Pasion Tropical Thu, 04 Aug 2022 19:44:48 +0000 en-US hourly 1 One-Woman Rock Musical TRANS AM by Lisa Stephen Friday will hold a public workshop at the Hangar Theater Thu, 04 Aug 2022 16:41:22 +0000

TRANS AM, a groundbreaking new solo rock musical written by and performed by actress/musician/rock star Lisa Stephen Friday (her/her), with musical supervision and orchestrations by Tony Award winner Stephen Oremus (Tony Award best orchestrations for Kinky Boots, Tony and Drama Desk Awards for co-orchestration of the Book of Mormon), gets its final development in August at the Hangar Theater in Ithaca, NY. Led by Fred Berman (currently starring in Broadway’s The Lion King), four public workshop performances will play on the Hangar’s outdoor stage August 18-21.

New York-based producer Tequila Talking Theatrical, LLC seeks a larger life for the touching, funny, irreverent and provocative autobiographical musical that reflects the deeply human experience of a trans woman. It also happens that the human experience of this trans woman seriously changes. Hard.

In the 1990s and 2000s, Friday’s band Lisa Jackson & Girl Friday were cult darlings of punk-pop and glam-rock headlining New York clubs like CBGB, The Knitting Factory, Mercury Lounge and many others. They toured the country, sharing the stage with Pat Benatar, The Psychedelic Furs, The Motels, Indigo Girls and others as one of the only bands with a trans singer at the time.

In a previous development at the Keegan Theater in Washington, DC, the show featured nothing but Lisa and her guitar, playing the personal and powerful songs that put her band on the map. Music coordinator and orchestrator Stephen Oremus and music director Ada Westfall enhanced the already electric score by adding a stunning four-piece band to the proceedings.

“I am excited to further develop TRANS AM as part of the Hangar flight test development series,” Ms. Friday said. “The creative team has been hard at work, and we’re making new discoveries that help make the musical story of my life not just my story, but a universal story.”

Friday’s music and stories range from intense punk expression to an anthem rock ballad confession, moving between Lisa Jackson & Girl Friday songs and Lisa’s gripping and meaningful stories exploring identity and life. membership.

“We are thrilled to direct this important and timely play,” said producer Jeff Gurner of Tequila Talking Theatrical. “Lisa is an extraordinary storyteller, actress and musician who has led a fascinating life. TRANS AM is necessary theater in today’s rapidly changing cultural landscape. It definitely disrupts the status quo while being funny, intense, moving and endlessly entertaining.”

Friday sought to provide opportunities for musicians in the LGBTQ+ community when she and Westfall brought the band together for the Hangar Workshop. Westfall (she/her) will play additional guitar, and the rest of the band is rounded out by Sarah Schardt (they/they) on drums, Colleen Countryman (she/her) on keyboard and Emma Vulnerability (she/her) on vocals. low.

For tickets and information about the Hangar Theater run, visit®id=134& 2Fhangar-flight -test-trans-am%2F?utm_source=BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1.

Tequila Talking Theatrical is in talks with investors and other regional theaters to continue to develop TRANS AM for future regional and/or New York life. Learn more about TRANS AM at

The producers and star/creator are available for interviews related to this project.

Here is how the Hangar Theater characterizes TRANS AM:

“A groundbreaking new rock musical. Lisa Stephen Friday divulges the sorrows and joys of leading the punk rock band Lisa Jackson & Girl Friday in the 1990s and 2000s. This autobiographical play featuring the band’s music tells the story of creation and personal journey as a trans rock musician TRANS AM is a vulnerable portrait of the struggle to live an authentic life out loud and the humor needed to confront the senseless way society treats gender. ‘otherness.

]]> Looking for musical talent Thu, 04 Aug 2022 07:04:56 +0000

From an Australian Punjabi electronic musician to a punk metal trio, this year’s Holler Fest will have something for everyone.

After a long hiatus after the inaugural event, Holler Fest returns for the 2022 event on Saturday, August 13 from 2 p.m. until late at the Westwood Hotel in Footscray.

Event organizers Chloe Morgan (she/her) and Ebony Rattle (they) are preparing to host 17 bands on two stages for the event, which members of the LGBTQIA+ community are organizing for the LGBTQI+ community to highlight showcasing the musical talents of women and non-binary artists.

