Music shop – Swedish Music Shop http://swedishmusicshop.com/ Fri, 20 May 2022 07:57:40 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://swedishmusicshop.com/wp-content/uploads/2021/06/icon-1.png Music shop – Swedish Music Shop http://swedishmusicshop.com/ 32 32 I asked local fashion brands which in-store playlists they use the most https://swedishmusicshop.com/i-asked-local-fashion-brands-which-in-store-playlists-they-use-the-most/ Fri, 20 May 2022 07:40:21 +0000 https://swedishmusicshop.com/i-asked-local-fashion-brands-which-in-store-playlists-they-use-the-most/ “Music is so intertwined with everything we do creatively.” I worked in fashion retail for the better part of a decade, so you’d think I know the power of a really great playlist. What happens in a store sets the tone for customers and sellers. You can feel the shift in energy as a carefully […]]]>

“Music is so intertwined with everything we do creatively.”

I worked in fashion retail for the better part of a decade, so you’d think I know the power of a really great playlist. What happens in a store sets the tone for customers and sellers. You can feel the shift in energy as a carefully curated selection of songs make their way through the store (and back again).

Of course, Playlists are the perfect choice for a multitude of environments – your desk, on a long car ride, at dinner, or on a booty call. Pretty much anywhere or anytime when you don’t want to drain all your brain power queuing up song after song, naively hoping they flow seamlessly together.


Looking for more music-focused content? Try our Music section.


Obviously, fashion brands have a plethora of playlists they’ve curated to keep their store’s atmosphere just right (or al dente, if you will). Below, I’ve asked five of our favorite local stores to share their favorites with us.

Ramp Tramp Tramp Stamp

I love that RTTS land makes me feel like a little oasis in the middle of the city, so I played a lot of generic spa music! I find it very peaceful and relaxing. However, recently a client recommended a musician Wendy rules volume. His music has the same meditative magical and mystical qualities as spa music, but is much more special.

She has songs that sound like your walking through an enchanted forest or swimming in a waterfall. When I need something a little more upbeat, I listen to the RTTS playlist my dear friend and DJ Angie Osman made for the Butterfly Pea Flower Tea collectible photo shoot.

@ramptramptrampstamp

Sister Studios

We LOVE making playlists, we spend hours making them at home, in the studio and in the shop! This is a cute song we worked on together for Hope Street Radio. We joke that we have fun playlists and Emma’s independent playlists.

This was one of our independent playlists that we created a few months ago. It has lots of old goldies like REM and some new cuties we love like HTRK. It’s just a nice easy listen for work and the studio.

@sister_studios

Error 404

At Error404, we always have music in store. We organize a ‘Listen‘ on our website where we upload special releases from the local and international E404 community of musicians and DJs. These artists cross all kinds of genres and sounds, making for an eclectic listening experience in-store.

Some of my favorite E404 blends to date have been Moktar’s Uplifting Blend during one of Naarm’s many lockdowns, the impressive Vessa live synth setand the Solaris Inspired Zaric Jewelry Mix by brother-sister duo Aleksandar and Nastja – it’s like a musical journey through space.

@error404store___

Collective cupboards

Music is so intertwined with everything we do creatively. For as long as Fatuma and I can remember, music has been how we have connected with our community, reinforcing the fabric of our shared human experiences.

We release a new playlist with each collection to set the tone for the season. We love to celebrate musical artists of color and the sounds of the African continent. This was the playlist of our summer collection. He holds such a special place in our hearts.

@collectiveclosets

Suction cup

There’s a lot of old school R&B and hip-hop coming through Sucker’s speakers and there’s always been [been]. It brings a bit of attitude and kick to the day. The playful, bouncy production behind all the 90s rap tracks is unlike anything out there today – there’s a bit of hard, sexy energy behind it that we think brings fun to the mix. shopping experience.

The likes of De La Soul, A Tribe Called Quest, TLC, Pharcyde, Eve, Andre 3000, Diddy and Lil Kim are just a few in the rotation. We try to stick to playlists as we had a few incidents playing casual porn interlude albums that turned heads in the store. Definitely learned from those mistakes.

We love to hear each of the team members rip off the AUX and bring their own flavor to the store when they’re on duty, but usually the default is old school. We love the feeling of nostalgia that this kind of music brings us to big kids. We also love seeing people walking past and dancing to whatever vibrates outside the store.

@sckrco

For tips on curating playlists, go to here.

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Boston Pops spring season returns in person for the first time in three years https://swedishmusicshop.com/boston-pops-spring-season-returns-in-person-for-the-first-time-in-three-years/ Tue, 17 May 2022 21:17:27 +0000 https://swedishmusicshop.com/boston-pops-spring-season-returns-in-person-for-the-first-time-in-three-years/ The Boston Pops return this Thursday for their first in-person spring season in three years. For a preview of upcoming highlights, Boston Pops bandleader Keith Lockhart has joined Boston Public Radio, where he also talked about the joys of returning to live, in-person performances. “We’re so excited to be back for folks in something that […]]]>

The Boston Pops return this Thursday for their first in-person spring season in three years.

For a preview of upcoming highlights, Boston Pops bandleader Keith Lockhart has joined Boston Public Radio, where he also talked about the joys of returning to live, in-person performances. “We’re so excited to be back for folks in something that at least resembles a normal schedule,” Lockhart said.

