired John Belushi and Dan Ackroyd to create the characters “Joliet” Jake and Elwood Blues for Saturday Night Live and the 1980 film, The Blues Brothers.
An interesting side note: There was a part in Animal House originally written for Ackroyd, but SNL showrunner Lorne Michaels threatened to fire Ackroyd if he took it.
Winner of the 2022 Blues Foundation Best Male Soul/Blues Artist Award, Salgado and the band will perform excerpts from his 2021 album, Damage Control, and favorites from his 40-plus-year career. This album is full of passion, nuance and striking detail, with masterful original songs. As Salgado says, “Life is about damage control…problems and more. It’s about facing what’s thrown at you and saying, ‘I’m not done yet. ”
Salgado and Belushi in the 70s, in Eugene
“Don’t miss this incredible night on the magnificent main stage of the Florence Events Center, where every seat in the venue has perfect acoustics and incredible sightlines,” said Rachel Pearson, president of Florence Arts, Culture & Entertainment (FACE ). “The concert coincides with the city of Florence’s ‘Blast on Bay Street’ block party in the historic old town on the same evening. The FEC is only a few blocks away, so you can enjoy both events.”
Salgado became one of the genre’s most prolific songwriters, going from writing a few songs per album to writing full albums of original songs. In 2016, many critics declared The Beautiful Lowdown – with 11 original songs – as the best of her career. According to Salgado, Damage Control is even better. He is delighted to present his new songs on stage, where the crowd ignites him even more. “I want people to identify with the songs,” he says.
Salgado’s show is produced by FACE, the independent, all-volunteer 501c3 nonprofit organization that supports the Florence Events Center.
Tickets are available at EventCenter.orgby calling 541-997-1994 during business hours, or in person at the FEC Box Office, 715 Quince Street, Florence, 9:00 a.m. to 4:30 p.m.
FACE also produces community favorite events such as the Florence Winter Music Festival, Florence Festival of Books, Florence Indoor Yard Sale, art gallery galas, and more. For more information on Florence Arts, Culture & Entertainment, its many events, or how to become a member or volunteer, contact Pearson at 541-991-8811 or [email protected] MORE PHOTOS BELOW
Oregon Coast Hotelsfor this event – South Coast Hotels – Where to eat – Maps – Virtual tours
Learn more about hotels, accommodation on the Oregon Coast…..
Learn more about restaurants, Oregon Coast restaurants…..
LATEST Oregon Coast related articles
Back to the Oregon Coast
Advertise on Oregon Coast Beach Connection All content, unless otherwise noted, is copyrighted by Oregon Coast Beach Connection. Unauthorized use or publication is not permitted.
Dylan ScottThe latest single from “New Truck”, is about getting rid of an otherwise awesome vehicle because it contains too many memories of a lost love. In real life, however, he would be much more likely to part with a truck because his mischievous young children did something to ruin it.
“Kids are bad in a good way,” the singer laughs to ABC Audio, talking about his two-year-old daughter Finley and her four-year-old son Beckett. “They are just everywhere to get into everything. So make my life fun.
It may sound counterintuitive, but chaos is actually good for your career. “It makes me forget the music here and there, so I don’t have to sit here and think about the music 24/7,” says Dylan. “Thank God for the children and the women. It’s good.”
Sure, sometimes the two worlds intersect: for example, Beckett is a bit of an aspiring musician, and his favorite artist to cover is his country star dad.
“I bought him a drum set. He wants me to play guitar with him so he can sing,” Dylan continues. “He sings all my music. ‘Hooked’ and ‘My Girl’ and ‘Nobody’ and all that. So it’s cool to see that.
As for the actual inspiration behind “New Truck”? This may be the first new truck the singer buys.
“My first brand new truck was a Ford F-250. That was a few years ago,” he explains. “Man, that was an awesome truck. I’m a Ford guy. I don’t have it anymore, though. I wish.
An outdoor painting festival, art exhibition and sale are planned for the weekend of July 14-17.
“En plein air” literally means “outdoors”, and the phrase “plein air” tends to refer to painting outdoors.
Plein air painting is considered to be of French origin, with probably the best known plein air painters being Paul Cézanne, Claude Monet, Vincent Van Gogh, Pierre-Auguste Renoir and Camille Pissarro.
At the beginning of the 20e Century, in California, the land of (almost) perpetual sunshine, a great movement emerged called California Impressionism, or, California Plein Air.
A regional variation of American Impressionism, the California movement promoted a light and airy Impressionist aesthetic that coincided with that region’s population boom.
It was prominent the first three decades of the century but faded with the Depression and Modern Art movements. Now there is outdoor painting all over the West.
Sponsored by Evanston Town Centre, Evanston Made and assisted by the Evanston Arts Council, it is believed to be the first such event in the town.
Landscape painters will work directly on site, in different locations. The five most common sites will be listed for the public, but who knows which places independent artists will choose to paint?
Around forty painters are expected and artists can sell directly from their easels.
The Evanston Festival is the brainchild of Evanston artist Mark Cleveland, who is a plein air painter and, now, festival director.
During the pandemic, Cleveland began painting its neighborhood and local sites. He was so successful in showing the resulting work online that it led to a window-only exhibition at 1100 Florence. There he sold six pieces of paintings in seven display cases. Cleveland will give a talk for artists, “Stepping into the Light – Getting Started in Plein Air” at Space 900, 816 Dempster Street, at 9:30 a.m. on Saturday, July 16.
For those interested in trying painting outdoors, a one-day outdoor workshop will be held Saturday, July 16 at the Evanston Lighthouse campus. The workshop fee is $125, but the Evanston Arts Council funds five scholarships for BIPOC participants. For more information or to register, visit the event website: evanstonmade.org/call-for-artists-evanston-plein-air-festival.
The workshop will be taught by special guest, Chicago-based master painter Don Yang, who is also an exhibition judge. Yang trained at the American Academy of Art in Chicago, where he has taught since 2002. He is an accomplished portrait and figure painter as well as a landscape painter.
Yang will judge the submitted paintings on Sunday, July 17. Two prizes will be awarded: “Best in Show” and “People’s Choice: Fest Favorite”. Visitors can see the paintings in competition and vote on the Place de la Fontaine on Sunday July 17, from 12 p.m. to 3 p.m.
Saturday 16e, the Main-Dempster-Mile offers music to complement events further north. From noon to 4 p.m. they will be holding what they call their Front Porch concert series. Three owners have offered their porches and yards where local bands will play for visitors.
Their performances will take place at noon, 1:30 p.m. and 3 p.m., with no registration fee. Further information is available on the Main Dempster Mile website: www.maindempstermile.com.
Also on Saturday, from 4 to 8 p.m., the Main Dempster Mile Association will offer a traditional music festival in “Train Station Alley”, 600 Main Street, the alley between the two train tracks. There will be music, vendors and a classic car mini-show hosted by Evanston classic car owners. Attendees can also enjoy Evanston’s DIY wall map there.
A call for outdoor painters went out in March this year via Patch, the Roundtable, social media and the Evanston Made newsletter and the downtown Evanston newsletter. Entrants were required to submit two examples of outdoor paintings/works.
“There are many artists all over the region who make the outdoor festival circuit,” said Lisa Degliantoni, the manager of Evanston Made, who handled all of the marketing and promotion, permits, registration forms and financial reports. “The biggest issue has been getting businesses to open their restrooms to festival-goers. So don’t worry, there will be a potty card.
The painting must take place within the city limits of Evanston and a $25 registration fee was charged to those who registered. The event sponsors hope it will become an annual event. Artists will check in and register up to five blank work surfaces at Blick Art Materials at 1755 Maple Ave. Gift bags will be given to the artists who do so.
Only paintings with a visible inscription on the back will be accepted for review at the Awards and Exhibit Tents in Fountain Square on Sunday, June 17. All works must be for sale and subject to a 30% gallery fee. After the event, all competition paintings will be displayed in the third floor gallery of the Evanston Public Library.
During July, an accompanying exhibition at Space 900, 816 Dempster Street, features primarily outdoor cityscape paintings of Evanston and Chicago by artists Mark Cleveland, Sarah Kaiser-Amaral, and Joe Taylor. Titled “True Grit,” the show is open Thursday through Sunday, 5 p.m. to 8 p.m.
There is an active group of plein air painters in Chicago, Plein Air Painters Chicago, which is associated with the Palette and Chisel Art Academy on Dearborn Street. They meet every Saturday morning at a different place to paint.
Many professional painters make the circuit at outdoor summer festivals, of which there are many across the country. Perhaps the most famous in the Door County, Wisc area.
The Buxton International Festival is now in its 43rd year. Traditionally a platform for opera and literature, this year saw the premiere of its first-ever official jazz series.Most performances were at the Palace Hotel, along with the occasional evening show at the Buxton Opera House or the Pavilion Arts Centre, with performances by a wide range of artists; from Clare Teal to Jay Phelps. Charles Rees attended the opening weekend and wrote:
Ian Shaw and Guy Barker – Town to Town / Friday 8 July at the Palace Hotel Buxton
From town to townaccording Ian Shaw, is a “show about the place… after so long without a place to go”. It featured a collection of music about locations, from Cole Porter’s “Get Out of Town” to The Kinks’ “Waterloo Sunset,” as well as songs the performers associate with various places they’ve visited or stayed over the course of their career. of their years in the business. . The show had been advertised as featuring “stunning songs and anecdotes”, and it certainly didn’t disappoint in the latter category either. Shaw is sadly witty on the mic, sharing almost wacky stories; that of the lisping vicar of his childhood comes to mind (you had to be there…).
Guy Barker was equally engaging on the mic, telling his own share of stories about his stunt father, Florida border agent exchanges and much more. Although a recent illness has somewhat limited his stamina on the trumpet, he himself gave an excellent performance, especially his soulful rendition of Buddy Johnson’s “Since I Fell for You”. The show included so much more than just laughs…these two effortlessly carried the emotions through the room. Shaw’s dedication to the late Tina May was particularly poignant, and it was certainly palpable in the play.
Personally, the absolute highlight of the performance came with Shaw’s rendition of “Wichita Lineman.” He’s sung it with its composer, Jimmy Webb, in the past and obviously has great respect for the song (described by Bob Dylan as “the greatest ever written”).. justice has certainly been done here. All in all, Shaw and Barker’s chemistry, their shared professional experience and their ability to make an audience feel relaxed – which is especially important for a festival like this – made for an enjoyable show to all points of view.
Swingtime Big Band with Emma Holcroft and special guests / Friday, July 8 at the Pavilion Arts Center
This big band from the North drew over three hundred spectators to the Pavilion Arts Centre, bringing the hall to capacity. There was obviously an appetite for large ensemble jazz at the Buxton Festival, particularly one such as swing timewhose performances are a throwback to the golden age of big band jazz.
Their set did not disappoint, with charts from band pads including Woody Herman, Buddy Rich and even the lesser known Buddy Bregman Band, among others. There were some particularly iconic tracks in the mix: Billy Byers’ arrangement of “All of Me”, originally written for Count Basie’s band, was probably the most memorable – anyone who knows it can imagine how that tune was just the right thing to engage. the audience after intermission…
Singer Emma Holcroft did a spectacular job and was an absolute hit with the public. His obvious love of tradition inspired what was a very mature and professional act. And she wasn’t the only guest: attentive spectators will have noticed that the trumpet section won a fifth player in the second set: Guy Barker. His addition helped the band swing just that bit more. The last guest was Ian Shawwho sang several numbers but absolutely stole the show with her rendition of “You Don’t Know Me.”
Graham Clark Quartet / Friday 8 July at the Palace Hotel Buxton
Graham Clark and his quartet are local to the Buxton area and do not have the same national reputation as most of the other artists at the festival. Clark is a violinist himself, but stylistically far removed from the Grappelli stereotype. It was a late concert, starting at 10:30 a.m., but that didn’t stop the quartet from drawing a very respectable crowd. Listeners were treated to a set of music that paid homage to songs by modern jazz’s most overlooked composers, including Ralph Towner’s “Icarus”, Kenny Wheeler’s “Everybody’s Song But My Own”, Carla’s “Ida Lupino” Bley and even a Phil Lee number! Clark also featured an original by himself, in the same vein as the other tracks, as well as an engaging rendition of the witty “Deep River.”
Clark was joined by Richard Wetherall at the piano, Paul Baxter on bass, and Johnny Hunter to the battery. All the musicians were obviously listening to this style of jazz, showing great respect and love for it. They continued uninterrupted until midnight, ending with an impressive room still at about half capacity. Those who stayed until the end were able to enjoy a more familiar finale in the form of “Bye Bye Blackbird”, but performed in a style seemingly inspired by the Keith Jarrett Standards Trio. Not knowing what to expect, this concert was full of nice surprises.
The impossible gentlemen / Saturday 9 July at the Palace Hotel Buxton
LINK: Full review here.
Dave Hassell’s Hydra / Saturday 9 July at the Palace Hotel Buxton
This timeslot was originally billed as The Fabled Trio with Laura Jurd, but, following the cancellation of that gig, drummer david hassel and his trio intervened. Joining him was Andy Scott on tenor sax, and Nik Svarc on the guitar; the trio bears the name Hydra. A line-up like this immediately draws parallels with the Paul Motian/Joe Lovano/Bill Frisell trio, and there were some similarities: Svarc’s guitar playing had a Frisellian quality, particularly in the slower tracks but also in freer interpretations of songs like “All Bleus”. A Frisell track called “In Deep” actually made it into the set, although – ironically – Svarc’s playing here sounded more like John Scofield.
Dave Hassell’s drumming philosophy was very free and not as attached to timing as Max Roach or Kenny Clarke, so he also drew other parallels with Paul Motian. He also periodically released some rather unusual percussion tracks, at one point playing a broken beat on two squeaking pig toys (audiences found this very amusing). Andy Scott’s finest moment came on the ballad “My One and Only Love,” which the trio performed very freely and approached more as a song than an opportunity for long-form improvisation.
A concert like this, with a set composed almost entirely of standards, could have sounded like a jam session. These, however, were free and open interpretations of the songs that were far more interesting and engaging than that. The 10.30 a.m. time slot for jazz at the Buxton Festival – perhaps by the way – consistently featured quite innovative and unconventional music, helping to broaden the variety of styles.
Other jazz performances over the weekend came from Clare Teal, Xhosa Cole, Jay Phelps and the AMC Gospel Choir. Although the weekend is now over, the Buxton festival will continue over the next week, with more performances to come from NYJO, Jeremy Sassoon, Nigel Price and others.
The halls were constantly packed, showing that there is a demand here for this kind of music, and the apparent appeal of opera-goers was encouraging. This very first jazz program at the Buxton International Festival was something of a trial run; It was a resounding success. Jazz will surely be back in Buxton next year…
IT WAS a monumental victory for the Blues in the west, as they beat the Eagles by 63 points.
Keeping the West Coast to two scoreless quarters, Carlton delivered his best tally against the Eagles in Western Australia, aided by the performance of Charlie Curnow and Harry McKay in a combined 10-goal performance.
Sam Docherty and Adam Cerra both had 28 transfers, while Nic Newman contributed seven interceptions in a solid win for the Blues.
Having not beaten the Eagles in eight years (and not in Perth since 2010), the flight back to Melbourne will be pleasant for the Blues, who have given themselves a good percentage increase ahead of the final rounds of the season.
It was a dominating first term for the Blues, who managed to keep the Eagles completely scoreless. The game was competitive from the first rebound, played quickly and physically, with lots of choking and tackling. Zac Fisher got the first goal on the board, while Harry McKay produced an excellent chasing tackle that resulted in Charlie Curnow’s opening goal. Carlton’s forward pressure was immense, with West Coast failing to reach an inside 50 until the 17th minute of the quarter and Carlton leading 15-0 in halftime interceptions before – ending up being the main source of their goals. The Blues had the best of early clearances, giving them ownership of the field position. Curnow had three disputed points as well as two goals, while Corey Durdin and McKay also contributed goals to Carlton’s 34-point lead.
The West Coast definitely responded in the second quarter, scoring seven goals to Carlton’s three. Tom De Koning performed well in the ruck against Nic Naitanui and Bailey Williams but the Eagles managed to get things going for them in the middle which resulted in a more advanced half for the home side. Goals from McKay, Curnow and Durdin kept the Blues in the game, but other than that it was all on Eagles terms. The pressure from the Blues was down as the Eagles gained momentum, getting the upper hand on contested possessions (42-31). Josh Kennedy became a handful for Carlton in the defensive arc, while Lewis Young and Nic Newman fought valiantly. Matt Kennedy received the bulk of the clearances for the Carlton midfielder (six at halftime), using his physicality alongside Patrick Cripps to move the ball. Sam Docherty finished the half with five inside 50, gaining the most yards for the Blues, but after all his hard work in the first term, Carlton entered the main break just 10 points clear. .
