Twenty music – Puro Veinte http://puroveinte.com/ Thu, 24 Nov 2022 13:20:51 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://puroveinte.com/wp-content/uploads/2021/11/icon-120x120.png Twenty music – Puro Veinte http://puroveinte.com/ 32 32 65daysofstatic’s Wreckage Systems pushes algorithmic music https://puroveinte.com/65daysofstatics-wreckage-systems-pushes-algorithmic-music/ Thu, 24 Nov 2022 12:00:00 +0000 https://puroveinte.com/65daysofstatics-wreckage-systems-pushes-algorithmic-music/ “We will not retreat. This band is unstoppable!” These sampled lyrics, which come atop “Retreat! Retreat!”, an anthem song by instrumental post-rock band 65daysofstatic, have long been taken as a rallying cry by fans at their propelling live gigs. The latest project from the Sheffield-based quartet takes that statement of intent to heart: it’s literally […]]]>

“We will not retreat. This band is unstoppable!”

These sampled lyrics, which come atop “Retreat! Retreat!”, an anthem song by instrumental post-rock band 65daysofstatic, have long been taken as a rallying cry by fans at their propelling live gigs. The latest project from the Sheffield-based quartet takes that statement of intent to heart: it’s literally unstoppable.

Well, almost. Wreck systems is a collection of several dozen algorithmic systems that have been running continuously since March 2021, barring occasional crashes. These systems, essentially pieces of music-generating code called things like “Mumble Prime” and “Harp Collateral” from ambient soundscapes to spiky drum ‘n’ bass drives, interspersed with the occasional “commercials” voiced by bots. There are no tracks as such: each system simply plays until its time is up, then passes the baton to the next.

About the project Youtube channel, a lo-fi screen displays minimal information about the current system above a scrolling chyron displaying cryptic messages. His “devblog” is full of updates that mix cheesy music-making details with amusing insights into life behind the scenes at 65Labs, the sprawling (and largely fictional) global operation of techs, robots, and servers that maintains machines running. The overall effect is of a retro dystopia: Spotify in the world of blade runner.

“We’ve built this kind of deliberate mythos about it – a lot of the blog posts, etc., are in character,” says band member Paul Wolinski. “But at the same time, they’re not consistent at all. Obviously nobody really believes in it, so it’s a bit like theatre, a performance, but it’s not a one-way street for us. We encourage everyone to go with.” Discord fans of the project seem happy to play along, riffing on the idea of ​​an ecosystem of semi-sentient machines, fueled by episodes such as a glitch in May when multiple systems started playing simultaneously to create a “a relentless 56-minute slab of algo-hyper-noise.”

Wreck systems isn’t 65daysofstatic’s first foray into endless music. Since their origins in post-rock, their production has gradually become more electronic and experimental. Forays into dancing techno and movie soundtrack eventually led to an order in 2013 for the universe simulator soundtrack No Man’s Sky— or more accurately, an endless array of soundtracks, since the game’s USP is its endless supply of procedurally generated planets to explore.

To meet this challenge, the group recorded both a conventional soundtrack album and hours of audio snippets and related cues that could be reassembled by the game engine to resonate with the environment and player actions. This led to the 2018 Decomposition theory concert series, in which audio and visuals were partially generated on the fly each night, with unpredictable results – a closer approach to algo-rave and live coding stages than their previous live sets – and then from replica, 2019the value of an album of cold, computer-heavy excerpts.

When the Covid-19 pandemic arrived, 65daysofstatic, like most bands, found themselves unable to record or tour in person. Unlike most, they were already equipped with algorithms to create new 65daysofstatic music – some of them for a project to “broadcast” the results to the world. So, while releasing compilations of unreleased tracks as part of a Patreon-backed subscription project, A year of sinkingthey also began work on what would become Wreck systems.

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Detroit Opera Names Roberto Kalb as New Music Director https://puroveinte.com/detroit-opera-names-roberto-kalb-as-new-music-director/ Mon, 21 Nov 2022 21:18:00 +0000 https://puroveinte.com/detroit-opera-names-roberto-kalb-as-new-music-director/ (CBS DETROIT) – Detroit Opera announced on Monday that Roberto Kalb has been named its new musical director. According to a press release, Kalb’s new role will be effective from November 20 until the end of the 2025-26 season. In her new role, Kalb will work alongside Artistic Director Yuval Sharon and Associate Artistic Director […]]]>

(CBS DETROIT) – Detroit Opera announced on Monday that Roberto Kalb has been named its new musical director.