“100% of groups have at least one female or non-binary member,” Ms. Morgan said.

The event will split all profits generated from the event between the Dhadjowa Foundation, which provides strategic, coordinated and culturally appropriate support to Aboriginal and Torres Strait Islander families whose loved ones have died in custody, and the National Network of Funds Abortion Program, which aims to remove financial and logistical barriers to abortion access in the United States.

Ms Morgan said the event aims to be accessible to everyone, with tickets available between $22 and $53.

“People are able to pay what they can afford,” she said.

The Westwood Hotel is also wheelchair accessible and has an accessible bathroom.

Details:, Where

Matthew Sims

Musical Instrument Lead Lines Market – Application Analysis, Business Opportunities, Regional Outlook to 2028 – Instant Interview Thu, 04 Aug 2022 06:24:52 +0000

Musical Instrument Lead Lines Market Size and Forecast (2022-2028)

The study examines in detail the impact of these key trends and outlines the growth opportunities in various segments based on how these trends will shape the Musical Instrument Connecting Line market in the future.

Latest Update: This has resulted in several changes. This report also covers the impact of the current COVID-19 situation.

This report provides comprehensive data on emerging trends, market drivers, growth opportunities and restraints that may change the dynamics of this Musical Instrument Lead Line market. The report assesses the market size of the global Musical Instrument Connecting Lines market and studies the strategy patterns adopted by key international players. Additionally, the report estimates the market size in terms of revenue for the forecast period. All data figures such as percentage share breakdowns and breakdowns are determined using secondary sources and verified using primary sources.

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The report highlights key players and manufacturers and latest strategies including new product launches, partnerships, joint ventures, technology, regional and industry competition segmentation, profit and loss ratio and insights. of investment. An accurate assessment of effective manufacturing techniques, advertising techniques, market share size, growth rate, size, revenue, sales, and value chain analysis.

Leading competitors of the Global Musical Instrument Lead Lines Market are:
George Ls, Mogami, VOVOX AG, Canare Electric Co., Ltd., Monster, Kirlin Cable, ACT Lighting, Inc., Fender Musical Instruments Corporation, Vorson

The ‘Global Musical Instrument Lead Lines Market Research Report’ is a comprehensive and informative study on the current state of the Global Musical Instrument Lead Lines Market industry by highlighting the focus on global industry. The report presents key statistics on the market status of the manufacturers in the global Musical Instrument Lead Lines Market and is a valuable source of guidance and direction for companies and individuals interested in the industry.

The main types of products covered are:
Coaxial cable

The application coverage in the market is:
Electric guitar
acoustic electric guitar
Electric piano
electronic organ
music synthesizer

Scope of the Musical Instrument Connecting Line Market:

UNITY Value (million USD/billion)
CAGR Yes (%)
BY COMPANIES George Ls, Mogami, VOVOX AG, Canare Electric Co., Ltd., Monster, Kirlin Cable, ACT Lighting, Inc., Fender Musical Instruments Corporation, Vorson
SECTORS COVERED Types, applications, end users, etc.
REPORT COVER Total Revenue Forecast, Company Ranking & Market Share, Regional Competitive Landscape, Growth Factors, Emerging Trends, Business Strategies, etc.
REGIONAL ANALYSIS North America, Europe, Asia-Pacific, Latin America, Middle East and Africa

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Regional Musical Instrument Connecting Line Market (Regional Production, Demand and Forecast by Country):-
North America (United States, Canada, Mexico)
South America (Brazil, Argentina, Ecuador, Chile)
Asia-Pacific (China, Japan, India, Korea)
Europe (Germany, UK, France, Italy)
Middle East Africa (Egypt, Turkey, Saudi Arabia, Iran) and more.

The research report studies the past, present and future performance of the global market. The report further analyzes the current competitive scenario, prevalent business models, and likely advances of offerings by prominent players in the coming years.