It was a relatively even but messy quarter, with neither side able to open play. The Blues couldn’t get the start they were hoping for, missing a few key chances in front of goal. Curnow was a bright spark for Carlton, scoring twice on the season to take his tally to five for the game: his contested marking was crucial as an outlet for the Blues. Carlton was unable to mount the same pressure in his front line as he did in the first term, recording a front-half kicking efficiency of just 23% for the term. Young continued to provide a solid interception game and Adam Cerra fought back in the contest (seven possessions contested). Carlton had a purple smudge in the final five minutes of the season where he was able to hold the ball in his front half, keeping a 17-point lead going into the final change.
Carlton came out of the gates strong, as McKay scored back-to-back goals to extend the margin to 29 points. From there it was all Blues as Matt Cottrell and Patrick Cripps also scored a goal apiece to the delight of a vocal navy contingent in the stands. Even though the rain started to get heavier, Carlton was playing cleaner football than he had in the previous two terms. Cottrell provided clever play down the wing and the Blues consistently won the ball through the middle, pushing the ball forward at will after the stilted slog that preceded it. Sam Walsh was on another level, picking up 12 eliminations in the final quarter, including four scoring appearances and a goal. Carlton didn’t give up after taking a comfortable lead, increasing the pressure on the scoreboard with seven goals and again keeping the West Coast scoreless.
Three things about the game
1. Matt Kennedy was important for the Blues throughout the game, battling through the middle when Carlton was under the pump. Kennedy’s clearances and contested possessions were the hallmark of his game, while Adam Cerra also produced a polished midfield performance in familiar territory at Optus Stadium.
2. It’s not easy to maintain a dominant game for four quarters, but Carlton showed maturity by continuing to fight even when things didn’t go as planned. Facing a danger point in the second term, the Blues managed to even things up in the third quarter and finally broke in the last term, doing exactly what they needed for their biggest win of the season and their first against the opposition since 2014. It was an indication of the team’s growth in 2022.
3. Not for the first time in recent weeks, Tom De Koning has come up against a much-loved opposition ruckman and has certainly held his own. Against Nic Naitanui, De Koning finished with 17 hits, but it was his work on the field – recording a career-high 16 takedowns and six clearances – that allowed him to provide his midfielders with clear access to the ball. It’s safe to say that the emerging big has found his feet against some of the best rucks in the competition.
WESTERN COAST 0.0 7.3 8.5 8.5 CARLTON5.4 8.7 10.10 17.14
After a few false dawns and plenty of disappointments, 2022 could be the year Galway firmly establishes itself among Gaelic football’s elite for the first time in two decades.
As a result, Kilkerrin-Clonberne maestro Shane Walsh, a man described by his manager as ‘one of the finest footballers I’ve ever seen play’, could flaunt his considerable wares on the game’s biggest stage. .
Walsh has long been recognized as one of the most gifted footballers in the game, a two-footed wizard and the owner of Gaelic football’s most confusing sidestep.
In an increasingly choreographed sport, Walsh is a player apart – a jazz musician among the fixed dancers. If he is in tune tonight, Galway’s chances of overtaking Derry will increase significantly.
Inevitably, this sometimes leads him to be out of step with his teammates.
Running hand-in-hand with his instinctual skills is a propensity for the odd cerebral fart, most notoriously witnessed in the crucial final seconds of normal time against Armagh in the All-Ireland quarter-final, when he sprayed an absurd Hollywood cross ball into the clutches of Justin Kieran. after several far more cautious options presented themselves. The Ulster side had one last chance out on the pitch, from which they manufactured the equalizer to force an extra 20 minutes.
Galway supporters, so often elated by Walsh over the years, had their heads in their hands at the time (literally in many cases). And yet, Walsh managed to ignore the situation, surviving a bout of cramps in extra time before scoring the opening penalty of the shootout.
For you take the rough with the smooth with Walsh – and the good of his spectacular attacking ability far outweighs the harm of his intermittent decision-making faux pas.
While he still sometimes looks and has the enthusiasm of a brash young player, Walsh has been around for a long time and turned 29 last month.
He made his senior league debut on perhaps the most heartbreaking day in Galway football history – being introduced as a first-half substitute in that infamous 17-point mayhem at the hands of a ravenous side from Mayo to Salthill in 2013.
Galway football had been adrift in mediocrity for several years before, usually exiting the Championship on a July evening after an abject one-point loss to a mediocre side. The jolt of that 2013 defeat, a humiliating knockdown against their oldest rivals, played live on national television, may have served to wake them from their slumber. The bottom was reached. For the most part, they have followed an upward curve ever since.
Their rise has been uneven in the years since but, through it all, Walsh has been their brightest talent, the most feared member of their advanced arsenal.
In 2014, Galway returned to the All-Ireland quarter-finals for the first time in six years, Walsh decorating the last 12 win over Tipperary with a viral first-half score, controlling a 45 undercut with his in-step. , football style, then swinging on a point on the pivot.
YouTube is home to a few compilation videos featuring his finest moments, marred – as is apparently obligatory with these productions – by irritating musical choices.
With his acceleration, stylish elegance, ability to solo the ball at full throttle, side step and majestic finishing, Walsh looks at his best like a glorious amalgamation of Michael Donnellon and his manager Padraic Joyce.
Typical of Walsh’s approach is his free-grip attitude, where he switches between hand or ground kicks solely based on how he feels at the moment.
“I play on my gut,” Walsh told GAA.ie’s John Harrington in an insightful interview in June. “So if I feel like a ball should come out of the deck, it comes out of the deck. If I think it should come out of my hands, it comes out of my hands.”
Like Maurice Fitzgerald, he is known for hitting free kicks with the right and left. Walsh credited his elementary school principal Peadar Brandon with forcing him to strengthen his left side.
“He would give me about three or four weeks and when that block would come he would say I wasn’t allowed to kick a straight kick and it would be a free kick against me every time I did it,” he said. Walsh told the GAA website. “I like challenges, I like when people challenge me.”
Surprisingly, or maybe not, the individual awards eluded him. Galway, under the relentless stewardship of Kevin Walsh, left their early 2010s sluggishness behind to win a few Connacht titles in 2016 and 2018.
There was a perception – disputed by the manager – that the elder Walsh had sought to force his mercurial striker into compliance, forcing him to become another cog in a defensive system. Walsh (the player) scored just one point in four games in the quarter-final race in 2016.
In 2018, as Galway reached the All-Ireland semi-final, winning 11 of 15 league and championship games, Walsh was a much more lively and expressive presence, scoring 1-32 on aggregate, largely thanks to play .
His manager was adamant he should have been honored by All-Star selectors that year – Ian Burke of Corofin, in 2018, is still Galway football’s only All-Star of the last 18 years.
Despite protests from the previous manager, the perception was that Padraic Joyce was more inclined to let Walsh be Walsh.
In the 2020 Connacht final behind closed doors, a long-haired Walsh, now wearing an Alice band, was at his most characteristic, alternating between brilliant and frustrating.
As Galway struggled in a scrappy encounter, he slid down the left wing and kicked in two sensational runs, carbon copies of each other. Late in the game, however, he was overambitious from set balls, pushing two sideline efforts off the post and his side were trailed by one.
The following year, he was singled out for brutal attention.
After shaking the net early in Croke Park’s provincial decider against Mayo, he burned through the opposing defense for pace on the outside, feeding Damien Comer for the second. Within minutes he was thrown to the ground following a fight with Padraig O’Hora (how it started is disputed) and was turned into a virtual passenger for the rest of the afternoon, with Galway falling limply in the second. half.
He was also dragged into an MMA-style fight late against Armagh two weeks ago.
Those irritants aside, 2022 has already been a bumper year for Walsh and Galway and he delivered perhaps his most electrifying Championship display yet on the county stage in Connacht’s final against Roscommon.
A first All-Star award will surely be in sight if he lights up Saturday’s semifinal. One advantage for Walsh is that he is very, very far from a one-man squad, but rather a key part of a magnificent Galway attacking set of Damien Comer, Rob Finnerty, Paul Conroy et al.
“In my mind he’s probably the most skilled player in Ireland,” his former manager Kevin Walsh said on the Irish Examiner GAA podcast this week. “Shane loves his football, he never gives up on football. It’s football, football, football. And he’s so skilled you don’t want to take that flair away from him because he has it. He can make things happen.
“But the challenge for him and Galway – and it will be a bigger challenge for him than anyone else – is if he is starved for the ball or is sidelined all day and that doesn’t happen for him, he has to have the patience to be a team player and to make sure the ball isn’t kicked stupidly or sabotaged and just take the punishment.”
Listen to the RTÉ GAA podcast on Apple Podcasts, Soundcloud, Spotify or wherever you get your podcasts.
We need your consent to load this content rte-playerWe use rte-player to manage additional content which may place cookies on your device and collect data about your activity. Please check their details and accept them to load the content.Manage preferences
Singer Natalie Raikadroka entertains the crowd at the 2022 Woodstock Rising Music Festival
People are starting to turn up in droves to the 2022 Woodstock Uprising Music Festival at the Uprising Beach Resort to listen to local music and also get a taste of what the upcoming artists have to offer.
Elizabeth Waqavou, who is attending the event for the first time with her cousin, says they can’t wait to watch VT1 and plan to stay the night.
She says they are also at the music festival to meet new friends and have fun.
We ended up with other people who go to the festival to listen to music and have fun.
Some artists who will provide entertainment include Ratu, Billy T and the Gang, Sam Stephens, Natalie Raikadroka, OUVACAST, Mike Reymond and Blue Vein, Alby Eastgate and Neko Blue, the Gang, the RelatiV and DJ Christonite.
The winner of the Domo Vou Talei competition will be announced tonight, but they are performing now.
Domo Vou Talei Finalist Excited To Meet Her Idol At Uprising Music FestivalBy Navitalai NaivaluruaSaturday 09/07/2022
Finalist of the Domo Vou Talei competition, Sarah Blake
Finalist of the Domo Vou Talei competition, Sarah Blake is excited and delighted to be part of this year’s Woodstock Uprising Music Festival where she will meet her favorite local singer, Nicky Beddoes.
Beddoes is one of the performers who will entertain the crowd at Uprising Beach Resort while Blake will perform her original song titled “To Love and Be Loved” as part of the competition.
Blake grew up singing with her family and considers Soul/indie/RnB her specialty genre.
The 26-year-old says the competition gave her the confidence to start releasing more of her music.
Other artists who will provide entertainment include Ratu, Billy T and the Gang, Sam Stephens, Natalie Raikadroka, OUVACAST, Mike Reymond and Blue Vein, Alby Eastgate and Neko Blue, the Gang, the RelatiV and DJ Christonite.
The Uprising Music Festival has started and will end tomorrow at 1am.
The Fulton Jazz Festival (FJF) returns August 11-13 with jazz headliners Ronnie Leigh on Friday and Nancy Kelly on Saturday with world-class performances “that will take you on a musical journey like no other”, a declared the president of the festival. Joe Cortini.
“This year’s mix of talent, combined with the beautiful setting of Fulton’s Lock 3 Canal View park and marina, will give festival-goers a relaxing vibe to enjoy the best in jazz,” Cortini said. “Ronnie Leigh, a phenomenal jazz vocalist and local treasure, will be appearing at the festival for the first time and Nancy Kelly will be back, bringing her world-renowned jazz vocal styles and strong following to Fulton.”
Fulton Mayor Deana Michaels said the jazz festival is a must-attend summer event for the town. “Residents of Fulton, as well as residents for miles around, look forward to this festival every year,” she said. “It’s another shining example of bringing fantastic entertainment to one of our city’s beautiful New York State Canal locations.”
The festival kicks off at 7:00 p.m. Thursday, August 11 with a “Hail to the Aged” at Bullhead Point featuring the Oswego County Musicians’ Union Big Band Swinging led by Stan Gosek. Then, on Friday and Saturday, six more bands with everything from straight jazz to funk to R&B were featured, Cortini said.
The range is as follows:
Thursday August 11 – Bullhead Point
7:00 p.m. Oswego County Musicians rock the Big Band
Friday August 12 – Lock 3 Canal View Park
5:00 p.m. Morris Tarbell and the Hepcats
7:00 Ronnie Leigh
Saturday August 13 – Lock 3 Canal View Park
4:00 p.m. The Instigators
6:00 Nancy Kelly
8:00 a.m. Brown Skin Group
This project is made possible with funds from the Devolution Program, a New York State Council of the Arts grant program with support from Governor Kathy Hochul and the New York State Legislature and administered by CNYArts. This event is funded in part by the generous support of the NYS Canal Corporation and the Erie Canalway National Heritage Corridor. Once again, Fulton Savings Bank is the presenting sponsor and the Fulton Music Association is a major sponsor. For more information about the festival or sponsorship opportunities, call or text Fulton Jazz Fest at (315) 760-5299, or [email protected] The event is online at www.fultonjazzfest.com and on Facebook under “Fulton Jazz Festival”.
ROCKLAND — The 29th annual North Atlantic Blues Festival will take place Saturday and Sunday, July 16 and 17 at Harbor Park. As always, the performances on the first day of the festival will be followed by the Saturday nightclub tour downtown. Saturday or full weekend tickets waive club cover charges that night; there will also be bands playing on Main Street, which is closed to traffic that night.
NABF artists are: Anthony Geraci & The Boston Allstars, Chris Cain, Billy Branch & The Sons of Blues, Danielle Nicole Band, Ruthie Foster, King Solomon Hicks, Nora Jean Wallace, Albert Castiglia, Tinsley Ellis, Tommy Castro, and , playing between acts both days, Tas Cru & Mary Ann Casale.
The Midcoast Music Academy Blues Camp will open the festival on Sunday, July 17 at 10:30 a.m. And the blues fill the city on the Friday night before NABF as many local and regional bluesmakers playing the Saturday night club crawl perform previews. After the festival ends on Sunday, there’s the traditional All-Star Jam at the Trade Winds Inn’s Gray Owl Bar & Grill, which hosts Monday Night Blues concerts most of the year (one exception: the Monday after the festival ).
For those without advance tickets, admission wristbands are $45 either day, $75 for a weekend pass, at the door for adults; there is a $5 daily admission fee for children ages 6-12, free for younger ones. Doors open at 9am both days, rain or shine; bring lawn chairs, blankets and sunscreen; leave coolers, umbrellas, tents, pets and alcohol at home. There are food and merchandise vendors on site. For more information, visit northatlanticbluesfestival.com.
Tom Castro Photo by Victoria Smith
Sound bathing with didgeridoos, gongs in the amphitheater
Overuse injuries are common among musicians, just like athletes. But specialized medical treatment, long available to athletes, is beginning to make long-term recovery possible for many musicians who might otherwise have stopped playing.
The most common overuse injuries among musicians occur in the upper limbs. They are often diagnosed with carpal tunnel syndrome, tendinitis or bursitis of the shoulder or elbows.
Many musicians remain silent about the pain they feel, fearing it will change how people judge their performance. In some cases, the pain becomes so intense that they are forced to stop playing altogether.
Dr. Serap Bastepe-Gray was a classical guitarist when she developed an overuse injury in the mid-1990s. She struggled to find treatment and instead developed her own rehabilitation program. This prompted her to relaunch her medical career.
In 2015, she founded the Johns Hopkins Center for Music and Medicine. Its mission includes promoting the health of musicians. This is part of a growing field focused on preventing and treating overuse injuries in musicians.
According to Bastepe-Gray, 4 out of 5 professional musicians will suffer an injury during their career. Only one will fully recover. Two will continue to play but never fully recover. The other will stop playing.
“Obviously, if 80% of musicians face injury and it has dire effects on the musician, the idea that they’re going to get hurt, go to the clinic, get treatment and go back to playing doesn’t work.” , said Bastepe-Gray. told the Baltimore Sun in 2017.
Overuse injuries in general are often treated initially with rest, ice, compression, and elevation. Physiotherapy, injections, and the use of a splint to speed recovery can also be used. In more severe cases, surgery may be required.
There are four stages of an overuse injury: pain after physical activity, pain during physical activity that does not limit performance, pain that limits performance, and chronic, persistent pain even at rest . The earlier a pain is treated, the less likely it is to become a chronic condition.
Musicians are more vulnerable to overuse injuries when they go too quickly from short practice sessions every few days to long days filled with rehearsals and gigs. A failure to rest and recover properly also leads to injury, as does poor posture and form when playing.