According to a press release, Kalb’s new role will be effective from November 20 until the end of the 2025-26 season. In her new role, Kalb will work alongside Artistic Director Yuval Sharon and Associate Artistic Director Christine Goerke to manage the opera’s musical performances. He will also direct one production per season, starting in fall 2023.

roberto-kalb-credit-photo-benjamintaylor2.jpg

Benjamin Taylor


“I am thrilled to become the Music Director of the Detroit Opera,” Kalb said in a statement. “I feel a deep connection to this company, this orchestra and this community. I look forward to continuing and assisting in the cutting-edge artistry of the Detroit Opera, under the direction of Wayne Brown, with the pioneering artistic vision of Yuval Sharon, and working closely with the brilliant Christine Goerke and the incredible staff at the Detroit Opera.

“I’ve had such a fabulous relationship with the Detroit Opera Orchestra from the start, and I’m excited for the many projects and operas we’ll bring to life together in the seasons to come. I can’t imagine a opera company that is more in touch with what it means to produce opera for our audience today, or that is more in tune with its community.”

Kalb began his career at Detroit Opera in the 2017-18 season. In April 2022, he directed the reverse-chronological production of Sharon’s “La bohème”.

He is Detroit Opera’s second music director, after founder and former artistic director David DiChiera held the position from 1963 until his retirement in 2016.

“Roberto Kalb is well known to members of the Detroit Opera Orchestra and fills a role as music director that has remained vacant until now,” Chairman and CEO Wayne S. Brown said in a statement. Press release. “He will bring a unique vibrancy to the musical experience at the Detroit Opera. leading our post-pandemic return to the scene with La bohème.”

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5 of the greatest comebacks in music history https://puroveinte.com/5-of-the-greatest-comebacks-in-music-history/ Fri, 18 Nov 2022 16:53:17 +0000 https://puroveinte.com/5-of-the-greatest-comebacks-in-music-history/ After six years of waiting, it’s finally happened: chart star Rihanna is back in music! In October, she released the single “Lift Me Up”, which was included in the Black Panther: Wakanda Forever movie soundtrack. The track reached number two on the Billboard Hot 100 chart with nearly eight million streams on its first day […]]]>

After six years of waiting, it’s finally happened: chart star Rihanna is back in music! In October, she released the single “Lift Me Up”, which was included in the Black Panther: Wakanda Forever movie soundtrack. The track reached number two on the Billboard Hot 100 chart with nearly eight million streams on its first day alone. Autumn Durald Arkapaw, the director of photography of Black Panther: Wakanda Foreverdirected the music video.

Pulling off a comeback isn’t easy in what is an incredibly competitive industry, so we take a look back at some of the greatest musical comebacks of all time.

Undoubtedly the queen of comebacks, Cher returned to music after a nine-year hiatus with “Believe” in 1998, to great acclaim. It topped the charts in over 20 countries and sold over 10 million copies worldwide. It was her first Billboard number one hit since “Dark Lady” in 1974, and it stayed on the charts for an impressive 31 weeks!

The king of rock ‘n’ roll staged his own return to live performances after a seven-year hiatus with a television special in 1968, which the world will remember as one of the most epic comeback performances of all time. . After this return, Elvis gave us hits such as “Suspicious Minds” and “Burning Love”.

ABBA

ABBA’s comeback is perhaps the most unique in music history. Forty (!) years after their previous album, ABBA released Travel in 2021. Virtual avatars of the band members as they appeared in 1977 can be seen in concert at a specially designed venue in the UK. A true futuristic blast from the past.

The Spice Girls have a rich history when it comes to comebacks. The band stopped performing together in 2000 but reunited to tour in 2007 – then again in 2019 (without Posh this time), making them the all-female band that has been touring for 20 years. Talk about girl power!

Blink 182 Border

Blink-182 is back! Announced in October, this comeback has just come out of the press. After their number one album Take off your pants and jacket in 2001, they announced an indefinite hiatus in 2005. The band reunited in 2009 for a reunion tour that would stretch through the mid-2010s, when founding member Tom DeLonge announced his departure of the group. Now Blink-182 has reunited with DeLonge, released his comeback single, “Edging,” and announced a tour for 2023.