Important features of the report:
– Detailed analysis of the global musical instrument lead lines market
– Fluctuating industry market dynamics
–Detailed market segmentation
– Historical, current and projected market size in terms of volume and value
– Recent industry trends and developments
– Competitive landscape of the global Musical Instrument Lead Lines market
– Strategies of key players and product offerings
– Potential and niche segments/regions showing promising growth
– A neutral outlook on the performance of the global Musical Instrument Lead Line market

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Musical Score of American Racism – The Provincetown Independent Wed, 03 Aug 2022 23:40:49 +0000

Federal Hill, a restored antebellum plantation home in Bardstown, Kentucky, better known as the Old Kentucky Home, opened its doors to statewide marching band and throngs of visitors on 4 July 1923, after a three-year campaign for its purchase and renovation. It was Kentucky’s first historic home—and one of the first projects to capitalize on 20th-century white American fervor for car tourism and Old South nostalgia. Federal Hill quickly became the tourist center of the state.

Author Emily Bingham grew up singing “My Old Kentucky Home” every May at the Kentucky Derby. She lives in Louisville, Ky. and Truro. (Photo by Jon Cherry)

Why this lodge? Because, according to the promoters of Federal Hill, it was here in 1853, in the family home of former United States senator John Rowan, that Stephen Foster, father of American music and cousin of Rowan, wrote “My Old Kentucky Home “. Shortly thereafter, the Kentucky General Assembly named the song the official state anthem.

Visitors to Federal Hill saw the “Foster Secretary,” a desk on which Cousin Stephen is said to have composed his classic rendition of a black man’s longing for the Kentucky home that “hard times” led him to leave, a place where “the sun shines brightly” and “the tenebrous ones are…all merry, all happy and bright”. They were told Foster’s song was inspired by his observation of the contentment of the enslaved people there – a narrative reinforced by the presence of a funky old black man sitting outside the house playing tunes of Foster on harmonica. He was introduced as the son of one of the Rowans’ loyal servants.

As Emily Bingham reveals in her brilliant book My Old Kentucky Home: The Amazing Life and Judgment of an Iconic American Songevery detail of this story was a lie.

Pittsburgh composer Stephen Foster never set foot in Bardstown or knew the Rowan family, and the “Foster Secretary” was likely purchased for the 1904 St. Louis World’s Fair. Bemis Allen, harmonica player, had no prior connection to Federal Hill before being hired to star as the “colored minstrel” there, as a 1930 feature in Kentucky Progress Magazine described it. Early tourists noticed that Federal Hill lacked the “little shack” where young people frolicked in Foster’s song, so conservatives built a shack-shaped gift shop and passed it off as former slave quarters. The real Rowan slaves had slept on the dirt floor of their slavers’ basements.

“The real Kentucky slave home,” Bingham writes, “was riddled with violence—rape, assault, deprivation of all kinds, disregard for family ties—and the constant threat of it all.” Her book is an extremely honest effort to correct our nation’s “continuing disconnect between history and fantasy” when it comes to race.

Stephen Foster, who died in 1864, was not responsible for the inauthenticity of the Old Kentucky Home in Bardstown. But his music was an early agent—and, after his death, a primary vehicle—not just of the “toxic illusion of contented servitude,” but of the entire cultural repertoire of dehumanizing stereotypes of black personality by which white Americans entertain and, in Bingham’s incisive phrase, “learned to feel good about racism.” The telling of this enduring cultural history and its “incalculable social and human damage” – a story in which the Federal Hill fantasy is but one episode – is Bingham’s stunning achievement.

Raised in a supportive Southern family, down-and-out and reaching his mid-twenties with a drinking problem and a dependent wife and child, Stephen Foster turned his talent to writing for the American entertainment outlet the most influential and lucrative before Hollywood: the minstrel show. There, white men in blackface performed slapstick skits, songs and routines in a fake “Negro dialect” that portrayed black people as “uncivilized, insane, emotional, crass, overly sexual, but also ‘naturally’ musical and athletes,” Bingham writes. Working for blackface impresario Christy’s EP, Foster wrote contented slave songs for Christy’s Minstrels, including “Oh, Boys, Carry Me’ Long,” “Old Folks at Home,” and “Poor Uncle Tom, Good Night”.

My Old Kentucky Home: The Astonishing Life and Reckoning of an Iconic American Song was published by Alfred A. Knopf in May.