Tomo Fujita, a professional guitarist and associate professor at Berklee College of Music in Boston, told NBC News that more time needs to be spent discussing injury prevention. Music schools and educators don’t spend as much time as athletic trainers teaching specific ways to prevent injuries, he said.
“It needs to be emphasized more and not just something you can get a newsletter about every three months,” he said.
Like athletes, cross-training is recommended for musicians as a way to reduce the risk of injury. Plus, instead of specializing at an early age, musicians can stay in better shape by playing multiple instruments, experts say.
Over the years a range of treatments have been developed to help musicians deal with injuries.
Physical therapist David Shulman, a former clarinetist and saxophonist, began specializing in treating musicians with repetitive strain and overuse injuries more than 30 years ago in the Baltimore area. It uses a variety of therapeutic methods, including massage, electrical stimulation, moist heat, and trigger point therapy, which release or soften muscle knots.
At Hopkins, Bastepe-Gray created a prototype smart guitar that can measure the force a player uses to strum the guitar. The goal is to train musicians to adapt their technique if they exert too much or too little force on an instrument. This can not only minimize the risk of injury, but also improve a musician’s performance, she said.
Aviva Wolff, a hand therapist at the Hospital for Special Surgery in New York, has developed a new approach to treating pain in the hands and arms using technology more commonly used in professional sports and to treat mental disorders. movement like Parkinson’s disease.
Wolff attaches motion sensors to musicians and uses multiple cameras to study the biomechanics of their playing. This way, she can identify any abnormal hand or body placement, or poor posture, that can aggravate an injury. She then uses the data to create individualized treatment plans for patients based on their movement needs.
KINGSTON — Barring a few lingering COVID-19 precautions, the Kingston Chamber Music Festival will return this year with a full in-person experience at the University of Rhode Island, featuring seven concerts over 12 days, including one at Westerly in United Theater.
Now in its 34th year, the festival is just in full swing, said pianist Natalie Zhu, who is in her 13th year as artistic director.
“The festival is in its prime,” Zhu said in a statement. “We have the most energy, vitality and potential. Artists from all over the world are showing strong interest in the festival. I hope to continue to welcome established artists and young emerging artists to our festival.
The festival, which opens on Wednesday, July 20 at its temporary residence at Edwards Hall on URI’s Kingston campus, will feature many rising stars; the Dover Quartet, named the greatest quartet of the last century by BBC Music Magazine; 26-year-old pianist Hilda Huang; Curtis-in-Tour; and Arx Duo.
As always, the festival will blend works by contemporary composers, such as Pulitzer Prize winner Caroline Shaw, Vivian Fung and Grammy Award winner Steven Mackey, with traditional masterpieces by legends such as Bach, Mozart and Schubert.
On Friday July 29, the festival will also pay tribute to URI alumnus and prolific composer Zachary Friedland, who passed away in October at the age of 31.
Friedland, who lived in Richmond, worked for years behind the scenes at the festival while attending URI and pursuing graduate school. Although he is only 31 years old, he has written over 50 compositions, including works commissioned for URI’s 125th anniversary celebration and the chamber festival’s 30th anniversary.
“I remember Zach being genuinely passionate and staunchly positive,” Zhu said. “As a member of the festival staff, he was responsible and efficient. He enjoyed spending time with the musicians between rehearsal breaks and all the musicians were very fond of him.
The July 29 concert will include Friedland’s “Riding Waves,” which was performed at the 30th anniversary celebration by Zhu and festival founder and violinist David Kim. Zhu will reprise his role on piano, with Ayano Ninomiya on violin.
“Zach’s music has a distinct upbeat style that represents his personality and spirit,” Zhu said. “Growing up with a complex illness, he faced every challenge with hope, courage and grace. Zach is an inspiration to us all.
The evening will open with “Prayer” by Ernest Bloch, part of his “From Jewish Life”, followed by “Riding Waves” and “Fantaisie” by Chopin.
“We will end the concert with Schubert’s sublime Piano Trio No. 1 – 40 minutes of lyricism and emotion. Forty minutes of mood swings and intriguing harmonic detours. Forty minutes spent remembering Zach Friedland, who, like Schubert, died at the age of 31,” she said. “I’ve given this program a lot of thought, and it’s the least I can do to honor a wonderful friend.”
On July 20, the festival’s opening night will feature the Curtis-on-Tour project, from the Curtis Institute of Music in Philadelphia, presenting a program by Mozart, Mendelssohn and Duke Ellington.
“It’s definitely a positive way to kick off the summer season in these changing times,” said Zhu, a Curtis alumnus. “All three compositions are full of charm and energy and fulfill our aim of combining new possibilities and perspectives with a deep appreciation of the roots of chamber music.”
Huang, who at 18 was the first American to win first prize at the Leipzig Bach Competition, will present her first all-Bach performance on Friday, July 22 at 7:30 p.m. at Edwards Hall. Huang, an advocate of modern interpretation of historical music, learned all of Bach’s partitas and toccatas and planned the unique recital exclusively for the festival.
Stars of the 2020 documentary “Strings Attached”, the Dover Quartet – violist Milena Pajaro-van de Stadt, cellist Camden Shaw and violinists Bryan Lee and Joel Link – take center stage for the next three concerts. On Sunday, July 24, the quartet will perform Shaw’s “The Evergreen,” along with works by Mozart and Ravel, at Edwards Hall.
On Thursday, July 26, the quartet debuts Mackey’s “Memoir,” a theatrical musical piece, featuring Arx Duo percussionists Mari Yoshinaga and Garrett Arney, and narrator Natalie Christa. Co-commissioned by the festival, “Memoir” is an adaptation of Mackey’s mother’s memoir, chronicling her struggles with alcoholism. The concert begins at 7:30 p.m. at the United Theater.
Back at Edwards Hall on Wednesday July 27, the quartet will perform pieces by Antonin Dvorák, Anton Arensky and Frank Bridge, joined by Zhu on piano and festival newcomer Yegor Dyachkov on cello.
“It was a dream of mine to bring one of the best young string quartets to Kingston,” Zhu said. “All three programs will fully demonstrate their artistry and creativity in both classical and contemporary repertoires.”
The festival closes on Sunday July 31 at 4 p.m. in Edwards with “a magical and kaleidoscopic finale” of Fung’s “Bird Song” and pieces by Ravel and Camille Saint-Saëns, performed by Dyachkov and Ninomiya festival regulars, Noah Geller , Clancy Newman and Reiko Uchida.
All concerts except the ‘Memoir’ performance will take place in the 900-seat Edwards Hall, 64 Upper College Road. Although seating at Edwards is not limited due to the pandemic, masks and proof of vaccination will be required for all concerts. For tickets and full concert information, visit the Kingston Chamber Music Festival website.
BMI’s 33rd Annual Jazz Composers Workshop Summer Showcase, held June 13 at Dizzy’s Club in New York City, showcased the best new jazz big band and orchestral compositions created during the 2021 season. -22 of the workshop. The evening was hosted by Music Director Andy Farber and Deputy Music Director Alan Ferber and judged by a panel of acclaimed jazz musicians and composers, including Michael Abene, Marcus Printup and Rufus Reid.
The BMI/New York Jazz Orchestra performed eight works, including “The Deep End” by Todd Anderson, “Vaqueiro” by Ann Belmont, “Water Lillies” by Patrick Cornelius, “The Goodtime Gardens” by Ethan Helm, “Summer’s Ending” by Mike Malone, “Tis Bottle” by Len Pierro and “Minor Feelings” by Rin Seo. After an evening of performances, “Jazz Portraits: II. Wayne Shorter” was chosen as the winning piece by the judges. In addition to receiving the prestigious Charlie Parker Jazz Composition Award, the BMI Foundation also awarded Sung the $3,000 commission from Manny Albam—named in memory of the studio’s late founder and longtime musical director—for compose a new piece that will premiere at next year’s showcase.
The evening concluded with 2021 award winners Chuck Iwanusa and Tracy Yang performing their commissioned compositions, “No Man’s Land” and “Sea Swell (Scene Taiwan II)”.
For more information on this renowned workshop and its history, click here. comics
June 21, 2022 11:37 am
Meghan Stabile, a promoter, presenter and producer, died on June 12 in Florida at the age of 39. The apparent cause was…
May 9, 2022 2:52 p.m.
It’s 2022. The pandemic persists, but life moves on in unexpected ways.
The obligatory passage to the video…
May 24, 2022 10:25 a.m.
The Detroit Jazz Festival announced its lineup for Labor Day weekend during a live preview event that…
May 31, 2022 12:07
Anyone who has spent time in New Orleans knows why it is also known as The City That Care Forgot. Between music and…
May 24, 2022 10:43 a.m.
Jazz has seen its share of legendary personalities — Buddy Bolden, Louis Armstrong, Charlie Parker, Duke Ellington,…
The Blues are facing a nervous wait for Matt Burton after the Blues rookie was ruled out of training with a calf complaint.
According David Riccio of the Daily Telegraphthe decision for the youngster not to attend the training was a precautionary measure.
While Burton is expected to play, if judged, Jack Wighton would likely come off the bench. The Raiders star was among NSW’s best performers in Game 1 before being left out of Game 2 in Perth after contracting Covid.
LAURIE DALEY MAROONS ADMISSION FOR ORIGINAL DECIDER
Former Blues manager Laurie Daley believes Billy Slater picked Queensland’s ‘worst team’ in the series and predicts the Blues will triumph in decider Suncorp.
Although Daley has faith in Brad Fittler’s team, he doesn’t think it will crush the Origin fans they witnessed in Game 2.
“New South Wales will win, I think they’re a good team,” Daley said Great sports breakfast from Sky Racing.
Stream every game from every round of the 2022 NRL Telstra Premiership season live and ad-free during play on Kayo. New to Kayo? Start your free trial now >
“I think Queensland for me is their worst team out of three (games).
“I didn’t say the worst team in history, I say over the three games.”
“I think it will be more than competitive, I don’t think you will get the score like we did in Perth.”
The former Kangaroo believes Queensland’s right edge was a defensive concern in Game II and with Felise Kaufusi ruled out as the original decider, Daley sees Jeremiah Nanai and Dane Gagai as defensive liabilities.
“They have issues defensively, when you really look at it,” Daley said.
“Their right edge, Kaufusi isn’t there to help (Daly) Cherry-Evans, so he’s going to have Nanai there who was poor defensively in this game.
MORE NRL NEWS
‘PICKING AND CHOOSING’: Latrell loophole revealed after Blues shock call
RESSIES WRAP: Dumped Sharks star sends message as Roosters dig up teenager
TEAM TIPS: Broncos confirm FIVE injuries; The Knights star duo are set to return
WHISPERS: Souths poach Broncos teenager as Panthers ‘watch’ Burton return
“Sometimes for the Cowboys he’s been solid without being great defensively, you’ve got Cherry (Evans) who can make bad decisions, you’ve got Gagai who’s missed a lot of tackles throughout this Origin campaign, young Selwyn Cobbo on the wing that didn’t play well in Origin II.
“They’re not all going to play badly, but I still see issues in that Queensland right side defense and I think New South Wales with the combination of Burton, Luai, Cleary, Yeo, they’re doing it as well as anyone to be able to rip a team apart on the edge there.
THE FREDDY SHIFT WHO SEALED THE FATE OF STAR BLUES
A clear change in tactics from Brad Fittler and the Blues sealed the fate of Jack Wighton after the Raiders star was a shocking omission for the State of Origin decider.
The Blues entered Game 1 with Damien Cook at No.9 and no substitute hooker on the bench.
Queensland, meanwhile, launched Ben Hunt while Harry Grant came off the bench and made an immediate impact against the Blues’ tired defenders as the Maroons ambushed NSW in Sydney.
Fittler responded by adding Panthers hooker Api Koroisau to the starting lineup while Cook was benched for Game 2. It proved a masterstroke as the Blues tied the series in Perth.
It meant, however, that there was no room for Wighton on the bench for Game 3 once Fittler decided to stay with Stephen Crichton and Matt Burton in the centres.
This was despite Wighton being among the Blues’ best performers when the series opened and only missing the clash at Optus Stadium after contracting Covid.
” It was hard. Sifa (Talakai), the versatility he gives us on the bench is why we chose Sifa over Jack,” Fittler said on Monday.
“We considered [playing Wighton at centre] but I think what Matt did in Game 2 offered just a bit more. What Jack brings is very different from what Matt brings.
“We have two very young centers there. It’s a very difficult position to play and we’ve probably been a bit vulnerable there, so we have some work to do.
NSW councilor Greg Alexander shed light on the decision when he appeared on NRL360 on Monday night.
“It was definitely not something to be taken lightly and there was a lot of talk last night at the end of the round,” he said on NRL360.
“When we decided that Stepen (Crichton) was going to stay in the centers with Matt Burton, it was a question of who could fill a place on the bench.
“The fact that we had a hooker on the bench made us lean towards a player who could not only play in the center but also in the back row.”
Responding to Alexander, David Riccio of The Daily Telegraph agreed that the Blues could not afford to pick Wighton if he was not going to start.
“For me, I don’t see how you get Wighton on the bench when Damien Cook is already there and you lose another striker,” he said.
In an effort to create healthy pop music, Utah musician Guy Richey Gibbons has released an album that he hopes will have positive influences, especially for children. (Michael Gibbons)
Estimated reading time: 5-6 minutes
NORTH SALT LAKE – In an effort to create wholesome pop music the whole family can listen to, local musician Guy Richey Gibbons recently released an album in hopes that the messages in his songs can be a positive influence, especially for children.
Gibbons describes music as being in his blood, as he grew up with the son of the owner of Platinum Sound and Mastering Labs, the oldest and oldest commercial recording facility in the state of Utah.
“From an early age, I had the chance to hear (the language of music) spoken and…I had the opportunity to kind of respond, if you will,” Gibbons said.
He started taking piano lessons at age 9 and absolutely hated the instrument. He was thrilled when his piano teacher had to step away six months into his lessons, but about a year later changed his tune after hearing his brother’s friend play Ben Folds’ ‘Underground’ Five.
“There was something cosmic that happened and…my soul changed,” Gibbons recalled. “And it was like a turning point for me in my life to see him play that piano thing – I begged him that night to teach me that piano thing, and within a day or two I had it memorized. and I played it fluently.”
Over the next few years, Gibbons played the piano for five hours a day. He could not read music but was able to play by ear. When he was 12, he and his father co-wrote a song called “I Believe” which was featured on the 2003 album Especially for Young People of The Church of Jesus Christ of Latter-day Saints.
Due to his young age at the time, his voice is not the one on the album. Instead, a man named Brett Raymond was hired to perform the vocals. Ten years after the song was recorded, Gibbons found himself on Raymond’s doorstep, asking for his daughter’s hand in marriage.
I’m making this record — to provide a pop/rock alternative for people of all ages, everywhere. Songs about love but not about sex – pop without profanity – music about life, true love and, of course, truth.
–Guy Richey Gibbons, Utah musician
Guy and Kelsey Gibbons share a passion for music, but they felt alienated from pursuing full-time careers when they first married. Instead, Guy Gibbons started a marketing company. Looking back, he can see that he wouldn’t have had the same goal behind his recent album if he had started it ten years ago, before his five children came into his life. Now his goal — to make sure families can listen to music together — is inspired by finding entertainment he feels comfortable bringing into his home.
“I don’t think my 3 year old needs exposure to the top 10 pop songs about free sex…but I want them to have love songs in their minds, I want them to are singing love songs all the time, and I want them to sing songs about life and struggle and going through tough things, but overcoming through hard work,” Gibbons said.
About 6 months ago, he started taking regular time off work to work on his album, titled “In This Moment”. The album contains nine original songs and one cover. Gibbons wrote eight of the songs himself and co-wrote one with his stepfather.
Gibbons said the songs he wrote come from his heart and are about life, love, truth and the things that matter to him.
“I’m just excited to share this with people,” he said. “I really hope a lot of families resonate with the fun messages in these songs.”
About his mission as an artist, Gibbons wrote: “If you look up the top 10 pop songs today, you’ll find that the majority of them are offensive in some way. Vulgarity, disrespect/violence, immorality, drugs, etc… It’s no small thing. cancerous. That’s why I’m making this record – to provide a pop/rock alternative for people of all ages, everywhere. Songs about love not sex – pop without profanity – music about life , true love and, of course, the truth.
Gibbons shared some of the specific messages he conveys on his album, including from the title track, “In This Moment,” which he says is about learning to stay in the moment instead of just trying. to get through the tough times in life. He wants his listeners to learn the beauty of enjoying the gift of the present.
There are a few songs on the album related to mental health, including one called “I’ll Be the One,” which refers to people who are there for their loved ones no matter what’s going on in their lives.