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TABoose Tour rolls through Glens Falls and Cool Insuring Arena https://puroveinte.com/taboose-tour-rolls-through-glens-falls-and-cool-insuring-arena/ Tue, 15 Nov 2022 17:27:06 +0000 https://puroveinte.com/taboose-tour-rolls-through-glens-falls-and-cool-insuring-arena/ Midway through their collaborative tour, TABoose took over the Cool Insuring Arena in Glens Falls on Sunday, November 13, formerly the Civic Center and site of the legendary 1994 Phish Halloween Show. Moving away from the much-speculated Beatles cover, the two bands launched hot 90-minute sets as their confidence both with each other and as […]]]>

Midway through their collaborative tour, TABoose took over the Cool Insuring Arena in Glens Falls on Sunday, November 13, formerly the Civic Center and site of the legendary 1994 Phish Halloween Show.

Moving away from the much-speculated Beatles cover, the two bands launched hot 90-minute sets as their confidence both with each other and as individual musicians seemed to grow with each gig.

photo of Derek Java

Goose opened the evening with “So Ready”, the Shenanigans Nite Club cut letting go with standout guitar solos from Rick and Peter as Spuds pushed the tempo at breakneck speed. “California Magic” came next, breaking its longest gap since its March debut.

“Thatch”, a new song that Rick said was “only two days old”, continued the quintet’s set. With a loaded groove and crisp clav, a lot of potential was immediately shown and I look forward to future performances of the song as it grows in Goose’s ever-expanding catalog.

A rare mid-set cover of The Band’s “Don’t Do It” sent the crowd into a frenzy as Peter and then Rick took some great solos.

The improvised centerpiece of the show came in the “Madhuvan” that followed, giving us the dose of darkness and extended jamming we’ve been craving since Portland. With an aggressive synth tone from Peter on Nord Lead rather than the Prophet, dissonance reigned as the first song to break the 20-minute mark since Portland showed Goose’s improvisational abilities.

After the still fiery ending to “Madhuvan,” the quintet brought Trey up on stage to contribute to “Red Bird.” Perfectly singing a verse of Peter’s moving song written about his mother, Trey led the jam away from the fiery guitar duels we’ve seen in later shows and into a more rhythmic pattern for a while before exploding again. in a big top. “Hot tea”also featuring Trey, closed the set with an incredible guitar interaction once again.

TAB’s set opened with a laid back “Drifting” before “Set Your Soul Free”, “Ocelot” and “Magilla” – all showing TAB’s growing confidence on stage as this tour progresses. Pure energy released “A Wave of Hope”, one of the hottest tracks of the 2020s solitary journey which became a staple of the Phish catalog and led to some of the best jams of that year. While last night’s version didn’t last 20 minutes or go beyond the main structure of the song, Trey kicked off the “second jam” and hit many meteoric heights before wrapping it up.

Trey then took a moment to talk about his connection to the town of Glens Falls and his time spent near Saratoga Springs while in drug court following his late 2006 arrest before a beautiful rendition of “Shade.”

Last night’s MVP took center stage on the next song, an absolutely BLISTER “Burlap Sack and Pumps” – saxophonist James Casey ripped baritone sax for an incredible solo that saw him go- returns with Trey as the tension mounted.

“Spin” offered similar placement and vibe to “About to Run” in Mohegan – a late-night opportunity for Trey to rip a fundamental groove. The song’s outro jam was business as usual, with bassist Dezron Douglas seeming to get lost in the mood as they dug deeper and deeper into the incredible song.

photo of Derek Java

The pounding ‘Last Tube’ gave way to ‘hey stranger’, the latter getting their second track on the tour – lots of potential in this song which I hope will make its way to Phish in the future!

“Valentine” ended the TAB portion of the set, and Rick and Peter were welcomed on stage to a “Mr. Totally.” Taking some time at first to have a musical conversation, Rick and Trey harmonized as they did so well on this tour before handing over a solo to the keyboardists. Encouraged by Ray’s organ explosions, Peter ripped through a superb piano solo before the jam moved to the usual TAB solo modulation sections. After the horns swirled with the melody for a little while, Trey asked everyone to drop out as he and Rick faced each other with huge smiles on their faces and continued to shred – it’s impossible to say so at this stage of the tour. which guitarist has the most fun playing with the other!

A closing “Rise/Come Together” and an encore of “Possum” ended the incredible evening in Glens Falls on an extremely high note.

Four shows, four shows remaining. The TABoose tour has already exceeded expectations so far and I can’t wait to see the collaborations that are on the horizon!!