But Foster also aspired to produce music suitable for the genteel white living room, so he revised “Poor Uncle Tom”, removing the dialect, adding the refrain “Weep no more, my lady” and renaming it “My Old Kentucky Home, Good Night”. .” These changes allowed the song to become over time an icon of “generalized white American middle-class sentiment, a sentiment that almost entirely circumvented both the politics of slavery and actual ‘black sentiment'”, writes Bingham.

The author shows that real black sentiment was precisely what American popular culture was meant to suppress or falsify – from Christy’s Minstrels to carried away by the wind (which includes 11 Foster tunes) to the reverent ritual chant of “My Old Kentucky Home” at the start of every Kentucky Derby. After the Civil War, for nearly 100 years, black musicians and singers could only pursue their careers by performing music that “validated plantation fantasies” and “whitewashed.” [their own] historical nightmare. Many, out of necessity or “hope for progress”, joined in and with every sentimental note delivered the “deeply inauthentic message” white audiences wanted to hear: “that they too were nostalgic, not insulted, hurt, struggling and furious with the forces that thwart the racial uprising,” Bingham writes.

When, in 1914, black parents and the NAACP opposed a popular musical anthology in public schools, Forty Best Old Songs, seven of which contained overt racial slurs, they were pilloried in the national press as hypersensitive malcontents, defamers of the “precious musical heritage of our people as a whole”. And when, 55 years later, students at the black University of Louisville marched on the slogan ‘Blacks aren’t gay anymore’ to protest Churchill Downs’ insistence on displaying – and encouraging Derby customers to sing – Foster’s original lyrics, the backlash was much the same. . It wasn’t until some corporate sponsors of Derby broadcaster CBS began to back down in 1972 that track administrators quietly replaced ‘darkies’ with ‘people’.

The life of Foster’s song that Bingham traces is truly astonishing in its scope. He obsessed over pharmaceutical magnate JK Lilly in the 1930s; he traveled the world with the US Armed Forces in the 1940s; he westernized Japan with Colonel Sanders of KFC in the 1970s; and, in the 1980s, it sealed Toyota’s selection of Kentucky as the site of the largest American investment ever made by Japanese industry.

But Bingham reveals another, more personal echo to this American song: its incitement to her determination to “confront what is beneath” the culture that shaped her. The story of “My Old Kentucky Home,” she writes, is also her own, a story “of a privileged white Kentuckian descended from both sides of people who owned people,” and whose 20th-century, progressive ancestors in all other respects, " has never washed away the deep, dark well of white rage that persists even in educated, distinguished, liberal-minded people. This is the story of someone who grew up and s is torn singing this nostalgic song at the start of every Kentucky Derby – until it confronts what lay below.

Bravely, Emily Bingham writes the story of Foster’s song partly as an autobiography. But not his alone. It is also ours, the cultural autobiography of America, and Bingham challenges us to recognize it as such – as a heritage that we frankly must possess before we can defeat it.

The Dark Side of an American Song

The event: A talk by author Emily Bingham on My old house in Kentucky
Time: Wednesday, August 10, 7:30 p.m.
The place: Wellfleet Public Library, 55 West Main St

Covered California Explains Rate Increases | Reinvest in Stockton | Woodland Opera House Musical “In the Heights” Wed, 03 Aug 2022 16:09:38 +0000

Stockton could ban food trucks from parking near restaurants and could increase enforcement.

Rich Ibarra / CapRadio

Covered California explains why health insurance rates should rise. The author of “The Fight to Save the Town: Reimagining Discarded America” ​​discusses Stockton’s lessons. Woodland Opera House performs the Broadway musical “In the Heights.”

California Covered Rate Increases

Six percent. This is how much the cost of the health plans offered by California covered are expected to increase next year. And that’s just the average. There are some parts of the state where rates will likely increase into double digits. And if federal funding isn’t renewed, health insurance markets across the country, like Covered California, could push rates even higher. And as more people resume doctor appointments at this point in the pandemic, the costs of seeing a doctor are also having an impact. There is also another big change at Covered California this year. For the first time since the state health insurance market launched in 2012, Covered California has a new leader. Covered the new California Executive Director Jessica Altman joined Insight to discuss his journey to becoming Covered California’s leader and rate changes.