“I think that message means a lot with this mental health epidemic we’re seeing all over the world today,” Gibbons said. “How many young people need to hear this and feel this and know that there are people out there who no matter what, we are here for you, we want you, we love you, we want you stay. And we’ll be the one to fight for your life even if you feel like it’s worth nothing, it’s worthless. It’s for us, it’s for me. And it’s where does this song come from.
Gibbons’ album is available on bandcamp and can be streamed on any platform. To follow Gibbons’ music, visit his YouTube and Instagram.
Most recent arts and entertainment articles
Meg Christensen is an avid reader, writer and language snob. She earned a bachelor’s degree in communications with a major in journalism in 2014 from Brigham Young University-Idaho. Meg is passionate about sharing inspiring stories in Utah, where she lives with her husband and two children.
The Northern Nights Music Festival takes a revolutionary step with its interactive cannabis program, featuring dispensaries, stages and more!
For those looking for an original festival experience, Northern Nights Music Festival has what you need for an immersive and relaxing weekend nestled in the Mendocino Forest at Cooks Valley Campground this July 15-17. At just under two weeks away, festival-goers are eager to see top artists like Claude VonStroke, Trees, CloZee, Troy Boi, and Wreck all included in a wonderful camping experience.
Now, to add to their style, Northern Nights have announced their highly anticipated full cannabis program featuring themed stages, dispensaries, chill out areas and more for all music and cannabis lovers out there! Companies like Pier Extracts, Abx, Humboldt Seed Coand others will create massive stage takeovers, and there will also be dispensaries at every stage to buy and try products, which has never been done before – right under the lasers!
Another new experience will take place right next to the Eel River, rightly named the Eel River Dab-Grab-N-Go. This will be an exclusive space for attendees to converse and mingle with Emerald Cup winners with their stations to grab award-winning cannabis products like hash, joints or infused drinks and take a dip in the river !
Scattered all around the festival, chill-out areas will be designated, for those looking for a cigarette break from the dance floor. The Mendocino Tree Fair will include food and produce for sale, as well as an exclusive Hash Bar by Select terpene tasting experience. For memorable experiences, admire art at The Grove or consult the Tree Lounge Farmers Market. Without a doubt, no festival is complete without its education and well-being space, where The lucky box will provide an elevated version with all kinds of workshops, move sets and surprise sets from artists in the lineup.
Limited tickets and camping passes are still available on the official Northern Nights website. Don’t sleep on this one, we’re anticipating a magical weekend upon us!
Follow Northern Nights Music Festival on social media:
The Kings continued to make moves on and off the court on day two of the California Classic at Chase Center in San Francisco.
Rookie guards Keon Ellis and Frankie Ferrari combined with second-year center Neemias Queta to lead the Kings to an 81-64 victory over the Miami Heat. First-round rookie pick Keegan Murray struggled after shining in Saturday’s win over the Golden State Warriors, but the Kings remained undefeated at the California Classic with one game to play against the Los Angeles Lakers on Tuesday.
The Kings also made another addition to coach Mike Brown’s staff. A league source told the Sacramento Bee that the Kings are hiring Utah Jazz video coordinator Charles Allen as the head video coordinator and special assistant to the head coach.
There has been no official word on the fate of assistant coaches Stacey Augmon, Lindsey Harding, Jonah Herscu, Rico Hines or Mike Longabardi, who were on the coaching staff last year. Both Harding and Herscu are part of the team’s summer league staff, which could be telling considering the league’s new year kicked off on Friday. Augmon, Hines and Longabardi could be gone, but the team has yet to confirm their departures.
New associate head coach Jordi Fernandez leads this summer team for the Kings, who will travel to Las Vegas after the California Classic to defend their championship in the NBA Summer League.
Ellis, a 6-foot-6 guard who signed a two-way deal with the Kings after leaving Alabama undrafted, scored a game-high 17 points in Sunday’s win over the Heat. He went 6 of 8 from the field after going 0 of 5 in Saturday’s win over the Warriors.
“For me, what is most impressive about Keon is his defense,” Fernandez said. “He keeps very strong, keeps bodies in front of bodies, and he’s long.”
Queta, a 7-foot center from Portugal, finished with 14 points, four rebounds, two steals and a blocked shot. Ferrari finished with 11 points on 4-of-5 shooting with five rebounds and six assists.
Ferrari, a 26-year-old point guard, was a college star who was not drafted from the University of San Francisco in 2019. He spent a summer in the league with the Jazz before heading overseas to playing professionally in Spain and Germany, but his career was plagued by injuries.
Ferrari announced his retirement for health reasons in October 2021. He came out of retirement in January to join the G League Santa Cruz Warriors and signed with Basket Zaragoza of Spanish Liga ACB before agreeing to play for the Sacramento summer league team.
Jason Anderson is an award-winning sportswriter for The Sacramento Bee. He began his reporting career at The Bee over 20 years ago and returned to cover the Sacramento Kings in September 2018.
Since signing a four-year, $16 million contract in 2018 and returning for a third term with the Blues, David Perron has scored 94 regular season goals.
Only 45 players in the NHL have scored more in that span. Of those 45 players, only one player — Evander Kane — had a lower salary cap last season than Perron’s $4 million. And that’s only because a series of off-ice issues led to Kane’s $7 million-a-year contract being terminated by San Jose last January. He played for just $2.1 million when he resurfaced later in the season with Edmonton.
The point to all of this is that Perron is over his contract; the Blues got him for a bargain based on how well he produced over the four seasons.
It should be noted that most of those 45 players who beat Perron won over $4 million. Of them, only Mike Hoffman ($4.5 million) and Elias Lindholm ($4.85 million) played for less than $5 million last season.
And many players who have earned more than Perron’s $4 million have scored less than 94 goals over the past four seasons.
People also read…
Finally, we have to add that Perron has been even better on the power play over the duration of this contract – his 33 power play goals are tied for 19e league over the past four seasons.
If Perron was five years younger, he would be entitled to a big raise. But he is 34 years old. It’s an age where most players slow down, but Perron didn’t receive that rating. He’s more productive than ever, with his 27 goals last season, his most in 11 seasons with St. Louis and the second most in 15 NHL seasons.
Beyond that, he’s become a team leader, despite not wearing a “C” or “A” on his shirt. He’s the kind of fiery competitor who drags his teammates into the fight. He doesn’t shy away from big moments, as evidenced by his team-high nine goals in the playoffs.
So what are the Blues doing about it? How do they keep Perron? As always, it’s about how much and for how long. Contract length is more important for older players – they always seem to want to add another year to the end of the contract.
There have been rumors that Perron was taken aback by the Blues’ offer – and not in a good way. But no one really talks – in public or even behind the scenes. During his exit interview over a month ago, Perron made it clear how much he would love to return to St. Louis.
The feeling is mutual on the part of the Blues.
“Our goal is to see if we can find a way to make David ‘whole’ or happy,” general manager Doug Armstrong said recently.
The Blues remain optimistic that they can do something. But with the free agency period fast approaching — it begins July 13 — Perron and his agent Allan Walsh may want to see what happens. In other words, test the market.
The Blues have just over $9 million in cap space according to CapFriendly.com, so getting Perron under the cap this year isn’t much of a problem. But the following season (2023-24) looks like another matter with Ryan O’Reilly, Vladimir Tarasenko and Ivan Barbashev all scheduled for unrestricted free agency, and Jordan Kyrou and Robert Thomas in line for substantial raises as restricted free agents eligible for arbitration. .
Kyrou and Thomas are both $2.8 million over the cap this coming season. If they play something like they did in 2021-22, they could at least double that in their next trades.
One of the reasons the Blues have remained highly competitive over the past decade is that they have stayed out of salary cap hell. Armstrong and assistant general manager Ryan Miller avoided painting themselves in the corner of their caps.
So while the Blues — and their fans — want the Perron contract situation to end as a feel-good story, they’re not there yet. It’s a little complicated.
Overall as attackers, the Blues are in an enviable position. Of the 13 players who finished the 2021-22 season on St. Louis’ roster, only two have expired contracts this offseason in Perron and fellow 30-year-old Tyler Bozak, who is also slated for free agency without restriction. None of the Blues’ top 13 forwards are slated for restricted free agency this offseason.
The league-wide average per team forward is five free agents pending. Arizona has a league record of 10 with seven pending unrestricted free agents and three restricted free agents. Colorado is right behind at eight – six UFAs and two RFAs up front.
The New York Islanders are the only team in the NHL in better shape than the Blues with only one free agent waiting at forward in RFA Kieffer Bellows.
Bozak, the Blues’ oldest player at 36, is in a similar position to last year. The Blues will allow him to see what happens in free agency and could come back to him later. He didn’t sign last year until September 14, just nine days before the start of camp.
Bozak was an astute and respected role player with the team for four seasons. But he missed 20 games with a groin tear last season and struggled to adjust to a lesser fourth-line role last season.
His return could be tied to what’s happening with unrestricted free agent Dakota Joshua, who played well for the Springfield Thunderbirds in the playoffs with seven goals and eight assists in 18 playoff games. Joshua appeared in 30 regular season competitions and one playoff game for the Blues last season and is expected to push for a place in the opening roster if he re-signs with the club.
The latest STL Blues hockey news, NHL headlines, scores, standings and rosters.
It’s clear to moviegoers that a new trend that’s currently holding up at the global box office is the biopic. Opening a door into the previously undocumented private lives of some of history’s most important and iconic cultural figures has proven to be a draw for audiences.
Related: Best Musical Biopics of the Last Decade Like Elvis (And Where to Watch Them)
The latest wave of biopics has seen some of music’s most important stars translated to the big screen, from Elton John at Freddie Mercuryand the most recent version of by Baz Luhrman blockbuster film exposing the life of the King of Rock’n’Roll himself – Elvis. But what about the rest of the legendary musicians who have been overlooked and deserve their stories told?
COLLIDER VIDEO OF THE DAY
The founding member and frontman of the iconic rock band Red Hot Chilli Peppers dove into his past and personal life in his biography scar tissue. Reflecting on his remarkable experiences from his childhood and his days in the band, Kiedis’ long and turbulent relationship with drug addiction from an early age and his path to sobriety and his relationship with his bandmates are as emotional as they are dramatic. .
One can’t help but wonder what would happen if directors like the Coen Brothers Where David Lynch got their hands on his story.
Dolly Parton remains one of the most important and iconic figures in not just country music culture, but the entire music industry. Her rise from a twelve-year-old child living in poverty to selling over 100 million records is both inspiring and full of stories. Her resilience, individuality, and charisma are just three of this blonde bombshell’s endless attributes.
Related: Dolly Parton’s Run, Rose, Run Acquired by Sony Pictures
With a career spanning over 50 years and still going strong, it’s hard to wonder why Dolly’s story hasn’t been told. actresses such as Lily James, Reese Witherspoon Where Scarlett Johansson would bring the vibrancy Dolly brings to the big screen and the honor she deserves.
Another blonde bombshell with an abundance of talent is MacFleetwood singer Stevie Nicks. Fans only have to listen to his words to hear his powerful and emotional take on life and his experiences. The relationships with his bandmates and his on/off relationship with Lindsey Buckingham have so much potential to reflect in the form of the film.
Stevie’s naturally theatrical presence and effervescence throughout her life deserves to be honored in the timeless method of filmmaking. Daughter of Carrie Fisher, Billie Heavywould put on the shawls and top hats beautifully, gifted with the voice to match.
The Canadian singer-songwriter and powerful poet has offered the world his beautifully written lyrics and messages throughout his career. His evolving relationship to spirituality and religion is rooted in his family and upbringing, shaping his view of the world around him.
Related: Trailer for Hallelujah: Leonard Cohen, A Journey, A Song Highlights Rise of Iconic Song Her series of romantic relationships acted as her muse for her work, with the tumultuous relationships providing the drama needed for a successful biopic.
The first woman to hit number one in the UK with her own self-penned song deserves her story to come to life. by Kate Bush unique and wacky music and style blew audiences away in the 1980s and gained popularity through The Duffer Brothers using his 1985 hit song “Running Up That Hill” in the most recent stranger things series. This refreshing resurgence has many viewers wondering who is Kate Bush?
Related: Stranger Things Season 4: Why Kate Bush Was The Perfect Choice For Max
The progression from an amateur family musician to a completely artistically independent musician would be a tale worth writing. Since the release of her album The Dreaming in 1982, she has produced all of her own work, watching this journey of how a woman in the 1980s gained this independence would be a gift.
Cat Stevens/Yusuf Islam
The music of Yusuf Islam (commonly referred to as her stage name cat stevens) has been heard in several major blockbusters, including Marvel’s 2017 Guardians of the Galaxy Vol.2. What is most interesting about the folk singer is his contact with death which prompted him to devote his life to the Islamic religion.
Always a spiritual being from an early age, the journey is evident throughout his music and would be a fascinating watch for audiences. Opening this door to the deep and meaningful discovery of Stevens’ faith and reintroducing it into music channeling that spirituality provides that progression and emotional connection that narratives in a great motion picture desire.
One of the greatest artists of the 20th century, by Frank Sinatra the story was to be told by the great Martin Scorsese, but unfortunately, this project was abandoned due to the intervention of Sinatra’s family. However, many still believe his story deserves to be shown on the big screen.
From his early days as a singer to award-winning actor, his tumultuous personal life, and his mysterious connection to the mob, the dramatic potential of storytelling is immense. The director who will do the justice Sinatra deserves is undoubtedly Scorsese, but who would be brave enough to take on the task of portraying the legendary crooner?
The Gallagher Brothers
The two singers of one of the best British groups of the 1990s, Liam and by Noel Gallagher relationship was one of the most famous in entertainment culture, often surpassing Oasis celebrity. Well-known for their personality clashes and often extremely public displays of aggression towards each other, fans often wondered what happened behind closed doors.
Having a dramatic and revealing film depicting the creative and often personal battle going on between the brothers would shine a light on both sides of the story. As Oasis was one of the figures of the Brit-Pop movement, it’s only fitting that a British director could capture the raw feel of the brothers throughout the 1990s – Danny Boyle would treat history with the respect and courage it desires.
Often considered one of the greatest singers of all time, Karen Carpenter The story of life is a tragic and heartbreaking story. Idolized by many great singers today, Karen was part of the brother/sister duo The carpenters, singing with his musician brother Richard. Convincing her family to buy her drums, Karen began her fascination with music, eventually discovering her beautiful and soulful voice.
Her failed marriage, difficult relationship with her parents, and her body image and anorexia issues ultimately led to her demise. His songs and incredible voice endure, and his story is one of resilience and tragedy.
Pioneer in several genres of music, Stevie Wonder is an example of strength and perseverance. From a child prodigy to one of the best-selling artists of all time, Wonder was a prominent and strong figure in the equality movement, fighting to make Martin Luther King Jr’s birthday a federal holiday in 1980. His success in the face of adversity is something not only admired but recognized.
Despite his blindness, Wonder never wavered from his talents and determination to do what he loved, a heartwarming and empowering story of a man doing what he loved despite his setbacks. A must-see movie.
Next: 10 LGBTQIA+ Biopics To Watch This Pride Month
SLLMF artists perform in concert during the 2021 season. Photo submitted
The Sebago-Long Lake Music Festival will celebrate its 50th anniversary during this summer’s concert season. The Festival will celebrate with five concerts at the Deertrees Theater in Harrison.
Music Director Mihae Lee said: “We are delighted to be back at Deertrees for a full five week festival celebrating our Golden Jubilee season. Featuring twenty-four outstanding and acclaimed musicians this summer, our programs will feature many beloved masterpieces by Beethoven, Bizet, Brahms, Mendelssohn, Piazzolla, Poulenc, Ravel, Schubert, Schumann and Shostakovich, as well as lesser gems. known. chamber music repertoire, such as works by Donizetti, Fiala, Foote, Handel-Halvorsen, Prokofiev and Weber. Plus, we’re thrilled to include a beautiful piece from the famous 20e African-American composer of the century William Grant Still. Finally, we look forward to the world premiere of our own commissioned work by Maine composer, Beth Wiemann, which will evoke the beauty of the Maine Lake District.
The five Festival concerts at the Deertrees Theater take place on Tuesday evenings at 7:30 p.m. on July 12, 19 and 26 and August 2 and 9.