The TABoose Tour continues Tuesday in Carnot-Moon, PA. The webcasts are available via Nugs.net and Live Phish.

Tune in to Day After Show live with Always Almost There, HFPod and The Great Beyond the day after each show at 3 p.m. ET as we recap the tour in real time!

Photos by Derek Java for NYS Music.

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The ACO asks the big question about American music https://puroveinte.com/the-aco-asks-the-big-question-about-american-music/ Sun, 13 Nov 2022 02:01:10 +0000 https://puroveinte.com/the-aco-asks-the-big-question-about-american-music/ The AmericanAustralian Chamber OrchestraCity Recital HallNovember 12★★★★ When Dvorak assumed the role of director of the National Conservatory of Music of America in New York in 1892, he suggested that Native American and African American music should be the basis of an American national style. Today, this seems both naïve and prescient. Most American composers […]]]>

The American
Australian Chamber Orchestra
City Recital Hall
November 12
★★★★

When Dvorak assumed the role of director of the National Conservatory of Music of America in New York in 1892, he suggested that Native American and African American music should be the basis of an American national style. Today, this seems both naïve and prescient.

Most American composers do not evoke folk tunes as Dvorak did, especially in his New world Symphony. But black music was to have a huge influence on America and around the world in a style Dvorak had never heard: jazz. This judiciously constructed program, culminating in an arrangement for string orchestra of the so-called American String Quartet No. 12 in F major, Opus 96, has pursued the paths less traveled on American soil for the next 130 years.

The leader of the ACO, Richard Tognetti.Credit:Daniel Boud

One of the most intriguing works is that of Florence Price, the first known African-American woman as a symphonic composer. His Five Counterpoint Folk Songs seemed to take Dvorak’s suggestion like a glove. All three selections took Clementine, Short bread and Swing low through very advanced contrapuntal elaborations bringing to life the techniques of the 18th century in a 20th century context.

One remembered Condoleezza Rice’s comment “I speak French, I play Bach – I’m better at your culture than you.” The ACO began the program by highlighting the energizing impact of immigration on American culture with a gripping and incisive reading of Bryce Dessner’s Aheim. Conceived as an homage to his immigrant grandmother, he used the numbing repetitions of American minimalist style in an evolving succession of textures to create surprising, sometimes fierce impact.

lyrics for stringss, by George Walker, the first black graduate of the Curtis School of Music, also demonstrated a contrapuntal mindset in his expressive crafting of descending phrases, evoking a sound reminiscent of the romantic style of Samuel Barber.

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COA frontman Richard Tognetti then plugged in his electric violin for the world premiere of Samuel Adams Echo Transcripts in which the soloist’s amplified line found increasingly rich and varying-density reverberations from the orchestra behind. The soloist’s part sank in and out of the sonic fabric as if lost in a crowd in a sacred space.

In a movement by Morton Feldman Rothko Chapel, violist Stefanie Farrands played beautifully shaped solos between calm orchestral textures like minimalist panels on stone walls. The provisions of Book of John’s Alleged Dances by John Adams (father of Samuel) sat slightly uncomfortable, the string orchestra sounded slightly stiff and constrained against a click track.

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“The goal was never to release music” https://puroveinte.com/the-goal-was-never-to-release-music/ Thu, 10 Nov 2022 17:02:00 +0000 https://puroveinte.com/the-goal-was-never-to-release-music/ Braxe + Falcon‘s”Step by step“, a powerful ballad with French house influences sung by Panda Bear, topped the Song of the Year list almost immediately after its March release. Eight months later, the fact is true, and “Step By Step remains the most played song on FREAKS ONLY this year by a wide margin. More […]]]>

Braxe + Falcon‘s”Step by step“, a powerful ballad with French house influences sung by Panda Bear, topped the Song of the Year list almost immediately after its March release. Eight months later, the fact is true, and “Step By Step remains the most played song on FREAKS ONLY this year by a wide margin.

More than 20 years after duo Alan Braxe and DJ Falcon began releasing 12-inch records on The Roll of Thomas Bangalter label, the duo’s work stands up to scrutiny (see: the essential “Music sounds better with you“). The timelessness of their productions is largely due to their reverence for 70s disco – a sound you’ll find with a vengeance in dance music – and pioneer of production and engineering techniques known as “The French Touch”.

(Fun fact: Stoner-rock gods Dinosaur Jr. were also hugely influential on DJ Falcon, Busy P, and Thomas Bangalter and Guy-Manuel de Homem-Christo of Daft Punk. Try this one on for size the next time you need to chat with other music lovers.)