Stockton reinvestment

It has been 10 years since Stockton filed for bankruptcy, the largest municipality to do so at the time (Detroit would file for bankruptcy the following year). During the 2008 recession, a perfect financial storm hit cities like Stockton hard. Foreclosures, falling home values, slack spending and not planning for a negative downturn. Stockton is one of the most diverse cities in the country, yet it’s often used as a title for a poor, high-crime location. But headlines are just that and there’s always more to the story. Michelle Wilde Anderson is a professor of urban law at Stanford University and his new book, “The fight to save the city: reinventing abandoned America”, documents the dismantling (and rebuilding) of local government in very poor communities. Professor Anderson has joined Insight to find out what happened to Stockton and how residents are reinventing their city and fighting urban decline.

“In the Heights” at the Woodland Opera House

A major Tony Award-winning musical and film will hit the stage in Yolo County. The Woodland Opera House opens its season with “In the Heights”, based on the book by Quiara Alegría Hudes and transformed into a Broadway musical by Lin-Manuel Miranda. In the Heights showcases the thriving migrant community of Washington Heights in Manhattan, incorporating Caribbean beats, hip-hop, and traditional musical ballads to tell the story of a predominantly Latin and Black neighborhood. The main character Usnavi de la Vega owns a “bodega”, a small Spanish grocery store, following his ambitions, struggles and desire to have a home. Jacob Gutierrez-Montoyadirector and choreographer of the musical at wood operajoined Insight to discuss performance.

Global Carbon Fiber Musical Instrument Market Outlook 2022 – Luis and Clark, Element 6 Composites, Mezzo-Forte, Carbon-Klang – Journal l’Action Régionale Wed, 03 Aug 2022 03:34:22 +0000

The carbon fiber musical instrument The report aims to facilitate business growth through an in-depth understanding of business fundamentals, including current growth, key trends, drivers, cost analysis, future projections and key segments. The report will provide an in-depth analysis of each segment of the Carbon Fiber Musical Instrument including custom regional analysis to acquire business opportunities in the relevant geographical area. Each research report prepared by our research team consists of 15 research experts, with years of hands-on experience in the relevant field, and specialized research tools to help them achieve their goals. MarketInsights reports aims to provide independent analysis of various markets in order to provide an easy to understand, dynamic and objective analysis of the relevant market to interested stakeholders.

The report is an instrument for global businesses to enter new regions, invest in new segments, understand consumer response, study global competition and ultimately invest wisely. The tool is ideal as an instrument to create solidarity between the employees of the team with transparency in the business objectives and the definition of objectives in relation to the SWOT analysis of a company.

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Some of the key players in the global carbon fiber musical instruments market are Luis and Clark, Element 6 Composites, Mezzo-Forte, Carbon-Klang, Hoffee Cases, Lava Music, Gayford Violins, Journey Instruments, Blackbird Guitars, Shenyang Eastman Musical Instrument Co., Ltd. and others.

Global Carbon Fiber Musical Instrument Market Segmentation:-

By type:






Per application:

Retail stores

Specialized points of sale


Carbon Fiber Musical Instrument Market: Key Features

Carbon Fiber Musical Instruments market size, growth analysis, industry trend, and forecast offer details about factors influencing the global business scope. This report provides future products, joint ventures, marketing strategy, developments, mergers and acquisitions, marketing, promotions, revenue, import, export, CAGR values, industry as a whole and the particular competitors they face are also studied on a large scale. market.

The latest news updates and industry developments in terms of market expansion, acquisitions, growth strategies, joint ventures and collaborations, product launches, market expansion, etc are included in the report. The report focuses on the operation and its competitive landscape present in the market.

The Carbon Fiber Musical Instruments market report provides an in-depth analysis of recent market developments and the comprehensive competitive landscape created by the COVID19/CORONA virus pandemic. The Carbon Fiber Musical Instruments Market report is useful for strategists, marketers, and senior management.