July 12 DONIZETTI: Trio for flute, bassoon and piano BETH WIEMANN: “The Lake Guide” (2021), commissioned by the SLLMF BEETHOVEN: Septet in E flat major for winds and strings, op. 20
July 19 WEBER: Flute Trio in G Minor, Op. 63 PIZZOLLA: History of Tango for flute and guitar SCHUMANN: Piano Quintet in E flat major, op. 44
July 26 FOOTE: Nocturne and Scherzo for flute and string quartet SHOSTAKOVITCH: Piano Trio No. 2 in E minor, Op. 67 SCHUBERT: String Quintet in C major, D. 956, op. 163
August 2nd HANDEL-HALVORSEN: Passacaille in G minor for violin and cello FIALA: Duo Concertante for oboe and bassoon POULENC: Trio for oboe, bassoon and piano BIZET: Selections from Child games for piano four hands, op. 22 MENDELSSOHN: Piano Trio No. 2 in C Minor, Op. 66
August 9 PROKOFIEV: Overture on Hebrew Themes for clarinet, strings and piano, op. 34 WILLIAM GRANT STILL: Folk Suite No. 2 for flute, clarinet, cello and harp RAVEL: Introduction and Allegro for harp, flute, clarinet and string quartet BRAHMS: Piano Quartet No. 1 in G minor, Op. 25
For more concert and artist information and to purchase tickets, visit SebagoMusicFestival.org. Individual tickets are $30 per concert; season tickets are $125. Deertrees Theater applies a heritage fee to each ticket. In addition to online purchases, tickets can be purchased at the door on concert night. Season-only passes are also available by mailing your check to SLLMF, PO Box 544, Harrison, Maine 04040.
ESPN’s Brian Windhorst suggests something big could be brewing in Salt Lake City
(Trent Nelson | The Salt Lake Tribune) Utah Jazz center Rudy Gobert (27) chats with Utah Jazz guard Donovan Mitchell (45) as the Utah Jazz host the Denver Nuggets , NBA basketball in Salt Lake City on Tuesday, October 26, 2021 .
That’s the question Brian Windhorst asked repeatedly on ESPN’s First Take Today. “Why would the Jazz do that? »
Why would Jazz do… what?
Trade Royce O’Neale to the Nets for a future first-round pick?
He might also have asked, “Why would the Nets do that?”
He said the whole NBA is waiting/waiting to find out what’s going on in Utah.
Because… something is happening.
Windhorst’s tacit insinuation is that the Jazz are up to something big.
He compared what Danny Ainge did in Boston when he first hired NBA head coach Brad Stevens to a long-term deal and traded Kevin Garnett and Paul Pierce for whatever Ainge does in Utah, after Quin Snyder left and first-time head coach Will Hardy signed a…yes, a long-term contract.
Would Ainge have the cojones to duplicate the other part of his action with the Celtics, namely trading both Rudy Gobert and Donovan Mitchell?
And rebuild with whatever he might get in return, be it draft picks or new-to-this-market stars?
Danny Freakin’ Ainge.
Never doubt a man who bit off Tree Rollins’ finger during a game. (I know, I know, it was Rollins who bit Ainge, but no one seems to remember it that way.)
Why would the Jazz do that? All the league leaders are doing what they never do, what no one else does around the NBA – pay close attention to, care deeply about, wait to see what happens in Utah.
It’s almost as if nothing happened, all the air would be forced out of the balloon here.
But something has to happen because the Jazz have sent all their wings, which is the most coveted position in all of basketball right now. Remember when this most important designation was reserved for point guards and centers?
Well, not anymore.
It’s wings – and the Jazz has practically none.
It just can’t hold up, at least not in the long run, not if the Jazz are genuinely interested in winning. They need athletic shooters/defenders. It’s not optional at the top of today’s NBA. It is a must.
Not that the Jazz already have athletic wings in their fold. But now they have almost no wings. The wings make you fly.
And the Jazz are grounded.
Why would the Jazz do that? Why?
Another question then is, how will Jazz fans react if the team goes into rebuilding mode? If it doesn’t go into full rebuild mode, how will they react to a major rearrangement? Towards new stars? Towards a new style of play?
It’s a lot bigger than changing the team colors, and everyone saw how that happened.
Did Ainge take a look at what’s going on here and decide there’s no future for Jazz with the combination of Mitchell and Gobert? All those early-round playoff losses being his proof? Didn’t he like the vibe, the team culture, the attitude or the ability of his top guys, especially since the team was in the luxury business?
What’s going on in Utah?
Something. This is the most comprehensive answer anyone has at this time.
Maybe something big. Maybe something that changes the franchise.
Windhorst’s monologue lasted two minutes, with everyone around the table captivated by his question(s). If you haven’t seen this clip, check it out online.
Brian Windhorst just ran the First Take office in circles. They were hanging on his every word for over 2 minutes 😂😂. Absolute masterclass. pic.twitter.com/Q1vn6mD9iz
The All Blacks are set to face Ireland on Saturday night with two of the Blues’ most promising players making the most of their first-camp opportunity.
Earlier this week, Blues winger Mark Telea received a squad call after Will Jordan was ruled out with Covid.
This follows a stellar season with his Auckland side winning a franchise-record 15 games in a row en route to the Super Rugby Pacific Grand Final.
Telea told 1News that her family couldn’t hold back their tears when they found out.
“It was one of those unexpected calls. I was with my old lady and my old man at home and we were just having breakfast and after they got the call I told them and they started crying. It’s a moment I will cherish for the rest of my life,” Telea said.
His Blues team-mate, Stephen Perofeta was also selected for the All Blacks for the first time after an impressive Super Rugby season which saw him finish as the top points scorer with 129 points.
Perofeta admits that being in the new environment has been a challenging but also rewarding experience.
“It has been a special week. It’s quite comprehensive and the intensity is on another level. My brain has been overloaded to be honest, but there are a lot of boys who are willing to help, which has been huge for me.
The pair won’t dress to play at the weekend but will support their teammates from the touchline.
Eden Park is expected to be an electric atmosphere with a sold-out crowd ready to welcome another year of international rugby.
Bishop Mark J. Seitz of El Paso, Texas gave the first commencement address at the opening ceremony of the National Association of Ministerial Musicians convention. (Recording photo by Ruby Thomas)
Pastoral musicians from across the country gathered at the Galt House Hotel in downtown Louisville for the opening ceremony of the 45th convention of the National Association of Pastoral Musicians on June 28.
Bishop Shelton J. Fabre welcomed the gathering, telling them that he hopes the event will serve to strengthen them in their ministry. He also thanked the musicians and said music, like prayer, should “call people to action”.
Those gathered heard from Bishop Mark J. Seitz of El Paso, Texas, who gave the first keynote address titled “Veni Creator Spiritus.” Bishop Seitz opened his speech by asking the musicians “Have you received the Holy Spirit?
“I don’t expect you to walk out of here speaking in tongues,” he said, noting that he wanted them to be filled with the Holy Spirit and the gifts of the Spirit. “We cannot do our job, we cannot live without the work of the Holy Spirit,” the bishop said. “The glory of God is a fully alive human being. We cannot be a Christian without the gifts of the Spirit.
Participants sang at the opening ceremony of the 45th convention of the National Association of Pastoral Musicians at the Galt House Hotel on June 28. (Recording photo by Ruby Thomas)
The theme of the convention was “Tested by Fire: Renewed and Transformed”. Bishop Seitz said renewal and transformation is “what the spirit does.” Over the past two years, the bishop said people have been tested. “This tiny little virus came in and turned things upside down,” he said. Instead of the music that filled the churches, it was silence. “Singing was bad for your health,” he said. For pastoral musicians, it may have felt like “the spoken word has been taken out of your life’s work,” he said.
Bishop Seitz told the gathering that although their ministry has been tested, their work is essential for the church. “I believe you are an essential cog in the renewal to which God is calling us,” he said. “Let us pray for the Spirit to guide us.” Jennifer Kluge, who is the association’s national director, said the theme for the convention speaks to the challenges that pastoral musicians have faced over the past two years.
The 2020 convention has been canceled due to the pandemic. As parishes emerge from the pandemic, pastoral music directors across the country are trying to find a “way forward,” she said. “As churches continue to reopen and congregants return, liturgical music directors are finding things have changed,” she said. They find that the choirs are smaller because some worshipers are not ready to return. Some parishes are grouped together and only require one musical director. “Headmasters are realizing that parishes haven’t gone back to the way they used to do things,” she said. Yet the mission to improve liturgical music remains the same. “We are always looking for ways to improve,” she said.
Brad Fittler has shown he has the steel and courage to make massive changes to a losing team, but can he adopt the same philosophy to change a winning team and break a 17-year drought?
NSW have not won a decisive game at Suncorp Stadium since Andrew Johns inspired the Blues to a series victory in 2005.
Fittler proved his critics wrong by engineering a resounding 44-12 win in Origin II following seven changes to the team that lost to the Maroons 16-10 in the series opener.
Stream the FOX LEAGUE State of Origin Game 2 REPLAY on Kayo ad-free during gameplay. Full and condensed replays available from 10:45 p.m. AEST Sunday. New to Kayo? Try free for 14 days >
But the Blues found themselves in a decisive game at Suncorp just two years ago following a thrashing from Queensland in Game 2 and were beaten 20-14 by a Maroons side who have been dubbed the worst of the Origin story on paper.
A decider in Brisbane presents the Blues with unique challenges and they can’t just switch with the same team hoping for the same beating they produced in Perth.
In 2020, Fittler kept the exact same side that beat Queensland 34-10 in Game 2, but they ultimately fell at the final hurdle in front of a parochial Queensland crowd.
Fittler knows that a decision maker in enemy territory is a different beast and he will need the best team possible to get the job done on Queensland soil.
Latrell Mitchell looms as the biggest potential inclusion should he successfully return for South Sydney before Game 3, but given his lack of fitness he is a risk.
MORE ORIGINAL NEWS
TALKING PTS: solution to Freddy’s headache; Slater’s strange call as the star disappears
HOOPS: The ‘real genius’ in Freddy’s all-or-nothing Origin bet
SELECTED: Burton made his best blues debut in 20 years. Freddy faces a huge dilemma
FREAK PLAYS: Four moments to strike fear in the QLD and spark a bidding frenzy in the NRL
‘GEEZ, THEY’RE BOLD WORDS’: DCE and Slater talk about ’embarrassing’ complaint
The 25-year-old has played seven origins under Fittler and he’s the type of player Queensland doesn’t like to play against due to his physicality and aggression.
The Souths star was arguably the best player in the series last year and despite the lack of playing time this year, his class would be welcome in the pressure cooker of a Suncorp decision-maker.
Mitchell gives the Blues the competitive fire they will need to win on foreign soil, but who he replaces is less clear.
It’s almost impossible to let Matt Burton down after his dream Perth debut, which leaves Stephen Crichton as the man most likely to make way for Mitchell.
Complicating matters further is the expected return of Blues regular and Fittler favorite Jack Wighton from Covid.
NSW REPORT CARD: Freddy’s half-time masterstroke as Blues duo burst into frenzy
QLD PLAYER ASSESSMENTS: Munster brought down to earth as rookie has night to forget
‘GEE UP’: Origin big names blast at Sin Bin drama as Freddy gets his wish
CLEARY: Ennis’ big call to Joey after Panthers superstar went ‘crazy’ to silence critics
Wighton was the Blues’ best player in Origin I, albeit on a losing side and surely deserves a place somewhere in Fittler’s 17 provided he has no lasting effects from his Covid fight.
There’s an old saying, “you need an old dog for a rough road” and they don’t come much tougher than a decision-maker at Suncorp Stadium, so Fittler may need his trusted and experienced duo of Wighton and Mitchell for the upcoming battle.
Wighton could potentially return to his utility role on the bench, with Siosifa Talakai to make way, but that would leave the Blues short of big men on the pine.
The Koroisau and Cook double hooker combination worked in Game 2, but is that the best way to go for Game 3?
Stream every game from every round of the 2022 NRL Telstra Premiership season live and ad-free during play on Kayo. New to Kayo? Try it free for 14 days now.
Koroisau was strong in the first half, without being spectacular, but it allowed Cook to dominate as Queensland were tired in the second half.
Bringing both Cook and Wighton to the bench would be a bold move by Fittler in a decider where big men are historically worth their weight in gold, especially as the Blues were much better in the middle third of the pitch in the second match.
Now on to the drastic reshuffling of the selection which could see Wighton and Mitchell brought into the centres, with Burton moved to five-eights and Jarome Luai dropped for the decider.
On the surface, that seems like an unnecessary risk for a team that just put 40 points on the Maroons. Severing the partnership between Cleary and Luai on the one hand seems like folly considering their success for club and state over the past two seasons.
Get all the latest NRL news, highlights and analysis straight to your inbox with Fox Sports Sportmail. Register now!!
However, except for a try and a line break in Perth, Luai was mediocre in Game 2 and was guilty of a few silly mistakes and unnecessary penalties.
An incident saw Luai awarded a penalty for rubbing a Queensland player’s face on the ground and it led directly to Cameron Munster’s first-half try in the following set.
Such poor discipline could prove costly if Luai is a repeat offender in Brisbane and it could cost the Blues the game and the series.
Dropping Luai, as a hard call would allow Fittler to utilize Burton’s impressive kicking game even more at five-eights and allow the experience and physicality of a Mitchell and Wighton center partnership to getting in shape for the do or die series finale.
This would allow Fittler to keep the balance on his side and especially on his bench with Siosifa Talakai holding his place, despite limited opportunities on his debut.
Further muddying the waters for the Blues selection is the potential unavailability of star prop Payne Haas due to an ankle injury suffered in Game 2.
Haas is set to carry his injury in the Broncos’ clash with the Cowboys, but after also suffering two shoulder injuries this year, there are fears the iron man could break down at some point or at least not be as effective as it would be. 100% fitness.
Haas is arguably the Blues’ most important striker and with Jake Trbojevic as a prop, he leaves the Blues short of specialist rowers.
This could lead to a potential recall for Reagan Campbell-Gillard or Daniel Saifiti, who is expected to return in Round 16.
Regardless of his final squad composition, Fittler must learn from the mistakes and experience of 2020.
Changing a winning team is a risk, but Fittler has shown he is a horse trainer for the courts, picking the top 17 to do the job for each game.
That may mean making changes to its winning Perth side to ensure the best combination of 17 players can do what no NSW team has done in a decider at Suncorp Stadium since 2005 and bring the Shield home.
CALDWELL (WVDN) — Cedric Allder of Caldwell has been accepted as a member of the 2022 John Philip Sousa National High School Honor Band.
This highly selective national student concert orchestra will meet in central Massachusetts June 26-30. Allder is the son of Tasha and Jim Allder.
He is a member of the music department at Greenbrier East High School where he is a student of his father, Jim Aller, band manager.
Cédric Allder is drum major of the group Spartan Marching, first euphonium of the symphonic group and bassist of the group 2nd Block Rock.
The John Philip Sousa National High School Honor Band will meet at Harvard, Mass. June 26-30 with performances in Gardner and Athol, Mass. June 27 and 28, respectively.
The main concert will take place on Wednesday evening June 29 at 7 p.m. in the historic Mechanics Hall in Worcester, Mass.
Mechanics Hall is the site of many performances by the original Sousa Band. The National Honor Band will be led by Michael J. Colburn, recent director of the Butler University Wind Ensemble and former director of the United States Marine Band “The President’s Own” in Washington, D.C.
High school orchestra students from all states and territories in the United States who were in grades 9 through 12 during the 2021-2022 school year were eligible to audition.
Colburn will also be assisted by guest conductor Frank L. Battisti, founder and director emeritus of the New England Conservatory Wind Ensemble in Boston.
Acceptance into this honorary orchestra is considered a significant musical achievement of national significance. The 2022 group is made up of 90 students representing 25 US states from coast to coast.
The Utah Jazz may not have selected anyone in last Thursday’s NBA draft, but they did manage to sign a few undrafted young players, and the Salt Lake City Summer League is the perfect opportunity for those guys, as well as other hungry young players. to win and impress Jazz’s front office. Joining the Jazz in this year’s Summer League will be Eastern Conference powerhouse Philadelphia 76ers, rising stars in the West, the Memphis Grizzlies and the potentially fantastic Oklahoma City Thunder, who may feature the likes of Josh. Giddey and Chet Holmgren.
SLC Summer League ☀️
The 2022 Salt Lake City Summer League presented by America First Credit Union marks its seventh year since the revival of summer basketball in Utah.
The Salt Lake City Summer League will take place July 5-7, before the team heads to Nevada to join the rest of the NBA, and while there’s no name like Holmgren, Ivey, Smith or Banchero on this list, their performance could lead to a lot of depth in Utah for the coming year.
The roster could potentially be changing by the time the NBA preseason rolls around, and if the Jazz end up leaving Donovan Mitchell or Rudy Gobert, then Summer League performances will matter even more, because this team could use some young players to round out this playoff squad. While not the biggest tournament in the world, the Summer League still provides a fun look at top prospects and undrafted rookies, and it allows players who haven’t been in the spotlight to stand out and make their mark, and that’s exactly what Utah fans and the front office are hoping for next month.
