BTS’ J-Hope Practiced 6 Hours a Day for Lollapalooza After Being ‘Concerned’ About a Solo Performance

J-Hope became the first South Korean artist to headline Chicago’s Lollapalooza Music Festival. With “concern” about performing without the other BTS members, the Jack In the Box artist rehearsed for 6 hours per day leading up to his performance.

BTS’ J-Hope headlined 2022’s Lollapalooza Music Festival

J-Hope performs during 2022 Lollapalooza at Grant Park
BTS’ J-Hope performs during 2022 Lollapalooza at Grant Park | Erika Goldring/WireImage

He’s your hope, and you’re his hope. J-Hope is a rapper and dancer in BTS. Outside of his work with the group, J-Hope finds time to write solo music, including the 2022 release Jack in the Box. While the K-pop group TOMORROW X TOGETHER performed at the Chicago music festival Lollapalooza, J-Hope of BTS appeared as a headlining solo artist.

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Piping Live! brings music to streets of Glasgow ahead of world championships

Hundreds of pipers marched through the streets of Glasgow to celebrate the full return of the largest music festival of its kind for the first time since the Covid pandemic.

Around 30,000 people are expected to visit events during Piping Live! before the culmination of the event on Sunday.

The festival, which attracts musicians from as far afield as Canada and the United States, features the World Pipe Band Championships at Glasgow Green, but also includes a programme of classes and live performances.

Pipers donning yellow t-shirts celebrating the Beatson Cancer Charity – the partner of this year’s event – marched from Blythswood Square to George Square as part of the “Big Band” launch.

Finlay MacDonald, artistic director for Piping Live!, said: “It’s always a proud moment to lead the Piping Live! Big Band through the streets of Glasgow.

“The collaboration of people of all ages, and the eagerness of those less experienced to get involved, is truly heartwarming to see and such a fitting start to the festival.”

The event was among hundreds to fall victim to the pandemic shutdown, but virtual audiences will still be able to watch on from afar through a special live streaming service.

Finlay added: “The Big Band parade is always a highlight of the festival, and I’ve missed it greatly these last two years. As a player and a teacher, it’s fantastic to be back amongst the music and the rhythm.

“Performing with a 150-strong pipe band in one of Scotland’s most famous and celebrated cities is an experience unlike any other, and it’s made all the better knowing we are raising money for an amazing charity like Beatson Cancer Charity too.”

The World Pipe Band Championships takes place at Glasgow Green on Friday, August 12 and Saturday, August 13.

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Detroit Youth Choir to Perform at NCJW Fundraising Concert

The Detroit Youth Choir
The Detroit Youth Choir.

Money raised will support NCJW’s youth projects.

Detroit Youth Choir, the beloved Detroit-based children’s choir that achieved the second-place spot in America’s Got Talent in 2019, will perform in a fundraising concert at 3:30 p.m. Sunday, Aug. 21, at Temple Shir Shalom, 3999 Walnut Lake Road, West Bloomfield. 

The concert, “An Afternoon of Music for All Ages,” is being held by National Council of Jewish Women, Michigan (NCJW|MI) to raise money for its many important youth projects, including the Back 2 School Store, backpacks for homeless youth, blankets for children in hospitals and in foster care, and childhood literacy programs. 

Volunteers sort backpacks for homeless youth.
Volunteers sort backpacks for homeless youth. NCJW

Fox 2 Detroit TV anchor and WNIC radio personality Jay Towers will be emceeing the event and doors open at 3 p.m. 

NCJW|MI is a social justice and grassroots volunteer organization operating in Metro Detroit for more than 130 years to improve the lives of women, children and families. 

“Detroit Youth Choir is the pride of our city and showcases the amazing talents our young people have, when given a chance,” said Sallyjo Levine, NCJW|MI president. 

“Our organization is committed to making sure all children in Metro Detroit get the start they deserve, whether that is providing them with new clothes and school supplies for starting the academic year or offering comfort in the form of cozy blankets to sick children or those in foster care. This fundraiser will ensure that these projects remain strong and effective.” 

Artistic Director and President of the Detroit Youth Choir Anthony White said his young singers were very grateful for the opportunity to headline the concert. 

“To perform for NCJW will be an amazing opportunity to share our gifts and talents to a brand-new audience,” he explained. 

Since 2014, NCJW|MI has organized the Back 2 School Store event, where low-income pre-identified Detroit children are provided with their own personal shopper to choose the appropriate coat, clothing and school supplies. In 2019, 748 children attended the event. 

Braylon Benford with personal shopper volunteer Mariene Kravetzker
Braylon Benford with personal shopper volunteer Mariene Kravetzker. NCJW

Due to the pandemic, the program has been modified with clothing and supplies being distributed to children via agencies. This month, 900 Detroit children will go back to school with clothing and supplies from the Back 2 School store program and 1,350 low-income and homeless students in Oakland County will receive filled backpacks. 