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Table of Content: Global Carbon Fiber Musical Instrument Market Research Report

Chapter 1: Global Carbon Fiber Musical Instruments Industry Overview

Chapter 2: Global Economic Impact on Carbon Fiber Musical Instrument Market

Chapter 3: Global Market Size Competition by Industry Producers

Chapter 4: Global productions, revenue (value), by region

Chapter 5: Global Supply (Production), Consumption, Export, Import, Geographically

Chapter 6: Global Productions, Revenue (Value), Price Trend, Product Type

Chapter 7: Global Market Analysis, Based on Application

Chapter 8: Industry Value Chain of Carbon Fiber Musical Instrument Market

Chapter 9: Carbon Fiber Musical Instruments Market Chain, Sourcing Strategy and Downstream Buyers

Chapter 10: Key Distributor/Supplier/Trader Strategies and Policies

Chapter 11: Major Economic Indicators, by Market Vendors

Chapter 12: Analysis of Market Effect Factors

Chapter 13: Forecast Period of Global Carbon Fiber Musical Instrument Market

Chapter 14: The future of the market

Chapter 15: Appendix

Global Carbon Fiber Musical Instrument Market: Regional Analysis

The research report includes specific segments by region (country), by company, by type and by application. This study provides information on the sales and revenue during the historical and forecasted period from 2022 to 2028. Understanding the segments helps to identify the importance of the various factors which promote the growth of the market.

– North America (United States, Canada and Mexico)

– Europe (Germany, UK, France, Italy, Russia and Turkey, etc.)

-Asia-Pacific (China, Japan, Korea, India, Australia, Indonesia, Thailand, Philippines, Malaysia and Vietnam)

– South America (Brazil etc.)

-Middle East and Africa (Egypt and GCC countries)

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“We are OFK” Interactive Music Series Coming to PlayStation, Switch, and PC on August 18 Tue, 02 Aug 2022 20:10:09 +0000

Back to the 2020 edition of The Game Awards, we learned We are OFK, a new project of Super Light Wanderer co-designer Teddy Dief and their Team OFK collaborators. It was supposed to debut in the spring of 2021 but, as has been the case for a few years, it has been delayed. Now, We are OFK finally has a release date. Or, more accurately, release Appointment, since it is an episodic series. The first two episodes will arrive on Nintendo Switch, PlayStation 4, PS5, Steam, and the Epic Games Store on August 18. The remaining three episodes will arrive on a weekly basis.

We are OFK follows a four-piece virtual indie band called, oddly enough, OFK. It is billed as an interactive musical biopic OFK is making about its own origins. Like Dief wrote on the PlayStation Blog, “What would it be like to create virtual musicians who watch performances by [pop stars] on their laptops in bed and know they’ll probably never perform in a stadium? We wanted to tell this story – how hard it is to make music, write even one song, record another video to post online and hope someone leaves a nice comment.”

The game costs $20. With each episode, OFK and Sony Music Masterworks will release a new single. A vinyl package of the singles will be available on iam8bit for $32. A limited edition physical version of We are OFK is available for pre-order for PS5 and Switch too. You can also pre-save the group’s debut EP.

“It’s like a wholesale GAA nightclub in Dublin” Tue, 02 Aug 2022 20:00:00 +0000 Life looked bleak for Paul Howard in 2012. He was weeks away from opening his first musical, which was about the collapse of Anglo Irish Bank. Howard — and his co-producer Darren Smith — spent most of their time in meetings with attorneys rather than in the rehearsal room. Despite pressure to kill the show, which included threats from former Anglo CEO and chairman Seán FitzPatrick, the couple decided to go ahead.

“We were lucky we didn’t go to jail,” says Howard. “I remember before a meeting to talk about the legality – or not – of the show, and the likely implications for us, Darren turned to me and said, ‘Damn, we should have done Coppers: The Musical.

What started as a joke came to fruition. In 2018, Howard created Copper Face Jacks: The Musical, which takes place inside the walls of Dublin’s legendary nightclub on Harcourt Street (which opened in 1996). Her second foray into musical theater was a resounding success.

“Darren and I knew Coppers very well,” says Howard. “We knew it was an Irish social institution. Unlike Anglo Irish Bank, it is an institution that has happy associations. We said to ourselves: why not pay homage to him on stage? A bit like a Moulin Rouge with cutting and new cut denim.

The plot revolves around a love triangle: Noeleen, a comely young girl who has moved to the capital for work; her abandoned fiancé, Mossy; and Gino Wildes, a cad, car blocker and captain of the Dublin Gaelic football team. The cast includes Johnny Ward, returning as Gino; and Mrs Brown’s Boys star Fiona O’Carroll.