Braxe + Falcon bring this same eternal warmth to DJ turntables, as if bending over their non-stop evening of a mix of guests for FREAKS ONLY earlier this year. They’re giving an in-person taster with just three US shows on the heels of their debut EP “Step by Step,” including a debut gig in LA on November 12 show at El Rey. Before the party, we caught up with Braxe + Falcon to discuss the origins of “Step By Step,” other happy accidents, and revelations about the pandemic.

KCRW: What was the original idea behind the song “Step By Step”?

Alain Braxe: The original form was instrumental. It was a very basic demo that we did seven years ago, but kind of forgot about. Two years ago we played it for Peter Berard at Domino Records (now Smugglers Path). He said, “It’s a cool instrument, you should try to make a song out of it.” At some point the idea came up to send it to Panda Bear and he wrote a song about it. It was super quick, super easy.

Were his contributions close to what you had in mind, or did he bring something completely different?

Brax: We sent him the instrumental without any comment. We just sent referral tags [of his own material] which we really liked. But we said, “You are free to do whatever you want.

DJ Falcon: And to be honest, we were shocked. Like, there was pure magic. I think it took him 48 hours. When we got the demo it was a real bomb – everyone knew that. We were so happy when we got the demo. On top of that, he’s such a nice guy. It was such a good surprise.

The road to the “Step By Step” EP took years to prepare. When did your collaboration start?

Brax: We did our first sessions together about seven years ago, and we recorded quite a few demos. We spent like two months together at my house, and we recorded beats. But at that point, we probably weren’t ready to accept that we were tempted to make music outside of the foursome format. Two years ago, during lockdown and with all the changes in the world, it helped us relax and realize that none of this mattered. The most important thing was just to release music, whether it was club music at four, or a ballad, or whatever.

Falcon: To add to that, I think during [the height of COVID lockdowns] everyone had a lot of time to reflect on things. It became more obvious after COVID that we should release this music, so it came naturally. The other thing is, when we decided to make music, it was at the same time that I was releasing the song [“Contact”] on the Daft Punk album [“Random Access Memories”]. I was very busy traveling a lot so maybe it wasn’t the best time. We also have to say that Domino’s Peter Berard was so supportive and played a big part in all of this. I think maybe we needed a third person to push us around a bit, you know? And so thanks to Peter.

What are some of the musical commonalities you share, in terms of influences or musical heroes?

Brax: I’m not sure it would be easy to select names specifically. But I think it’s not just Stéphane [DJ Falcon] and me, but a lot of French musicians — people like Justice, or even [Daft Punk’s] Thomas or Guy Manuel, we have a lot of different music from any channel. And so it is difficult to choose something specific. In the finished product, it sounds one specific way, but what we like overall in terms of music is really broad. It can range from hip-hop to rock and roll to gospel music and classical. We obviously have a fun kind of fascination with repeats and loops and stuff like that too – the feeling of restriction in music when you keep it in the simplest form. But yeah, we love music all over the world.

Falcon: I am very close to Pedro Winter [a.ka. Busy P]. And since we were skateboarding at a young age, there was this band that we all love and I found out that too [Daft Punk’s] Thomas and Guy-Man loved the band, and maybe surprisingly, but it’s Dinosaur Jr. It’s just metal and there’s something special about it. I was influenced a lot because I was into skateboarding. We used to read a Thrasher magazine, and it was all about rock, hip hop, heavy metal – all kinds of music, but they really mix it all up. And when we discovered electronic music, we still had that rock influence. For example, I love Phoenix, but on my side I had my sister who listened to Stevie Wonder and Prince. For me, Prince is a huge influence. So we also have this skate rock approach. It really helps to be a lot more open-minded.

Are there any other demo tracks beyond the ones that were part of this EP?

Brax: Yes, there are quite a few demos, but sometimes there is a long way from the demo to the finished product, if at all. It takes time to realize that the demo may actually be a finished product. It’s kind of a process. But yes, we have a lot of music on the hard drive, but it’s not over yet.

Falcon: Also, I must say that when we started spending time together in the studio, the goal was never to release music. It was just a curiosity to see what we could do together. With the history that we have – we’re cousins ​​and we’ve both released tracks for Roulé – it seemed obvious that we had to work together at some point. But for me, I never put any pressure on it, because I don’t really care about releasing music. For Alan it might be different, but when I’m in the studio I just want to have fun on my own. I’m curious to see where it might go.