Last year, more than 300 low-income children in Metro Detroit, identified by 19 local agencies, nonprofit organizations and schools, received new winter coats, socks, mittens and PJ bottoms, in a drive-through event called “Wrapped in Warmth.” Money raised at the concert will be used to support programs such as these. 

Children’s pajamas for “Wrapped in Warmth,” 2021
Children’s pajamas for “Wrapped in Warmth,” 2021 NCJW

Tickets for the concert cost $36 for adults, $10 for children ages 6 to 19 and free for children 5 and under. Patron tickets are $75. 

To register for the concert, go to ncjwmi.org or call (248) 355-3300, ext. 0. 

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After 20 years designing a music festival, Green Man breaks down its new folkloric identity

Nestled in its usual spot between the rolling hills of the Brecon Beacons – and annually beholden to the area’s traditionally unforgiving yet atmospheric weather – Green Man Festival will welcome around 25,000 attendees from Thursday 18 August. Green Man is known for its artistic ethos (huge bonfire sculptures in folkloric styles are just part of its visual lineup), and the festival’s illustrative identity is key to this feel, both in the build-up across socials and at the site itself. This year, the artist behind the unique illustrations – appearing on posters and stages, beer cups, key rings and parking passes – is Niagara-based artist Jess Hanningan. The work, however, builds on a significant rebrand that happened in 2013.

According to the Green Man team, the identity has “changed massively over the last 20 years”. The team adds, “It began as quite a folksy and organic visual look that was more of an afterthought than anything else.” In 2013, the festival underwent a major rebrand; as Green Man carved out a niche for itself, the identity became an “integral aspect of the festival”. The key change was that it created its own custom font in-house using bespoke block printing techniques, plus a set of symbols and names for each of the 10 festival areas. This work and an extensive brief have formed a strict framework that various artists have experimented with since (some of its previous posters can be discovered below).

There is, after all, a wealth of themes to experiment with when it comes to Green Man. Jess Hanningan’s 2022 work riffs on many of them. The 2022 anniversary work is mainly rooted in its location within the Brecon Beacons and the legends surrounding the area. “The verdant fields, the luscious flora, the ancient trees, the looming mountains and babbling brooks”, the Green Man team lists, all play a part in Jess’ more symbolic illustrations. Perhaps more so than any other Green Man refresh, Jess’ designs are informed by the myths and folklore integral to the site. The identity and posters are full of imagined otherworldly creatures, mysterious configurations and astrological moments.

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Video games music at the BBC Proms: “It was only a matter of time”

The industry is celebrating another cultural milestone after video games scores were added to the library of culturally significant music played at the BBC Proms.

The annual event has run in some way or another since 1895, first showcasing classical music, before branching into other genres such as jazz and eventually film and television scores.

But 2022 marks the first time video game soundtracks have been included in the line-up, with a special concert ‘From 8-Bit To Infinity’ hosted last week.

“It is a really welcome move to hear video games music brought to life in one of the most prestigious classical festivals in the world, highlighting the multi-faceted, extraordinary output of this powerhouse industry and its exceptional talents,” BAFTA’s head of games Luke Hebblethwaite tells GamesIndustry.biz.

Luke Hebblethwaite, BAFTA

“It’s brilliant to see games composers joining the BBC Proms line-up for the first time, cementing their deserved place alongside those working in film, classical music and wider established art forms.”

The music at the gaming prom – which you can watch here – was performed by an electronically expanded Royal Philharmonic Orchestra, and held at the Royal Albert Hall in London. It featured tunes from titles such as 1987 shooter Chronos, The Legend of Zelda, Pokémon, Secret of Mana, Final Fantasy, Kingdom Hearts, Journey, Dear Esther, and Battlefield 2042 – the latter of which marked its European concert debut.

Richard Jacques, composer of last year’s Guardians of the Galaxy game, believes this event was inevitable, especially after BBC Radio 3’s Sounds of Gaming series, and hopes for more in the years to come.

“It was only a matter of time before the BBC recognised the cultural significance of not only the gaming industry, but some of the incredible music that is an integral part of the gaming experience,” he tells us.

“As an industry we have proven that we are no longer the poor relation of Hollywood, or are inexperienced in the classical genre. Indeed, an event such as this is often the first time a fan of the genre has actually seen a live orchestral performance, which often leads the way for them to discover other symphonic works, from Stravinsky to Scriabin to Schubert and beyond. Video game soundtracks can be enjoyed equally by gamers and non-gamers alike, since music is for everyone, music is universal. The BBC Prom clearly has demonstrated this and long may it continue.”