“The thing about Coppers, the nightclub, is that it’s like a basically GAA nightclub in Dublin,” says Howard. “You could be in Tullamore. It’s like a local nightclub, but in Dublin. Door policy is not difficult. If you have a girl gang from Donegal or a gang of guys from Cork for a game they know they are going in. They knew they would not be fragmented and that they would wear their GAA colors.

“For people moving to Dublin from different parts of the country – gardaí, nurses, teachers or, in the case of our heroine, a claims clerk at VHI – it’s a little piece of home. It has this folksy, warm feel. DJs are not pretentious when it comes to playlists. Sweet Child o’ Mine could be followed by The Lion Sleeps Tonight. All of these great floor fillers. He doesn’t take himself too seriously.

Howard was a regular at the club in his twenties. “I loved that no one was judging you. I couldn’t get into Reynards and Lillie’s Bordello until I became the voice behind Ross O’Carroll-Kelly. I was turned away regularly from both nightclubs. I’ve always been too ugly to get in. There’s only so many different excuses you can get from bouncers: “Your shoes are too casual.” ‘I don’t know your face.’ “You have to be a member.” After a while, you realize they think you’re just not going to improve the aesthetics of this nightclub.

Before putting his musical on stage, Howard had to get permission from Coppers owner Cathal Jackson because he needed his imprimatur to use the Copper Face Jacks brand. Jackson wasn’t sure. He said he wanted to give the green light, but he wasn’t a theater or live music man, and he wasn’t sure that would make or break what was a thriving brand. Jackson agreed to come read – with six or seven trusted friends – to pass judgment.

Copppers cast: Johnny Ward, Sarah Gordon, Stephen O’Leary. Photo: Leon Farrell / Photocall Ireland

“The reading was a hundred times more tense than normal,” says Howard. “Actors are normally nervous anyway during a reading. I’m nervous because I wrote a show and I don’t know which jokes are funny and which jokes aren’t funny. It was that extra tension.

“Cathal and his friends have arrived. They seemed to be mostly gardaí. Big guys. You could tell by their cut – like, “the guards are here in civilian clothes.” One of them was [former Dublin football manager] Paul “Pillar” Caffrey. They were all standing against the wall. We were at the table reading the table. Honestly, we were all terrified to see what they were doing with it.

“About 10 minutes later I looked up and all I could see were red faces and shoulders going up and down. They were laughing, including Cathal. We got to the end of the first act and Cathal came over and he said, ‘I don’t need to hear anymore. I love it. Go for it.’ That’s when it really became a thing.

The musical Howard’s Coppers returns for its third run this summer. The public voted with their feet, stoning their numbers out loud like the coming-out song I’m gay, I’m GAA and Whoops, I’m back in Copper Face Jacks. Howard, who has won the Irish Book Awards four times, is jaded by the arrogant critical reactions to the series.

“You don’t write a show like this for the critics. Popular theater is never well received by critics. A lot of theater critics are snobby about it. I saw a few theater reviews at a show recently and they seemed to be from a place where something terrible had happened. I can’t remember the last time a comedy won a drama award. I don’t know if it’s beyond their knowledge, but it’s just not for them.

“I’ve seen shows where I’m sitting there checking off why the lines are funny but people aren’t really laughing. I would hate to write something like that, to be in a theater and no one is laughing. I saw a Richard Brinsley Sheridan comedy a few years ago. We were all sitting there. Nobody laughed. Then everyone left saying how funny it was. If comedy doesn’t make you laugh – to me – it’s not comedy.

Howard says he wrote the musical to make people laugh. “The only criticism that really matters is when you’re sitting in the theater and people are laughing? I didn’t write this show hoping theater critics would like it. You write it for an audience. I would much rather have the laughter of an audience and the violence of a theater critic – than the other way around.

  • Copper Face Jacks: The Musical is at the Olympia in Dublin until August 20; and Cork Opera House, August 23-28. See
The Way of Water Producer Reveals the Sequel Is Now in Music Tue, 02 Aug 2022 18:48:47 +0000

The release of Avatar: The Way of the Water gets closer every day and that means the people behind the long-awaited sequel come and go for the final touches on the film. Producer Jon Landau provides a new update stating that the film is currently being scored with composer Simon Franglen.