Was your approach to work similar once you were in a studio environment?

Brax: Yes, we work in a similar way. We’re not good at playing the piano or the guitar, so we depend a lot on technology. What sampling or modular synthesizers can offer in terms of happy accidents… We fire up the machine, play with stuff, cut and splice edits, and just wait for luck to strike.

Falcon: And we rely on our taste. Being in the studio means witnessing happy accidents, but you also have to make choices. And so it’s a good thing that we taste quite similar. I really trust his tastes, and I think he trusts mine. I think that’s the key.

Braxe + Falcon bring their trustworthy taste as a duo to the stage for the first time in Los Angeles this Saturday via their FREAKS ONLY x KCRW presents the show at El Rey. If that’s not enough, DJ GODDOLLARS and Paradise of A club called Rhonda will throw to open things up. See you on the ground!

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Private music teacher charged with raping teenage girl in NJ studio https://puroveinte.com/private-music-teacher-charged-with-raping-teenage-girl-in-nj-studio/ Fri, 04 Nov 2022 20:40:40 +0000 https://puroveinte.com/private-music-teacher-charged-with-raping-teenage-girl-in-nj-studio/ JERSEY CITY — A private music teacher has been accused of sexually abusing a male student multiple times over a four-year period at his Jersey City studio. The Hudson County District Attorney’s Office Special Victims Unit arrested 62-year-old David Musial on Thursday. The assaults occurred when the victim was between 14 and 18 years old […]]]>

JERSEY CITY — A private music teacher has been accused of sexually abusing a male student multiple times over a four-year period at his Jersey City studio.

The Hudson County District Attorney’s Office Special Victims Unit arrested 62-year-old David Musial on Thursday.

The assaults occurred when the victim was between 14 and 18 years old and ended this year at Musial’s music studio, according to Hudson County District Attorney Esther Suarez.

The Jersey City resident, who is also a music producer and composer, goes by the name “Professor David Musial” and runs SkyRoom Studio at 45 River Dr. S., according to his websites and social media accounts.

Musial was charged with first degree aggravated sexual assault, second degree sexual assault, third degree counts of aggravated criminal sexual interference and endangering the welfare of a child, and fourth degree criminal sexual contact.

He was being held in the Hudson County Jail pending his first court appearance.

The state filed a motion for detention, which is to be heard Thursday.

Suarez said anyone wanting to report a sex crime should call the Hudson County District Attorney’s Office Special Victims Unit (SVU) at 201-915-1234.

Erin Vogt is a reporter and anchor for New Jersey 101.5. You can reach her at erin.vogt@townsquaremedia.com

Click here to contact an editor about a comment or correction for this story.

WATCH: Here’s where people in each state travel the most

Stacker analyzed the Census Bureau’s 2019 American Community Survey Data to determine the three most popular destinations for people leaving each state.

This is where legal NJ weed is sold

The number of recreational cannabis dispensaries continues to grow, with nearly two dozen state approvals granted since the first adult recreational sales in the state in April. Here is where the open sites are.

How much does an average house cost in NJ? Median prices by department

Everything costs more these days – and housing is certainly no exception in New Jersey.

Data for 2022 from January through August, compiled by New Jersey Realtors, shows South Jersey saw homes come on the market and sell in less than a month, on average.

Median single-family home prices hit $500,000 and above in nine counties in north and central Jersey.

All but two counties have seen homes cost more than list price, on average, this year.

Say you’re from Jersey without saying you’re from Jersey

These are everyday expressions that only someone from New Jersey would understand. What else should be on this list?

WATCH: These are the 50 largest retailers in America

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Smiley: Jerry Lee, his mom and his music | Smiley Ander https://puroveinte.com/smiley-jerry-lee-his-mom-and-his-music-smiley-ander/ Tue, 01 Nov 2022 20:30:00 +0000 https://puroveinte.com/smiley-jerry-lee-his-mom-and-his-music-smiley-ander/ The death of Jerry Lee Lewis at 87 came as a surprise – given his excesses, it had seemed 27 was a better bet. I once reviewed a performance by Jerry Lee, a doubleheader with Conway Twitty, which summed up the boy from Ferriday. He wandered around the stage, sat down at the piano, turned […]]]>

The death of Jerry Lee Lewis at 87 came as a surprise – given his excesses, it had seemed 27 was a better bet.