David Wise, composer

David Wise, composer of Donkey Kong Country and Yooka-Laylee and the Impossible Lair, adds: “The cultural significance of video game music scores is a phenomenon on a global scale. Gamers have listened to these themes since their childhood, and nothing evokes nostalgia more than listening to a full orchestra and choir playing your favourite score which formed the backdrop to so many childhoods.

“Pokémon, Kingdom Hearts, Final Fantasy, Chronos from so many more great video games, with the soundtrack from Journey, composed by the incredible Austin Wintory, being the highlight of this year’s event for me.

“With so many internationally acclaimed video game composers emanating from the UK, I look forward to this event highlighting the incredible talent we have closer to home for future shows.
History in the making for the Proms, with a tiny slice of video game music history to set the stage for so many more epic video game future proms.”

The importance of the video games industry breaking into the mainstream culturally was recently brought up by NextGen Skills Academy’s Gina Jackson during a GamesIndustry.biz talk at Develop:Brighton.

“Imagine being in a society where politicians were happy to discuss the games they played, were happy to be with a game developer or esports star in the same way they are happy to meet a film or TV star,” she said. “Imagine if the BAFTAs for games were televised, that games review shows were back on TV. Imagine if the CEO of BAFTA was from the games industry. Imagine telling someone you just met about what you do and they weren’t apologetic that they didn’t play games. Imagine if the BBC decided to put games under entertainment and art, rather than technology.

“We focus a lot on what we deliver as an industry, but I think we need to look outward from that and talk about more than just how much money we make. Everyone knows we make more money than TV and film, but do we have a bigger cultural impact than they do?”

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From the front, Rosalia sets a trend in a tight swimsuit

In July, Rosalia Revolutionized Spain with his “Motomami World Tour”. The composer has been in many cities such as Almeria, Seville, Granada, Malaga, Valencia, Madrid, Barcelona, ​​Bilbao, A Coruña and Mallorca. However, it is not over yet, as it will continue throughout Latin America.

Rosalia It will first arrive in Mexico but will also be in Brazil, Colombia, Dominican Republic and Puerto Rico in August. The successful artist will perform in Buenos Aires on the 25th and 26th of August at the Movistar Arena, and on the 28th of the same month he will perform in our country. Concerts in Chile and Argentina will take place nearly three years after the 2019 Lollapalooza festival was first presented in both countries.

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Jewish music festival asks: What exactly is Jewish music? | Music | DW

Over a pulsating beat, Ramona Kozma (pictured above center) sings melancholically of a worthless life that is given meaning by a pair of dark eyes. The rhythm is pure tango. But the language is Yiddish

Kozma is the accordionist and singer of Trio Picon, a German ensemble that performs Yiddish tango, and the trio is one of many musical groups performing at the inaugural Shalom Music Cologne festival (Shalom-Musik.Köln). The week-long event, an offshoot of the city’s 2021 celebration of 1700 years of Jewish life in Germany, is dedicated to presenting Jewish music.

Yiddish tango was a popular genre of the 1920s-30s, with composers from Latin America, as well as the United States and Eastern Europe penning words in the language of Ashkenazic Jews to the emotionally intense Argentine music. Yet it’s not a musical style people usually think of when they hear the words “Jewish music.”

“I’ve noticed that there is a relatively large knowledge gap,” Kozma says. “For example, a lot of times Balkan music or Romanian music … is associated with Jewish music. But that’s just not right.” 

Yiddish tango is one of many genres included in the festival program. The others range from classical art song to contemporary jazz to club music to synagogue organ works. The musical diversity reflects the diversity of the Jewish experience, both throughout history and today, while also raising the question: What exactly falls under the umbrella term “Jewish music”? 

Organizers and partners of the Shalom-Musik.Köln festival

The Shalom Music festival is organized by the Cologne Forum for Culture in Dialogue and the Cologne Synagogue Community

Jewish music? Depends how you define it

Jean Goldenbaum, a researcher and professor at the European Center for Jewish Music in Hanover, is very familiar with this question — it’s usually the first he gets on the topic. 

“The first thing that I explain is that there is not a definitive answer. And there is not a concrete answer,” Goldenbaum says. 

There is no one overarching factor that unites Jewish music, he explains. Instead, it relates to what parameters are set and then what elements are accordingly present. Or, as Goldenbaum puts it, “Does it bring something or some things that show us or locate us in this [Jewish] cultural universe?” 

A very restrictive interpretation could define Jewish music as liturgical music in Hebrew meant for the synagogue, while a broader definition could include non-religious music with lyrics in Hebrew or other Jewish languages; non-Jewish language lyrics that nevertheless draw on Jewish texts or themes; or the use of musical motifs and stylistic features commonly found in the Jewish musical tradition, such as certain musical keys or melodic patterns and embellishments. 

In the case of Yiddish Tango, the elements go beyond the language.