Scroll down to follow the action in our live blog.
The streak is on the line for the NSW Blues when they take on the Queensland Maroons in a blockbuster Do or Die Origin II clash at Optus Stadium in Perth.
The Blues have made massive changes in a desperate attempt to square up the series and force a decider at Suncorp Stadium, while the Maroons can wrap up the series with a Game 2 win.
Read on for the latest in Origin II prep.
Sun 26 June
Sunday June 26
MATCH CENTRE: NSW Blues vs Queensland Maroons teams, live scores, videos, updates
Stream every game from every round of the 2022 NRL Telstra Premiership season live and ad-free during play on Kayo. New to Kayo? Try it free for 14 days now.
ORIGIN II AT FULL OPTUS STAGE
The Blues’ clash with the Maroons at Optus Stadium in Perth is officially sold out at the back of the series opener in Sydney, also reaching a capacity crowd.
“The National Rugby League (NRL) today announced that the Ampol State of Origin Two in Perth has officially sold out,” the NRL said in a statement.
“Following Queensland’s win in the series opener in Sydney, State of Origin’s first return to Optus Stadium since 2019 will be played to a full house.
“With only single tickets remaining for Game 3 in Brisbane, NRL CEO Andrew Abdo said the fans responded in an extraordinary way to ensure crowd capacity throughout the series.”
“The first game at the Accor stadium was sold out, now our return to Perth will also be played in front of a full house,” Abdo said.
“The response from our supporters has confirmed Origin as the biggest rivalry in Australian sport with world-class entertainment for fans on and off the pitch.
“After the past few years dominated by restrictions and crowd caps, it’s fantastic to see capacity crowds at Origin cheering on their teams, especially at a world-class venue like Optus Stadium in neutral territory.”
Sunday’s match at Optus Stadium will feature ARIA-winning Australian rock band Grinspoon, who will headline a pre-match line-up that also includes a spectacular light show.
BLUES PUBLIC ENEMY NO.1 MOTHER IS BANTED FROM SOCIAL MEDIA
Blues star Liam Martin’s mother has been banned from the internet by her children amid furor surrounding her son being branded a chow by Queensland.
Martin was branded the Blues’ biggest grub since Paul Gallen by the Queensland media and his mother Maxine was protective of her son in light of what she felt was unfair.
“When it happened, it was like the mama bear came out in me,” Maxine told 2Day FM’s Hughesy, Ed and Erin.
“When I watched the game I saw more facials than a beauty salon, they are all hard there.
“I immediately called my kids when I read it, and they banned me from reading on the internet, banned me from their social networks.
“It’s not a pretty label – public enemy No. 1… or the food – it’s not a pretty label and I think, ‘woah, what’s going on here?’.
“When it first came out, I had a sleepless night on it.”
SLATER ADMITS GAME LOSS A HERO WILL CHANGE BENCH ROTATION
Queensland manager Billy Slater admits he will have to alter his trade rotation following the loss of Game 1 star Reuben Cotter.
The versatile Cowboys striker played 80 minutes on his debut meaning Josh Papalii played reduced minutes and Cotter gave Slater more flexibility in Game 1, a luxury he won’t have in Perth .
“Absolutely; he (Cotter) brought a lot and was a big part of what happened,” Slater told reporters.
“You have to rethink how you use your bench when you have a guy who played 80 like him.”
Meanwhile, Maroons hooker Harry Grant has paid tribute to Queensland’s coaching staff and the influence Cameron Smith had on his and Ben Hunt’s performances in the opener.
“He was huge, and Billy, what they did for a lot of young players at the Storm and now at Origin camp, very special,” Grant said.
“It’s a different brand of football that they’ve played a lot of, so having them so accessible to pick their brains is great for us.
“They are so out there, easy to understand and give the information you need and ask for.”
FITTLER MAKES NO EXCUSES FOR MAJOR CHANGES
New South Wales manager Brad Fittler has refused to apologize for making seven changes for the Blues to win against the Maroons in Origin II.
Fittler raised eyebrows for making so many changes despite his side almost forcing extra time in their 16-10 loss, but before the Perth clash Fittler was defiant.
“I have to pick a team that’s going to win and I don’t apologize for that,” Fittler said.
“It’s been a great week of training and I feel like we made some good decisions.”
Fittler made the changes in order to get a reaction from his players and the team and believes losing Game 1 won’t mean an automatic turnover in Game 2.
“We reacted,” Fittler said of his team’s response to the first loss.
“I think we went out and noted that we could do some things better. We have trained accordingly but that gives you no guarantee.
“We have to get there, just because you lost first doesn’t mean anything.”
FARAH BELIEVES THE BLUES HOOKER GAMBLE IS A LATE GAME
Former Blues hooker Robbie Farah believes Panthers star Api Koroisau should have been the starting hooker for Game 1 but backed the call to play Damien Cook on the bench.
The Blues were outplayed on the ruck in the first game and Farah believes connecting Penrith will help the team early on and allow Cook to play to his strengths at the end of each half.
“I like it,” Farah told Fox Sports News.
“I thought he should have been there for the first game to be honest.
“I like Cooky coming off the bench using his speed against tired forwards.
“It also worked well for Queensland in the first game with Harry Grant coming off the bench.
“Makes sense. Api has the combination of Penrith there with Cleary and Luai in the half so he will be quite comfortable.
“Then we have the impact of Cook coming off the bench against a tired squad.”
Farah thinks Cook’s speed and running game was negated by the amount of defense he had to do at the start of Game 1.
MORE NRL NEWS
BURNING QUESTIONS: Freddy’s big bet; key position battle to decide origin
ORIGINAL EXPERT TIPS: Freddy’s ‘masterstroke’, Blues Great is his big ‘doubt’ for QLD
NO THANK YOU: Ciraldo overturns Tigers work in crushing blow
CRONK’S APPROACH: The maroons plan to create chaos; NSW’s ‘key to victory’
“I think it helps to have Api and then Isaah Yeo in the middle doing a lot of ball playing alongside Cleary and Luai,” Farah said.
“I think it gives us a better balance across the park.
“Why waste Cook’s impact in the first 20 minutes when he’s doing all the D?
“Api can take control of the game and then Freddy can inject Cook at the right time in the game.”
However, Farah believes NSW need to improve defensively to allow their strong attack to play at the back.
“I think the attack wasn’t really our problem,” Farah said.
“I think defensively we weren’t where we should have been.
“We conceded a few soft tries that you don’t really see in Origin, so defensively we have to be a lot better.”
Farah backed NSW to win and set up a successful decider in Brisbane.
“I think we’re going to win and obviously we have to win,” Farah said.
“We have won here in the past. A fast lane. We can’t be as bad as we were in the first game and obviously Queensland got away with the win, but I think we will be much better and make the decision.
Get all the latest NRL news, highlights and analysis straight to your inbox with Fox Sports Sportmail. Register now!!
Five talented young musicians from the brass band have reached the final in the Brass and Percussion category of the flagship BBC Young Musician of the Year competition.
Five talented players with links to the brass band movement will take part in the final for the BBC’s Young Musician of the Year 2022 category.
Florence Wilson-Toy, 17, and Phoebe Mallinson, 16, will join Sasha Carter, 18, to perform on trumpet in the brass final, while Jordan Ashman, 17, and George Garnett, 18, will participate in the percussion. Final.
Florence is in her first year of sixth form at Chetham’s School of Music in Manchester and has played flugel with Britain’s National Youth Brass Band alongside fellow Chetham student Phoebe, who is a product of the organization City of Bradford Band.
Florence combines her studies with outreach projects in conjunction with charities such as Turtle Song, part of English Touring Opera, which brings music, songwriting, movement and singing to people with dementia.
After completing her GCSE and A levels, Phoebe hopes to join one of the leading conservatories to continue her studies in music performance.
Sasha is also a former member of Britain’s National Youth Brass Band and will begin her studies at the Royal Academy of Music in September.
Meanwhile, the Youth Brass 2000 duo of Jordan Ashman and George Garnett will perform in the percussion finale.
They are well known to marching band audiences for being part of a bubbly “Sing, Sing, Sing” routine playing on bar stools that has been an integral part of the band’s award-winning entertainment programs for the past two years.
Jordan was the principal percussionist of Britain’s National Youth Brass Band and attends the Royal College of Music Junior Department, while George is also in his third year at RCM’s Junior Department and has accepted a scholarship to continue his studies at the Royal College of Music. Welsh College of Music and Drama in Cardiff.
Past winners of the overall BBC Young Musician of the Year with brass band links include trombonists Michael Hext and Peter Moore and percussionist Adrian Spillett.
The brass category final will take place at Saffron Hall in Saffron Walden on Friday July 8 and the percussion final on Saturday July 9.
Everyone at the National Youth Band is thrilled to hear the news, and our congratulations go out to all of the young players who made it to the category final.Doctor Robert Childs
Speaking of the accomplishments, NYBBGB’s Director of Art Planning, Dr. Robert Childs, told 4BR, “Everyone at the National Youth Band is thrilled to hear the news, and our congratulations go out to all of the young players who have reached the category final.
I know how high the standard of performance is at this level and their families and groups must be incredibly proud of their accomplishments. We at the National Youth Brass Band of Great Britain are certain that these wonderfully talented performers will represent the brass band movement at such a prestigious event.”
Meanwhile, Youth Brass 2000 spokesman Don Collins added: “This is fantastic news for everyone and especially Jordan and George who have contributed so much to our success over the past few years. They’ve been so committed to us and we’re thrilled for them.”
The Color of Music Festival made its New York debut at the CUNY Graduate Center on June 15.
During a public performance at the Baisley Powell Elebash Recital Hall, attendees were able to listen to classical music by black composers for free.
Based in Charleston, South Carolina, the festival has been touring the United States with black musicians since 2013. Performances include baroque, classical and 20emusical standards of the last century by composers of African descent.
The objective of the COMF is to make black composers known. These artists, like the Franco-African composer Le Chevalier de Saint-Georges, are better known internationally, according to the festival’s website.
“Thanks to a generous grant from the National Endowment of the Arts and in partnership with the CUNY Graduate Center and CUNY TV, we are thrilled to bring this historic performance to America’s cultural capital,” said COMF Founder and Artistic Director Lee. Pringles. Broadway World. “Our home base of Charleston, SC is itself known for its iconic arts festivals and we are proud to bring New York audiences the classic Black contributions of a region where 40% of all Africans arrived on the North American continent.”
The ensemble of musicians includes Alexandria D’Amico, Caleb Georges, Michael Jorgensen, James Keene, Kenneth Law and Ryan Murphy. The group was joined by German-born violinist Anyango Yarbo-Davenport and French violinist Romuald Grimbert-Barré.
The performance featured chamber music composed by Black, including a string quartet arrangement of Valerie Coleman’s “Umoja” and Coleridge-Taylor Perkinson’s String Quartet No. 1 “Calvary.”
The evening also featured “The String Octet in E flat major, Op. 20” by German composer Felix Mendelssohn.
The event was hosted by CUNY’s Office of Academic Initiatives and Strategic Innovation. Brian Peterson, Dean of the Office and Senior Vice President of Administration and Finance, told Broadway World he was thrilled to welcome COMF’s debut to the city.
“The performance showcases the rich and diverse talents of performers and composers at a time when we need to be intellectually inspired and spiritually uplifted,” Peterson said. “We are proud to embark on this new partnership with the Color of Music festival and know that audience members will be energized by the live performance.”
Complimentary tickets were available on the COMF website and at the Graduate Center box office on the day of the performance. Tickets were required for entry.
CUNY’s performance was the first of two in COMF’s “New York Chamber Music Series.” The festival then performed at Carnegie Hall’s Zankel Hall on June 17.
Both performances were early celebrations of Juneteenth, which was recognized as a federal holiday in 2021.
“Thanks to civil rights activist Opal Lee, Juneteenth is now a national holiday and the Festival is honored to have our first New York performance celebrating this milestone,” said Peterson.
Check out these events in the coming weeks at Keller, Roanoke, Trophy Club and Fort Worth in the coming weeks.
June 25: Watch a movie outdoors, Play lawn games
Tanger Outlets presents Summer Movie Saturdays, which features a monthly family movie that is screened on the mall lawn near Polo Ralph Lauren. There will also be lawn games, food trucks and free popcorn while supplies last. This month’s movie is “The Goonies.” The film begins at dusk (8-8:30 p.m.). FREE ENTRANCE). Tanger Outlets Fort Worth, 15853 North Freeway, Fort Worth. www.tangeroutlet.com/fortworth
June 26: Practicing yoga with goats at the Trophy Club
Goat Yoga Dallas makes a stop at the Trophy Club near the shores of Grapevine Lake. An instructor will provide a 60-minute guided yoga session while friendly baby and adult goats push, nibble and jump on participants. Participants should bring their own yoga mat or large towel. 9 a.m. to 10 a.m. $24.74 (ages 5 to 12), $39.52 (ages 13 and up). Trophy Club Park, 2885 Trophy Club Park, Trophy Club. Eventbrite: Goat Yoga @ Trophy Club Park!
June 29: Test your ocean knowledge
Keller Public Library presents a pub trivia night at the local Shannon Brewery themed ‘Drink Like a Fish’. Teams of one to six people over the age of 21 can compete in this ocean-centric knowledge competition. Door prizes and trophies will be distributed. 6:30 p.m. Free (entry). Shannon Brewery, 818 N. Main St., Keller. www.cityofkeller.com/services/library
June 30: Enjoy music and a movie at Keller Summer Nights
Catch the final edition of this year’s Keller Summer Nights series in the grassy amphitheater behind Keller Town Hall. Attendees are encouraged to bring their own blankets or chairs, food and drink to enjoy live music by Ben Hatton and a screening of the animated film “Encanto”. Food trucks are available on site. 7:30 p.m. (concert), 9 p.m. (cinema). FREE ENTRANCE). Keller Town Hall, 1100 Bear Creek Parkway, Keller. 817-743-4050. https://bit.ly/3xRnopB
July 13: Creating Wine Glass Art
A Le Painted Grape instructor will guide participants as they paint a pair of wine glasses provided with designs inspired by the “Sea La Vie” theme. Wine and food will be available for purchase. 6:30 p.m. to 8:30 p.m. $25. Wine: 30 on Oak Street, 400 S. Oak St., Unit 150, Roanoke. https://bit.ly/38k8pvn
July 16: Discover this exhibition
The Greater Keller Chamber of Commerce is hosting a home, lawn and garden exhibit. Members of the Greater Keller Chamber of Commerce will show what they can offer when it comes to remodeling or renovating a home or outdoor space. Members of the Chamber are invited to register to participate. 10 a.m.-2 p.m. Free admission. Keller High School, 601 N. Pate Orr Road, Keller. https://kellerchamber.com/event-calendar
Acclaimed pianist Kenny Werner will perform jazz with Tony Award-winning performer Betty Buckley as part of the Fort Worth Public Library’s third Thursday Jazz Series. The series, which takes place on the third Thursday of every month between June and October, is supported by the Fort Worth Public Library Foundation. 6:30 p.m. Free. Central Library, 500 W. Third St., Fort Worth. www.fortworthtexas.gov/news/2022/6/library-jazz
In the early 1960s, guitarist Jim Schwall met Corky Siegel in the Roosevelt University Jazz Band, and one day in a school elevator, they started talking.
“I said, ‘Do you play the blues?’ said Siegel, harmonica player and pianist. They went to Schwall’s apartment. “He played for me and we got on well.”
They formed the Siegel-Schwall Band, an influential band that helped fuel a lively mix of rock and blues in Chicago. They played with and drew inspiration from blues greats Muddy Waters, Howlin’ Wolf and Willie Dixon as well as the next generation of blues legends including Buddy Guy, Junior Wells and Little Walter.
“These blues masters took us under their wings,” Siegel said.
The Siegel-Schwall Band has played San Francisco’s famed Fillmore West with Janis Joplin and the Jefferson Airplane, produced a demo for Joni Mitchell’s “The Circle Game,” and performed with the Chicago Symphony Orchestra and the Boston Pops. The group has recorded for Vanguard Records, RCA’s Wooden Nickel, Deutsche Grammophon and Alligator Records.
Except for a few lengthy sabbaticals and solo and side projects, the band came together to play in different incarnations every decade from the 1960s to 2016, with Mr. Schwall and Siegel still at the heart.
Mr. Schwall, 79, died June 19 at his home in Tucson, Arizona.
“He just sort of got down,” according to his brother William “Chico” Schwall.
Later in life, Mr. Schwall earned a doctorate in music composition from the University of Wisconsin-Madison and taught music, his brother said. In Madison, he ran for mayor and worked to raise funds to reduce homelessness. He also DJ’d in Madison at WORT-FM and in Davenport, Iowa.