I once reviewed a performance by Jerry Lee, a doubleheader with Conway Twitty, which summed up the boy from Ferriday.

He wandered around the stage, sat down at the piano, turned to the audience and said, “I want to talk about my mom.”

We were then treated to the kind of tearful, maudlin monologue you could hear from any drunk in any bar at closing time, just for the price of a beer.

Finally, his ode to mom over, he morphed into The Killer, pounding the keyboard with maniacal glee and singing country lust in a sneering, scornful style that made him a clear and present danger to parents of teenage girls. .

They would tell their daughters about Elvis; if Jerry Lee showed up, they’d call the cops.

Other rock and roll pioneers made music fun. Jerry Lee Lewis was the first to make it equally dangerous…

This and that

Hal Guillory adds to Sonny Chapman’s story of legendary games between high school football teams in Cajun country:

“The game between the Sacred Heart Trojans and the St. Edmund Blue Jays in the 70s and 80s always featured the following Blue Jays cheer: ‘We are the St. Edmund Blue Jays of Eunice. We talk like that, we talk like that (with exaggerated correct enunciation). They are Trojan horses of the Sacred Heart of the Platte City. They talk like that, they talk like that.

“Even though we all had the same Cajun accents, 20 miles apart on the prairie.”

The great Escape

Terry Palmer, of Lafayette, says: “All that talk of spinning antennas to get a good picture reminded me of the advantage of ours when for a year in the 1960s our family lived in a two-story house in Kenner.

“The window in my twin brother and I’s upstairs bedroom opened up to the roof of the garage, which led to the antenna pole, which helped you negotiate the drop to the fence and to the down.

“Sneaking around at night and running around the neighborhood with our friends was a thrill. We never got caught and never caused any real damage or got into trouble. Fun times.

syrupy memory

Marty Roth adds to our chocolate syrup tales:

“Growing up in New Jersey, with cousins ​​in New York, Bosco was very common. But our family preferred Fox’s U-Bet Chocolate Syrup.

“Here at Metairie, I hadn’t thought of it for years, until I saw it in a Winn-Dixie at Kenner. Of all things, it was among a kosher food group. I guess a supposed New York connection?”

Do you have any books?

Here’s good news for those of us who live with piles of books and can bear to part with some of them:

Jane Honeycutt said, “The LSU Book Barn is open to schedule donations for the April 2023 sale. Call (225) 578-5925 to leave a message. Calls will be returned to schedule an appointment for delivery of donations on Mondays or Wednesdays between 9 a.m. and 1 p.m.

The sale benefits LSU Libraries, which need all the help they can get.

Special Persons Department

– Mary Sue Meador, of Baton Rouge, celebrates her 93rd birthday on Wednesday, November 2.

– Alvin Guerin Sr., of Baton Rouge, celebrates his 90th birthday on Wednesday, Nov. 2. He is a retired employee of the city of Baton Rouge.

— Thomas J. Piglia Sr., of New Orleans, celebrated his 90th birthday Thursday, Oct. 27, at a family brunch.

people play games

Rick Marshall of Baton Rouge said, “I have to admit I’ve been a little sad reading The Advocate lately.

“Headlines include four suspensions, three fines, two arrests and a divorce. And that’s just the Sports section.”

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Anti-Semitic remarks could leave Kanye without a music label https://puroveinte.com/anti-semitic-remarks-could-leave-kanye-without-a-music-label/ Sat, 29 Oct 2022 08:11:30 +0000 https://puroveinte.com/anti-semitic-remarks-could-leave-kanye-without-a-music-label/ After anti-Jewish comments, Kanye West could find himself without a label (Photo credit – wikimedia) Kanye West, one of the most popular, influential and commercially successful musicians of the past 20 years – who effectively set his business and career on fire with a series of indefensible anti-Semitic comments – is now without a record […]]]>
After anti-Jewish comments, Kanye West could find himself without a label (Photo credit – wikimedia)

Kanye West, one of the most popular, influential and commercially successful musicians of the past 20 years – who effectively set his business and career on fire with a series of indefensible anti-Semitic comments – is now without a record label or music publisher, reports “Variety” in a detailed analytical article.

Universal Music’s Def Jam Recordings and Sony Music Publishing are both in breach of contract with him, and many of his other business partners have severed ties following his recent behavior. In purely musical terms, the situation is unprecedented.