“Yiddish tango is definitely written in the — I’ll call it — tonality typical to synagogue music, which klezmer music also shares … the vocal part is also influenced by synagogue singing and a particular way of making certain sound effects or raw crying sounds with the voice,” Kozma says. 

Compositions by non-Jewish composers who used Jewish elements can also fall into the category of Jewish music. The opening night of the Shalom Music festival included a well-known example: “Kol Nidrei,” by Max Bruch. The Protestant composer wrote the piece based on Jewish melodies in the early 1880s for Liverpool’s Jewish community. The name comes from the declaration recited during Yom Kippur services. 

The tricky issue of identity

The reverse scenario — a composition by a composer of Jewish origin that contains no apparent elements orienting it within Jewish musical tradition — is perhaps the most contested when it comes to definitions of Jewish music. 

“Another very, very large question is if the piece has no Jewish musical elements and has also no Jewish texts, but the composer is Jewish. What do we do about that?” Goldenbaum posits. 

Categorization in this instance is tricky because it boils down to identity, a topic that is never clear-cut.

“This question and this answer will be, in the end, bigger than the conceptions of the composer himself,” Goldenbaum says. There will be disagreement, he adds, which is fine: “Because it’s all about perspectives. It’s all about concepts. How do you choose to understand music. And it’s all about identity.”

Trumpeter Avishai Cohen

Israeli jazz trumpeter Avishai Cohen, a festival headliner, presented his new album, ‘Naked Truth’

A prominent example of the difficulty tied up in identity is the music of Austrian composer Gustav Mahler. Born Jewish, he converted to Catholicism to secure a prestigious post in the Hapsburg court, and his compositions do not openly draw on Jewish elements. The Shalom Music festival’s opening concert featured classical songs in which Mahler used traditional German folk poetry. 

Festival co-artistic director Thomas Höft underlines that there is more than one lens through which Mahler’s music can be examined. 

“This repertoire has many more characteristics,” he says. “But is there something that is specifically Jewish about Gustav Mahler? Is there? Is this being denied? Did he himself repress this? What is there? Can we assess it? Or is this a false assumption? This is an experimental categorization. We are putting on glasses that have been impacted by different experiences and using them to look at a very broad repertoire.”

“Electric Counterpoint,” by the contemporary American composer Steve Reich, is another example of an ambiguous composition. While other works draw on his Jewish heritage, this looping piece for electric guitar and recorded samples, performed by Cologne-based Israeli guitarist Tal Botvinik at the festival, uses central African horn themes. 

Guitarrist Tal Botvinik performs Steve Reich's Electric Counterpoint at the Shalom-Musik.Köln festival

Besides Steve Reich’s ‘Electric Counterpoint,’ Tal Botvinik also performed Hebrew and Latino songs on accoustic guitar

‘It’s all about the question’

Then there’s the self-described “sexually loaded freak party” that is The White Screen.

There is nothing particularly “Jewish” about the duo’s music, Höft says, which fuses art-rock, gospel-punk and psych-pop. But as is the case with any identity, the outsider perspective plays a role. 

“They come from Israel, and they are ‘read’ by people who do not want them to perform. And so they perform, and we look at them through these glasses and ask ourselves, ‘Is this Jewish, Israeli or even totally colorful world music? Right now, is this queer music from a dancefloor context?’ It all comes down to the question.”

In taking a broad, inclusive approach, the Shalom Music festival has created a line-up that spans the Middle Ages to the present day, features countless styles of music and prompts the audience to reflect on their own idea of what Jewish music can be. 

So what finally unites the festival’s musical panorama? For Höft, it’s quite simple: “Only the title. Only the perspective.”

Edited by Brenda Haas

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Stockbridge Music to host clasical music concert in September at the St. Peter’s Church

STOCKBRIDGE Music are holding another concert later this year to impress residents once again.

They will return on Friday, September 23 at 7.30pm at St. Peter’s Church, Stockbridge.

Stockbridge Music has as its objective to provide high quality classical music at affordable prices to residents of the central Test Valley area. We also attract attendance from the Cathedral cities of Winchester and Salisbury and from the market towns of Romsey and Andover.

SEE ALSO: Community football club appoints new chairman and secretary at AGM and presentation evening

The patron of the group David Owen Norris will be returning accompanied by cellist Sarah McMahon and violinist Caroline Balding, who are both passionate about chamber music and have a widespread repertoire.

They will be performing two of the most revered chamber works in the classical repertoire, Beethoven’s Trio in B flat, ‘The Archduke’ Op. 97, and Schubert’s Trio in B flat D898.

READ MORE: Business owner to move out of town centre citing ‘restrictive’ council policies

This concert is kindly sponsored by The Wykeham Gallery, Stockbridge

For more information and to book your tickets, visit: stockbridgemusic.uk/product/david-owen-norris-piano-trio.

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