“What a great human being Jim was,” Siegel said.
“Jim Schwall created a unique blend of folk-blues guitar and electrified Chicago style,” said Alligator Records founder Bruce Iglauer. “His playing was melodic and subtle, and his original songs were filled with humor and fun. He could always make an audience feel better because his music was full of joy.
He was born in Evanston and grew up in Wilmette. Her mother Evelyn “sang from morning till night,” her brother said. Young Jim learned to play accordion and drums and started playing guitar at New Trier High School.
“There was a lot of folk music,” his brother said, “and one night a friend of his brought a guitar from the attic.”
It was a Gibson B-25 acoustic. He started playing.
“He took off with it,” his brother said, continuing to play that same B-25, later amplified.
Growing up, he bought his LPs from legendary Chicago record store owner Bob Koester.
“He played Lead Belly records and a lot of bluegrass and blues music, like Lightnin’ Hopkins, Ahmad Jamal,” his brother said.
At Roosevelt, “he wrote operas,” said Siegel.
But Mr. Schwall never wanted to be typecast saying, “I’d rather use a drill press than play Chopin.”
They had a regular gig on Thursday nights at Pepper’s Lounge at 43rd and Vincennes, where they apprenticed with blues greats.
When the Paul Butterfield Blues Band hit the road from Big John’s in Old Town, Siegel-Schwall began a residency, performing there with others influenced by the blues, including Mike Bloomfield and Harvey Mandel.
They charmed Seiji Ozawa, then musical director of the Ravinia Festival, which led to the commission of a piece by William Russo, “Three Pieces for Blues Band and Orchestra”, which they performed with orchestras across the country.
At that time, Mitchell “had just written ‘Circle Game’ and wanted to do a demo with a few songs, and we produced the demo,” Siegel said.
One of their records, “953 West,” is named after another favorite haunt: the former Quiet Knight at 953 W. Belmont Ave., by the L.
“The songs I love tell a story,” Mr. Schwall told the Wisconsin State Journal, “or paint a picture of a person or a place.”
One of his most popular compositions, “I Think It Was the Wine,” includes lines that invited singing: “I’ve always been a pacifist, known for running away from a fight. I’ve never hit no one without a 2X4 until last night… Maybe that old moon was full, but I think it was the wine.
Mr. Schwall’s solo albums included the 2014 release “Bar Time Lovers” on the Conundrum InterArts label.
And he composed many musical and theater pieces for singers, dancers and actors, his brother said.
In addition to Chico Schwall, his survivors include another brother, Stephen. A celebration of his life is planned.
Respected Ballyshannon musician Eddie McFarlane, who is currently helping teach Bundoran-based Ukrainian refugee children voluntary music lessons, has appealed for old or unused laptops, after quickly realizing that many ‘of them did not have access to these devices or were using hacked phones.
He told this week’s edition of Donegal Democrat: ‘I know they are currently fighting this but they are a very proud people and they just don’t like to ask, especially as they are already so happy to be taken care of in terms of social protection and other ways. “I volunteer with the Ukrainian community in Bundoran. “I don’t belong to any organization and there are a few of us who teach music to Ukrainian children.
“They are a friendly, warm and proud people who are really very grateful for the help they receive from Ireland.
“But I learned that they had very few laptops.
“They communicate with Ukraine using phones (some with cracked screens). They have very few laptops that they share as best they can, but it’s very difficult as you can imagine.
Related He added: “Laptops would make it easier for them to stay connected at home via skype or facetime and would make life easier in general. “Companies, schools, periodically replace laptops and old ones are sent for recycling. It would be great if they could donate it to the Ukrainian community instead of getting rid of it. I know it would make a real difference for them in an incredibly difficult time for them. “Sometimes people want to help but don’t know how best to do it. Well, this is an opportunity to do something for them that would benefit them greatly. If anyone would like to help with the call, please do not hesitate to contact Eddie on [email protected] or by phone (086) 0263357.
Muse gave fans of the Isle of Wright Music Festival special treatment. During their headlining set, the band performed a cover of Slipknot’s “Duality” as an outro to their own song “Won’t Stand Down”. Throughout their set, they also performed excerpts from AC/DC’s “Back in Black”, “Know Your Enemy” by Rage Against the Machine, “Foxey Lady” by Jimi Hendrix and “Sweet Child O’ Mine from Guns N’ Roses. Check out the images below.
The Isle Of Wright Festival took place this past weekend (June 16-19) and featured performances from Lionel Richie, Lewis Capaldi, Kasabian, Rudimental, The Vaccines, UB40 and Sigrid.
Muse recently released their latest song “Will of The People” along with its music video. The song will appear on the album of the same name, which is set to be released on August 26. The album will also include their single “Compliance”. Shortly after the album’s release, they will be hitting the road for a handful of intimate gigs across North America and Europe. Shows will begin at The Wiltern in Los Angeles, California on October 4. Other stops include Chicago, Toronto and The Beacon in New York. It will then head to Europe to visit Amsterdam, Paris and end in Milan, Italy on October 26. Tickets for the tour are set to go on sale Friday, June 24 at 10 a.m. local time.
Newport Jazz Festival tickets will be available for purchase in person in Newport from next week.
The Fort Adams Trust Visitor Center and Gift Shop at Fort Adams State Park will begin offering tickets on Monday, June 27. There are no additional or online fees when purchasing tickets in person.
Ticket prices are $79 each – per day. A limited number of tickets are available for students ages 10-25 with valid student photo IDs costing $40 each, per day. Children 9 and under are free. Only 2 children are allowed per ticketed adult and must enter through the dedicated child/family gate. Proof of age is required. Parents should be prepared to present a photocopy of a birth certificate, passport or other form of identification for each child.
Fort Adams Visitor Center Box Office Hours – 10am-3pm daily.
The 2022 Newport Jazz Festival will feature Norah Jones, The Fearless Flyers, Esperanza Spalding, Terence Blanchard, BadBadNotGood and many more.
If you can’t make it to the Fort, one-day and two-day tickets are available for purchase online. All three-day tickets are sold out.
Ryan Belmore is the owner and publisher of What’sUpNewp.
He is currently Vice Chairman of the Fort Adams Trust Board and the Potter League For Animals Board.
He is a member of Local Independent Online News Publishers, the Society of Professional Journalists and the North American Snowsports Journalists Association.
Todd Boehly will act as interim sporting director to manage Chelsea’s summer transfer deals.
The Chelsea co-owner has been confirmed as the club’s new chairman from Stamford Bridge, replacing Bruce Buck.
READ MORE: Lukaku avoids bottom spot in 40 signings under Granovskaia at Chelsea
Marina Granovskaia has also been confirmed as stepping down from his directorship, leaving American magnate Boehly to lead Chelsea’s recruitment negotiations during this summer’s transfer window.
All of the leading figures in the Boehly-Clearlake Capital consortium have been added to Chelsea’s new board as the west London club’s new era continues to gather pace.
“As Chelsea FC goalkeepers, we now begin to implement our long-term vision and plan for the club, creating an exceptional experience for its passionate and loyal fans, and continuing to strive for the highest honours. in line with Chelsea FC’s dedicated history,” Boehly said.
“Working together, side by side, we are firmly committed to winning, both on and off the pitch. For us, this effort has begun.
Clearlake chiefs and Chelsea co-owners Behdad Eghbali and Jose Feliciano have also been added to the Blues‘ new board.
Los Angeles Dodgers co-owner Mark Walter, Swiss tycoon Hansjorg Wyss and British tycoon Jonathan Goldstein have all been officially named to Chelsea’s board.
Music industry supremo Barbara Charone and conservative peer and columnist Daniel Finkelstein were also added to the board, along with Clearlake Capital partner James Pade.
“As the new era of Boehly-Clearlake ownership begins, we are excited to build a Championship organization and grow Chelsea FC as a global platform,” said Eghbali and Feliciano.
“We look forward to supporting Thomas Tuchel, Emma Hayes and their teams, and will provide proactive and unwavering support to make loyal Chelsea fans and our partners proud.”
Chelsea will now begin the search for a permanent sporting director, with Granovskaia leaving the club after nearly 20 years at Stamford Bridge.
Granovskaia rose to prominence as one of football’s toughest negotiators during Roman Abramovich’s reign at Chelsea.
“Boehly will function as interim sporting director until the club appoints a full-time replacement, continuing the club’s work towards its objectives during the current transfer window,” Chelsea’s statement read.
Granovskaia will remain at Chelsea’s disposal during the current transfer window to help the club’s major transition.
“We thank Marina for her many years of excellent service to the club and wish her the best in her future endeavours,” Boehly said.
Organizers of the Queenscliff Music Festival have announced an additional batch of artists who will perform in its 2022 iteration.
The first batch of acts for the festival – which will take place in Victoria’s Bellarine Peninsula over the weekend of November 25-27 – were unveiled in early June. This year’s Queenscliff Music Festival will be headlined by Baker Boy and Middle Kids, alongside RVG and former Preatures singer Isabella Manfredi.
Leading the second set of acts, announced today (June 21), are John Butler and The Teskey Brothers. Vika & Linda, Seeker Lover Keeper, former Hunters & Collectors frontman Mark Seymour, The Bamboos, Fanny Lumsden, Emma Donovan & The Putbacks, Kee’ahn and Little Quirks are also confirmed.
The all-ages event will be held at multiple venues in the Queenscliff and Point Lonsdale area. This will be the festival’s first outing since 2019, after two successive cancellations due to COVID-19. In March, Queenscliff organizers launched By The Pier, a sister event with Vera Blue, Julia Stone and Briggs.
The 2022 Queenscliff Music Festival joins a series of events included in the Victorian Government’s Always Live initiative, which first launched in March with an exclusive Foo Fighters show in Geelong. The effort also delivered a pair of Cate Le Bon concerts and Tasha Sultana’s headlining Ocean Sounds festival, as well as a just-announced Melbourne show from Billy Joel.
The Teskey Brothers performance at Queenscliff will follow further festival appearances at NSW’s Wanderer Festival and WA’s Good Day Sunshine, both of which are scheduled for September.
Three-day tickets and camping passes for the Queenscliff Music Festival 2022 are available here. Other additions to the line-up are expected to be announced closer to the date, but you can see the current roster below.
The updated lineup for Queenscliff Music Festival 2022 is as follows:
baker boy middle children RVG Isabelle Manfredi The Teskey Brothers John Butler Vika and Linda Seeker Lover Guardian Mark Seymour and the surf Bamboos Fanny Lumsden Isabelle Manfredi Emma Donovan and the comebacks Felicity Urquhart and Josh Cunningham William Crington Steph Strings Kee’ahn The Seven Highs jess ribeiro small quirks Ben Mastwyk and his millions Bulge Clocks Zoe Fox and the Rocket Bones & Jones Threesome folk sluts Banjo Lucia Rambal Raul Midon The Bad Dad Orchestra Bud Rokesky Monica Claire The Stetson family Cat and Clint
TYLER, TX (KLTV) –The sounds of drums, trumpets and other instruments fill the UT Tyler campus with the start of an annual jazz camp.
This is the fifth year of the camp and the participants range in age from 13 to 65 years old. They spend the week learning all things jazz, from improvisation to jazz listening and history lessons. Dr. Sarah Roberts is an associate professor of saxophone and jazz studies at UT Tyler and founded the camp.
“Jazz is American music, it was the first kind of pop music in our country and every kind of music that we have, that we consider American music, and even music around the world has been influenced by jazz,” she said. “So that really laid the foundation for what we call pop music, rock music, and country.”
JT Pundt plays trumpet and was at camp for five years.
“I learn something every time. I love meeting new people and having the chance to play with people and having the chance to hear other people. It’s always great to perform in front of an audience in live,” Pundt said.
Being the first day of the camp, the musicians were divided by skill and started working on the music. This is Simon Elliott’s second year at camp. Elliot said he’s been playing music since middle school.
“There are a lot of new faces and a lot of new experienced players. It helps me a lot, to grow, I want to be with the most experienced and talented to better understand what I need to work on and focus on,” Elliott said.
This year they bring in New York saxophonist Chad LB and will play with him at a concert later in the week.
“It’s important that we continue to teach the history and traditions of jazz so that it stays alive,” Roberts said. “And for students to continue to learn the significance and how it really influenced everything they listen to.”
For more information on performances, times and locations, click here.
Chelsea are looking to strengthen their attack this summer and the latest player to slip onto their radar is Man City winger Raheem Sterling. Well, it looks like he’s also interested in the idea of leaving the Etihad for Stamford Bridge.
By ESPN, Sterling is keen to move to west London due to the ambition of new owner Todd Boehly after taking over from Roman Abramovich. Moreover, the American has made the England international his top transfer target which is clearly appealing to Sterling. Chelsea are close to securing a loan deal for Romelu Lukaku as they eye a reunion with Inter, so the club will be hoping to find a worthy replacement to come and produce the goods.
Meanwhile, City are demanding £50-60m for Sterling this summer instead of letting him go for free in a year. Their frontline is already congested following the arrival of Erling Haaland, which is probably why Sterling is considering a move elsewhere.
This next contract he signs could be the last of his career and Sterling has already shown interest in a new challenge elsewhere, with Bayern and Real Madrid also keen. But Chelsea seem to be the favorites and for them Sterling would be a fantastic signing.
He has played a key role in Man City’s success over the years, serving as the base for Pep Guardiola’s attack. Sterling scored 13 goals and provided five assists in 30 Premier League appearances last season.
Gabriel Jesus is also expected to leave Manchester this summer for Arsenal.
The Davis Music Festival returned for the first time this weekend after a two-year hiatus caused by the COVID-19 pandemic featuring local, regional and touring artists to benefit local non-profit arts organizations .
Director Kyle Monhollen noted that the festival celebrated its tenth anniversary this weekend.
“It started in 2011 as a very small event with two stages and we didn’t expand to three days, 40 bands and nine stages,” Monhollen told Delta of Venus – one of nine stage locations – on Saturday. located at 122 B St. in Davis. “It’s a labor of love. Everyone involved who is not a musician or sound technician is a volunteer. We do it simply because we love live music and bring something positive and joyful to our community.
Dozens of attendees and passers-by filled the outdoor seats of the bar and lined the sidewalks outside the venue to listen to several musicians perform music, some of which were original songs.
For Davis High School student Marcos Zaragoza, the event was a great opportunity to get on stage and do just that. He performed an original song called “Stars up in September” to end his approximately 30-minute set accompanied by his brother, Adrian.
“I had a lot of support from my family,” the 17-year-old pointed out. “My uncle helped me learn guitar, sing and write songs.
Additionally, he noted that he and his brother had been doing school talent shows since they were in elementary school.
Zaragoza’s stage name is The One Train, which he says is a New York City subway line that runs past his aunt and uncle’s house.
“It’s an amazing opportunity,” he said of the music festival. “I’m so grateful to Kyle, everyone who helped put this together and everyone who came out.”
For more information on the three-day festival, visit its website at davismusicfest.com.
Jason Terry was among the first candidates to interview for the vacant head coaching position with the Jazz last weekend, and he told Brandon “Scoop B” Robinson that he was pleased with the results (Twitter link). Terry says his long multi-level basketball track record should give him an edge.
“When you talk about mentoring, teaching and developing players, I’d like to say that my skills speak for themselves,” he said. “I have extensive experience at all levels – college, pro, G League, management, obviously playing 19, so with that alone I feel like a good man for the job.”
Fifteen potential candidates have been linked to Utah since Quin Snyder resigned earlier this month. Terry, who interviewed the CEO Danny Ainge and general manager Justin Zaniksaid it would be a pleasure to work for such a well-run franchise.
“Their organization has been first class since I’ve known them, for the 19 years I’ve played and after,” Terry said. “I can say that they are going in the right direction. They have a great core of guys and talent that speak for themselves. They’ve been Western Conference class, even though they’ve yet to win a championship or make the NBA Finals. I just think they are the right voice.
There are more from the Northwest Division:
by Kenny Atkinson change of mind about Hornets means the Jazz no longer have the advantage of being the only team conducting a coaching search, writes Ryan McDonald of The Deseret News. Terry Stotts, one of the finalists for the job in Charlotte, would also be a candidate in Utah, and McDonald wonders if anyone other than the Jazz is considering emerging as a possibility for the Hornets. He also speculates that the owner Michael Jordan could consider hiring Snyder, who has ties to North Carolina.
As one of the best ball handlers in the draft, Notre Dame guard Blake Wesley could be an option for Nuggets with the 21st pick, by Ron Gutterman of NBA.com. Wesley also has a high basketball IQ and would immediately become one of Denver’s top backcourt defenders, Gutterman adds.