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Credit: 20th Century Studios

Avatar: The Way of Water Producer Reveals Sequel Is Now in Music

Jon Landau, franchise producer of Avatar: The Way of the Waterproudly revealed the film’s progress on social media by sharing a photo of composer Simon Franglen doing the film’s musical score, calling it the “scoring sessions” already underway.

Avatar: The Way of the Water is a highly anticipated sequel that took over a decade to come to fruition. As the release date nears, post-production on the film is now doubled down to deliver another masterpiece in December this year.

Avatar clearly etched his name in history as he held the highest-grossing film seat before Avengers: Endgame come. After thirteen years, he will finally be back on the big screen. Director James Cameron took his time to make sure the upcoming sequel was worth it.

READ MORE: Avatar: The Way of the Water Reveals New Look at Stephen Lang’s New Na’vi Body

Avatar: The Way of the Water takes place a decade after the first film and it will follow the Sully family as trouble begins to rumble around them and they will do anything to protect each other to stay alive and endure whatever troubles they will face.

Avatar: The Way of the Water is headed by director James Cameron under 20th Century Studios with Sam Wothington, Zoe Saldaña, Michelle Yeoh, Kate Winslet, Stephen Lang, Sigourney Weaver, Giovanni Ribisi, Dileep Rao, Matt Gerald, Joel David Moore, Cliff Curtis, Brendan Cowell, Edie Falco, CJ Jones, Oona Chaplin, Jemaine Clement and Vin Diesel.

Avatar: The Way of the Water is set to hit theaters on December 16, 2022.

Wives Revenge Against Henry VIII in Broadway Musical ‘Six’ at National Theater Tue, 02 Aug 2022 16:52:58 +0000 The six wives of Henry VIII are finally getting their rewards as modern pop stars in the Broadway hit ‘Six: The Musical,’ at the National Theater until September 4.

OMCP’s Jason Fraley Presents ‘Six’ at the National Theater (Part 1)

Divorced, beheaded, died of childbirth, divorced, beheaded and survived – such was the fate of the six wives of the infamous King Henry VIII in 16th century England.

They finally get their reward as modern pop stars in the Broadway hit “Six: The Musical,” which brings its North American run to the National Theater through September 4.

Actress Khaila Wilcoxon told OMCP the show was “a modern and highly relevant spin on the side of Henry VIII’s wives…through the eyes of your favorite pop stars”.

Wilcoxon stars as Catherine of Aragon, Henry VIII’s first wife, and she said her portrayal was mostly inspired by Beyonce, “but I also throw in a bit of Cardi B., Rosalia, Shakira – because it is very important that I pay homage to the Spanish heritage of Catherine of Aragon,” Wilcoxon said.

You’ll also recognize the pop-star influences of the other five wives. Wilcoxon says Anne Boleyn (Storm Lever) is based on Avril Lavigne; Jasmine Forsberg plays Jane Seymour as Adele; Olivia Donaldson portrays Anna of Cleves as Lizzo; Didi Romero bases her Catherine Howard on Britney Spears, and Gabby Carrillo plays Catherine Parr as “I Mean Celine Dion.”

The dazzling divas come to life in “shining and modern” costumes by Gabriella Slade. “I’m not a super girly girl, but putting on glitter every night brings out another side of me,” Wilcoxon said. The crowns are specially designed for each queen and each costume has its own touch. “Anne Boleyn and Catherine Howard wear necklaces to imply that they have been beheaded. … Anna of Cleves has all these chains.

Behind them, a minimalist ensemble but a sensory experience of light and sound, including the four-piece band The Ladies in Waiting.

Best of all is Tony’s winning score by Toby Marlow and Lucy Moss: “It reminds me – I don’t know if I’ll get in trouble for saying that – it reminds me of a funnier version of ‘Hamilton!'”

Wilcoxon said the show is “like a pop concert with a story behind it, and you’re going to be so moved.” She added, “Bring your girls! We do it for the little queens out there.

Listen to our full conversation here.

OMCP’s Jason Fraley Presents ‘Six’ at the National Theater (Part 2)

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