Def Jam, which held the copyright to his recordings until the mid-2010s and distributed Kanye West’s subsequent releases up to last year’s ‘Donda’ album, has confirmed that its deal with the company had ended last year. (Copyright credits on some albums have changed in recent weeks; it now appears West owns his masters from 2013’s “Yeezy” album.)

As with RCA Records and R.Kellythe company will continue to own and/or distribute and profit from its catalog, in accordance with the terms of its contract, according to “Variety”.

Def Jam presumably owns the recorded music rights to its earlier recordings for decades to come, though it’s unclear when post-2013 releases will get a new distribution deal.

Sony Publishing has confirmed that its administration contract with the company ended earlier this year, although it will continue to administer its work, under the terms of the agreement, for an indefinite period.

So what happens when Kanye wants to release new music? He released three songs in collaboration with other artists this year (all before his anti-Semitic comments), but all of them were on the labels of his collaborators — a less easy scenario to imagine now. Presumably, based on his recent comments about launching his own clothing lines, the rapper will release the music himself. But release music at Kanye West’s level requires major business partners – who will work with him?

The majors – Universal, Sony and Warner Music – are likely out of the equation for the foreseeable future, ‘Variety’ says, but it’s possible he could strike a deal with a major indie like hip-hop powerhouse Empire, Create Music Group (which distributes Tekashi 6ix 9ine versions) or the French company Believe, which is one of the few Western music companies that did not close or reduce its operations in Russia after the invasion of Ukraine) .

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Announcement of the first Ivors Composer Week https://puroveinte.com/announcement-of-the-first-ivors-composer-week/ Wed, 26 Oct 2022 19:44:33 +0000 https://puroveinte.com/announcement-of-the-first-ivors-composer-week/ The Ivors Composer Award celebrates its 20th anniversary this year – and they’re marking the occasion by expanding its format to a first-ever Ivors Composers Week. The seven days of events will follow the awards themselves, which celebrate the best new works by composers writing for classical, jazz and sound art. Ivors Composer Week will […]]]>

The Ivors Composer Award celebrates its 20th anniversary this year – and they’re marking the occasion by expanding its format to a first-ever Ivors Composers Week.

The seven days of events will follow the awards themselves, which celebrate the best new works by composers writing for classical, jazz and sound art. Ivors Composer Week will run from November 14-20 and the winners of this year’s Ivors Composer Awards will be announced on Tuesday 15 November.

Like the awards themselves, the week will champion composers, providing opportunities to connect and explore topics that impact composers. The events will support The Ivors Academy Trust, which creates new opportunities for composers and songwriters, including mentorship, creative support, leadership development and education.

The main events of the week include:

  • A reception at the House of Commons Monday, November 14. This invitation-only event will be hosted by MP Kevin Brennan, Chair of the All-Party Parliamentary Group for Music, and sponsored by PRS for Music. The ORA Singers will perform Ave Verum Corpus reinvented, composed by former Ivors winner Roderick Williams.
  • On Tuesday 15, the 20th edition of The Ivors Composer Awards will be presented by BBC Radio 3 presenters Hannah Peel and Tom Servicethe latter also a BBC Music Magazine donor. Tickets are available.
  • For Meet the curators at St Martin in the Fields on Wednesday the 16th, Sarah Gee (Spitalfields Music), Gill Graham (Wise Music Group) and Riot Ensemble’s Aaron Holloway-Nahum will discuss the changing landscape of classical commissions. Book for free as a member Where for £10 as a non-member.
  • Thursday the 17th will feature a live broadcast of a conference by David Ferguson, Classic beyond the concert hall. Also on the bill, the composer Heloise Werner (top photo) and others will discuss the impact of new technologies on creating and strengthening human connections. Broadcast live, the event is open to everyone.

Lloyd Coleman, Composer and Chairman of the Ivors Academy Classical Council, said: “As we celebrate the 20th anniversary of the Ivors Composer Awards, it is important that we look forward to the next twenty years. As composers, we are affected by the issues of touring, the underinvestment in public school music education, and the financial pressures faced by cultural institutions and venues.

“But the talent of composers in the UK, technological innovations and the importance of music and culture to Britain’s place in the world means that with the right support and funding, there is good reason to be optimistic. The Ivors Academy will launch a new conversation and campaign, Composers under pressure? during Composers Week to explore the challenges and opportunities facing composers today and how we can ensure a bright future.

You can read more about the Ivors Composer Awards in the December issue of BBC Music Magazine.

Photo of Héloïse Werner: Nick Rutter

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