In an interview with ESPN Australia (video link), Dyson Daniels say it Thunder were his favorite team and Russell Westbrook was his favorite player when he was younger. Oklahoma City holds the No. 2 and No. 12 picks in Thursday’s lottery, but Daniels will likely be selected between that bracket.
Silvio de Sousaformerly of Kansas and Tennessee-Chattanooga, trained Thursday with the Thunder, tweet Oklahoman’s Joe Mussatto. Marcus time will work for OKC Monday (Twitter link).
The inaugural Super Rugby Pacific season has its first champion as the Crusaders end the Blues’ 15 game winning streak. Video / Sky Sport
How the players scored in Saturday’s Super Rugby Pacific final at Eden Park.
15. Will Jordan – 8 The competition’s co-top try scorer has been a threat all season. While sharp breaks were rare here, he punched smart and was a constant threat.
14. Sevu Reece – 7 The lightning winger could find little space here, but kept busy and was always involved. Awarded for a strong hunting game with a late comedy essay.
13. Jack Goodhue – 7 He is back. In his sixth appearance since an ACL injury last April, the center knocked down tackles, delivered smooth offloads and showed how vital his class can be in a big matchup.
12. David Havili – 8 His clever attacking kicks were a point of difference in the All Blacks’ four-man midfield mix. Showed excellent game management on a high stakes night.
11. Leicester Fainga’anuku – 8 New All Black went into beast mode twice on the try line in the first half, the second time setting up Bryn Hall’s key try. The deadly assaults were a constant reminder of who was responsible.
10. Richie Mo’unga – 9 Ran the game. Early breaks underlined the threat of this All Black at 32 Tests. A tidy kick in the 13th minute was a message to AB selectors. Give him the black No. 10 jersey.
9. Bryn Room – 8 A quietly industrious bond for Mo’unga all season, he was more visible and electric in the final. He capped off his final game for the Crusaders with a 40th-minute try.
8. Cullen Grace – 7 Great line-up job, which put pressure on the Blues pack. Scored twice in the semi-finals against the Chiefs but was headlong and driving in the trenches that game.
7. Tom Christie – 8 The competition’s best tackler stayed busy throughout and delivered classic defensive moves. Well worn and patronized breakdowns in Ethan Blackadder’s absence.
6. Pablo Matera – 7 Invited by justice to play this match despite a handful of yellow cards. The well-traveled Argentinian was in his element when times were tough. And that kick!
5. Sam Whitelock – 7 Experience matters, and this guy has more AB tests than all the Blues forwards combined. It showed, and you can bet it mattered in the days leading up to the game
4. Scott Barrett (c) – 9 Won the ball, carried the ball, broke the breakdown. Comes with everything you want from a world class lock. Neutrals hope to see this form in a black jersey.
3. Oli Jäger – 7 The biggest man in the starting lineups was busy in that brutal first half and put his 128kg frame into everything. Bonus points for his team dominating set pieces
2. Codie Taylor – 6 In a team with as many VCs as the Upham family, the hooker was a capable leader for a pack that fought hard on the front line and took no prisoners.
1. George Bower – 7 Helpful first touches and a great feeling of space for such a large unit. A hardworking part of the peloton who had the game in their bag after 40 minutes.
15. Stephen Perofeta – 5 Tough evening for the new All Black. The competition’s leading points scorer had few opportunities to shine as the Crusaders kicked smart and pinned him down.
14. AJ Lam – 5 Had few opportunities to shine in this game after making good progress this season in the absence of Caleb Clarke. Struggled to show his threat on the short side and the short ball.
13. Rieko Ioane – 4 Standards were high in midfield, with four All Blacks strutting around. The visitors did a great job of keeping him out of the game. Could he have done more to get into it?
12. Roger Tuivasa-Sheck – 4 The famous code changer’s 12th top-flight rugby match was his toughest, and probably his most anonymous. Overshadowed by the versatile Havili.
11. Mark Telea – 4 The early scrambling tackle saved a try. But, as with his fellow Blues away, there was very little chance for the winger to make an impact in attack.
10. Beauden Barrett – 6 Couldn’t trigger anything in the first half but found his bearings as the Blues dictated the pace of the game until the final quarter. He was the Mark Waugh to his brother Scott’s Steve.
9. Finlay Christie – 7 The shortest man in the park showed just about the biggest ticker on defense. Great commotion for a 58th-minute try that almost sparked a revival.
8. Hoskins Sotutu – 5 Trained in tight work where he was helpful in key turnovers. Showed quick wits to take advantage of the charging chance in the second half.
7. Adrian Choat – 4 The Blues were missed for possession and territory in the first half – turnovers just wouldn’t come for the No.7 substitute. Fired for speedster skipper Dalton Papalii at half-time.
6. Akira Ioane – 5 The most experienced Blues player was barely seen, as the Crusaders pack dragged the hosts’ lives early and forced the running back loosies into a tight fight.
5. Tom Robinson – 4 A standout performer all season, labeled as neither-a-lock-nor-aflanker. Worked hard around the park in the Finals, but the Blues roster was the Crusaders gimp.
4.Josh Goodhue – 4 Substituted early in the second half as the Blues struggled to sort out dysfunctional lineups. On the back foot elsewhere. His brother Jack has bragging rights
3. Nepo Laulala – 4 Lucky to be without a card in the 17th minute when the referee’s call was more common sense than respect for the rules. Fifty-three minutes of back-pedalling work.
2. Kurt Eklund – 2 The All Black Maori prostitute will have to carry the box for the alignment yips. With that completely unreliable decisive kick, the Blues struggled and desperation crept in.
1. Alex Hodgman – 6 Another to end a confused shift after 53 minutes. The blistering start of the attacking group went through every facet of the game, and they couldn’t put any heat on the visitors.
Reservations: 16. Soane Vikena – 4 17. Karl Tu’inukuafe – 4 18. Ofa Tuungafasi – 3 19. Luke Romano – 6 20. Dalton Papali – 6 21. Sam Nock – 4 22. Bryce Heem – 4 23. Zarn Sullivan – NA
Talented schoolchildren composed their own piece of music – with the help of a few professionals.
Students at Troon Primary proudly release the song, titled The Summer Beat, after writing and recording the song with local performer Scott Nicol.
The song, which is available to download on all major platforms, saw pupils in five primary classes let their creativity run free.
Scott said Live Ayrshire: “The students were simply exceptional in their words, their creativity and their enthusiasm.
“They wanted to write about summer and we absolutely captured that vibe.
“The rhythm, the music, the lyrics, the feeling of ‘Dancing by the water like diamonds’… it’s all there.
The Ayrshire Live app is available to download now.
Get all the local news in your area – plus features, football news and the latest on the coronavirus crisis – at your fingertips 24/7.
The free download features the latest breaking news and exclusive stories while you can customize your page with the sections that interest you.
The Ayrshire Live app is available to download now on iOS and Android.
“I brought in the wonderful Jamie Clark to record them and he did a great job mixing and playing the track.
“The kids loved the whole experience of writing, singing, recording and helping design the artwork and we loved it and had so much fun.
“I have to thank Mr Paterson and Mr Sturdy for all their encouragement and hard work and thank you very much to the Troon Parents Association for making this possible.”
The students called themselves “The Fantastic Fives” and are the latest group to be mentored by Scott, who leads a talented stable of young musicians under the “Possibility Screams” banner.
He has now visited five primary schools in Ayrshire to help pupils bring their musical dreams to life by recording tunes.
And he insists inspiring the future generation of stars is what keeps his guitar playing.
He said: “To see the enthusiasm of young people is fantastic and that’s what it’s all about. They all bring different ideas to the table and it’s amazing to see things come together in the game. finished item.”
To download the track, go to https://www.scottnicol.us/summer-beat
Don’t miss the latest Ayrshire titles –sign up for our free daily newsletter here
Live entertainment powerhouse Superstruct Entertainment has acquired a stake in the UK’s only professional action sports and music festival, Nass (National Adventure Sports Show).
Established in 2008, the annual four-day event brings together a number of athletic competitions in skate, BMX, inline and FMX with live music spanning drums and bass, hip-hop, grime, garage and house.
The 30,000 capacity event, which takes place at the Royal Bath & West Showground in South West England, has previously hosted artists including Chase & Status, Giggs, Rudimental, Stormzy, Public Enemy and Loyle Carner.
The Nass Festival was created, promoted and managed by Vision Nine, who also produce Superstruct-owned Boardmasters
The Nass Festival was created, promoted and managed by Vision Nine, who also produce the Superstruct-owned surf and music festival Boardmasters. Terms of the agreement between the two companies were not disclosed.
Superstruct, backed by Providence Equity, counts Sziget, Elrow, Parookaville, Wacken Open Air, Boardmasters, Sonar, Tuska and Zwarte Cross among its extensive portfolio of European festivals.
Last month, IQ revealed that Superstruct had acquired the UK’s premier science and music event, Blue Dot.
IQ has contacted Vision Nine to comment on the acquisition.
Get more stories like this delivered to your inbox by signing up to IQ Index, IQThe free email digest of essential live music industry news.
Singer and bassist DANIELLE NICOLE and her band will perform at Jimmy’s Jazz & Blues Club on Sunday July 17 at 7:30 p.m.Danielle Nicole joins Jimmy’s Jazz & Blues Club’s 2022 show schedule, which includes 7 NEA Jazz Masters, 37 GRAMMY® Award-winning artists, 34 Blues Music Award winners and a comprehensive roster of talented musicians with over 500 GRAMMY® Award nominations among them . Tickets for DANIELLE-NICOLEas well as the current list of 2022 shows, can be viewed on Jimmy’s online events calendar at: http://www.jimmysoncongress.com/events.
PORTSMOUTH, NH, June 16, 2022 /PRNewswire-PRWeb/ — Jimmy’s Jazz & Blues Club presents GRAMMY® Award-nominated, 4x Blues Music-winning singer and bassist DANIELLE NICOLE and her band on Sunday July 17 at 7:30 p.m.
Danielle Nicole was a founding member, vocalist and bassist of the internationally acclaimed blues/rock band Trampled Under Foot before going solo in 2015 with her debut album “Wolf Den”. In 2018, Nicole returned with her 2nd album titled “Cry No More” which earned a 2019 GRAMMY® Award nomination for “Best Contemporary Blues Album” and 2 Blues Music Awards for “Instrumentalist – Bassist of the Year” and “Contemporary Blues Female Artist of the Year.”
that of Danielle Nicole “distinctive and inventive bass work” led her to become the first woman to receive a nomination for a Blues Music Award for “Instrumentalist – Bassist of the Year” (2014). Nicole won the Blues Music Award for “Instrumentalist – Bassist of the Year” in 2021 and 2022. She was also nominated again for “Contemporary Blues Female Artist of the Year” in 2022. The group includes BRANDON MILLER on guitar and vocals and world renowned drummer GO-GO RAY.
“We are so excited for a spectacular evening of blues rock with fabulous GRAMMY® Award nominee Danielle Nicole and her band,” said Suzanne Bresette, general manager of programming at Jimmy’s Jazz and Blues Club. “Danielle is an incredible bassist who delivers an exceptional and passionate voice at every gig. Jimmy’s audience has a fantastic night of blues coming up on July 17th!”
Tickets for GRAMMY® Award & 4x-Blues Music Award nominated singer and bassist DANIELLE NICOLE and her band on Sunday July 17 at 7:30 p.m. are available on the Jimmy’s Jazz & Blues Club Danielle Nicole event page.
Jimmy’s Jazz & Blues Club’s 2022 show schedule currently includes 7 NEA Jazz Masters, 37 GRAMMY® Award-winning artists, 34 Blues Music Award winners and a full roster of talented musicians with over 500 GRAMMY® Award nominations among them. Check out Jimmy’s Events Calendar for Jimmy’s Jazz & Blues Club’s 2022 show schedule. Subscribe to Jimmy’s Email newsletter to stay informed about new jazz and blues artist announcements, tickets, special offers, Jimmy’s Sunday Jazz Brunch and more.
ABOUT JIMMY’S JAZZ & BLUES CLUB Jimmy’s Jazz & Blues Club’s mission is to provide guests with a unique, world-class experience featuring serious jazz and blues music served with exceptional southern-inspired cuisine. Jimmy’s Jazz & Blues Club offers a spectacular and visually stunning environment designed to provide the highest quality acoustics while utilizing state-of-the-art production, sound and lighting technologies. Jimmy’s Jazz & Blues Club is located in a beautifully restored 1905 building at 135 Congress Street in the heart of historic downtown Portsmouth, New Hampshire. For more information, visit http://www.jimmysoncongress.com or follow us on Facebook at https://www.facebook.com/JimmysJazzBlues.
PRIVATE EVENTS AT JIMMY’S JAZZ & BLUES CLUB An arts and culture center with stunning architecture in the heart of the historic district Portsmouth, New Hampshire, Jimmy’s Jazz & Blues Club offers a rare and spectacular venue to host important corporate functions, weddings, intimate or large-scale social gatherings, private parties and memorable celebrations. The Jimmy’s Jazz & Blues Club team has poured their hearts into creating a stunning, full-service event space with new, state-of-the-art production, sound and lighting technologies, delivered with experiences exceptional culinary superior level. Our top-notch approach with professional and experienced event staff ensures that everything is designed to exceed your expectations. To start a conversation about hosting your event at Jimmy’s Jazz and Blues Club, please call us at 888-603-5299, email us at [email protected] or fill out the private events contact form Jimmy’s.
CHIPPEWA FALLS – Riverfront Park will once again host the Northwood Blues Festival (NWBF) this weekend. Event organizers expect at least 1,500 music fans per day.
NWBF used to entertain blues fans in the Spooner area between 2012 and 2015. In 2017 the festival moved to the Chippewa Falls Fairgrounds. Then in 2019, the festival moved to its new home at Riverfront Park in Chippewa Falls.
“The backdrop for the shows is beautiful – right along the river, and the food is going to be fantastic,” said Northwood Blues Festival CEO Steven Rheaume.
“I think this year’s performers are second to none in the blues genre,” Rheaume said. “Most people look at our lineup and say we’re the best blues festival in the Midwest.”
Rheaume couldn’t be more excited about the weekend lineup. He is eager to share his passion and his love of the Blues.
“There will be great music all weekend,” Rheaume said. “Our Saturday headliner, for example, Mike Zito just won Rock Blues Artist of the Year.”
People also read…
In June 2021, Zito received two Blues Music Awards at the Blues Foundation’s 42nd Annual Blues Music Awards in Memphis. Zito won BMAs in the Blues Rock Artist as well as Blues Rock Album of the Year categories for Mike Zito and Friends – Rock ‘n’ Roll: A Tribute to Chuck Berry.
Zito performs Saturday at 8:30 p.m. and again at 10 p.m. with a host of others joining him on stage for a Blues jam.
Rheaume said the band he was most excited to see this weekend is Bob’s of the Blues, made up of blues legends Bob Margolin, Bob Corritore and Bob Stroger and Kenny “Beedy Eyes” Smith. The band performs at 9:30 p.m. Friday.
“The name Bob’s of the Blues doesn’t mean a whole lot to anybody because I don’t think you can go out and find an album by these guys, but they’re really good,” he said. “If you know Muddy Waters, he had a Caucasian guy in his band and his name was Bob Margolin. He’s one of the guys in the group.
Another performer in the group is Bob Corritore, considered one of the best traditional blues harmonica players on the scene today. He is a Grammy-nominated harmonica player and producer.
“He had the number one blues album in the country for four months last year called Spider In My Stew,” Rheaume said.
The third “Bob” is Bob Stroger. Over his 39-year career, Stroger has played with a long list of blues legends, including Otis Rush, Jimmy Rogers, Eddie Taylor, Eddy Clearwater, Sunnyland Slim, Louisiana Red, Homesick James and Snooky Pryor.
“June 10 at the Chicago Blues Festival, they just had Bob Stroger Day — he’s of that caliber,” Rheaume said.
Last but not least in Bob’s group of the Blues is Kenny “Beedy Eyes” Smith – a Grammy Award-winning drummer and songwriter.
“I’m just really excited to see these guys, and John Primer,” he said.
Primer is another Chicago great – he was bandleader and lead guitarist for Muddy Waters, Willie Dixon, Magic Slim & The Teardrops.
In American Blues Scene Magazine, the NWBF was named one of the top five new festivals in the country in the summer of 2015 and was the only festival in the Midwest to receive this accolade.
Chicago Magazine, in the June 2016 issue, called the Eau Claire area home to an emerging music scene. The area has an active Chippewa Valley Blues Society which sponsors Tuesday Night Blues all summer.