Pandemic-imposed restrictions on performing in front of live audiences were difficult for Lockhart and the musicians he works with. “It was a tough race,” he said. “When you do something consistently for the last 40 years of your life, you start to define yourself by it, and all of a sudden it’s not there anymore.”

Lockhart said the pandemic has given her added appreciation for her work. “I will never take for granted the blessing of being able to play music for people again because, who thought it would be taken away?” he said. “The audience is part of the show, part of the shared emotional experience. We feel that they are there. And it’s a very different feeling, and frankly, not in a good way, when we play to have the cameras distributed virtually.

Still, Lockhart said he found silver linings in his virtual performances. By tracking ticket sales for concerts remotely, he found that two-thirds of people who bought tickets for the virtual Holiday Pops 2020 show were newcomers.

The Pops kick off the spring season with a tribute to composer Alan Menken, whose work spans on-screen and off-Broadway hits, from “The Little Mermaid” to “Little Shop of Horrors.”

“[Menken] we’re finding out it’s really cross-generational,” Lockhart said. “When I first said that, someone said, ‘Oh, it’s a kids’ show. And I said, “Well, you know, the kids who watched ‘Little Mermaid’ when it came out on the big screen, now they have their own 10-year-olds.”

The spring season also includes a 90th birthday tribute to Oscar-winning composer John Williams, which will feature some of his bestselling scores. The Pops will also celebrate jazz giants Duke Ellington and Billy Strayhorn. Christopher Jackson, who played the role of George Washington in “Hamilton”, will also bring his sensitivity to the stage by performing some of his favorite songs.

“It should be a lot of fun,” he said. “It’s so wonderful to find him. Like I said, I’ll wake up and be grateful every morning to go to a concert for people and touch them or reach out to them in some way.

Lockhart is the bandleader of the Boston Pops. The Boston Pops spring season from May 19 to June 11.

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Nobody plays guitar like Bill Frisell https://swedishmusicshop.com/nobody-plays-guitar-like-bill-frisell/ Mon, 16 May 2022 18:29:02 +0000 https://swedishmusicshop.com/nobody-plays-guitar-like-bill-frisell/ Bill Frisell owns sixty-three guitars, according to his biographer. Both parts of this sentence are surprising. It’s surprising that Frisell, whose records are linked by the tone he gets from his guitar – bright, lucid, both warm and dry, like tea with more lemon than honey – uses so many different instruments to get it. […]]]>

Bill Frisell owns sixty-three guitars, according to his biographer. Both parts of this sentence are surprising. It’s surprising that Frisell, whose records are linked by the tone he gets from his guitar – bright, lucid, both warm and dry, like tea with more lemon than honey – uses so many different instruments to get it. And it is surprising that in 2022 a living musician who does not sing is the subject of a complete biography. The book is “Bill Frisell, Beautiful Dreamer: the guitarist who changed the sound of American musicby Philip Watson, and it’s the story of a man who made music non-stop for more than forty years – in small-band jazz and experimentalism without a map and what we calls Americana, and also as a guest artist alongside great pop singers – sounding like himself all the time.

Sixty-three guitars are one of the reasons Frisell lives on a quiet Brooklyn street with no nightclubs in sight. I gave him an appointment at his place before he left on tour in Europe. I attach my bicycle to a post and find the address: a solid house from the twenties. After I knock, a voice shouts from the house next door, in Brooklyn: “What do you want?” That Frisell has been living in Brooklyn since 2017 is another surprise. For those of us who came to his work through his big ’90s electric records (for me it was “Gone, Just Like a Train”), he’s a musician from western Mississippi: raised in Denver, living in Seattle, making records in California and keeping his distance from the New York scene even as he performed regularly at (Le) Poisson Rouge and Jazz at Lincoln Center. Finding him here is what it must have been like finding Louis Armstrong in Corona or Joseph Cornell on Utopia Parkway.

Sixty-three guitars led me to expect his house to come out of a hideaway magazine—guitars on the walls, on teak stands, in sunny nooks—but no. There’s a black gig bag propped up by the door, ready for departure, and there’s a steel-string acoustic guitar on the sofa, where Frisell sits. He is tall and dressed in a flannel shirt, jeans, and canvas slip-on shoes. It’s easy to forget that he’s old enough to have seen Jimi Hendrix perform – twice – and to have paraded, with his clarinet, with the McDonald’s All-American High School Band at the Rose Parade on New Year’s Day. 1969.

These days, when playing with a small band – a combination of guitar, viola, drums and pedal steel, for example – they often end the set with a frenzied arrangement of “Benny’s Bugle”, a better-known piece from a 1940 record that features Benny Goodman on clarinet and Charlie Christian on electric guitar. I ask him if he is still in touch with his inner clarinetist. “It took a while for me to appreciate the connection, but it’s pretty huge, actually,” he says. “I played from fourth grade through college, learned all the basics, learned to read music. My first teacher was super strict. It wasn’t really fun, but there was the discipline of having to practice every day. It was super mechanical. I pressed the right buttons, did everything right, but my heart wasn’t in it. Then I got a guitar and the connection was immediate.

The guitar that hooked him was a white Fender Mustang. Leo Fender, who ran a radio repair shop in Fullerton, California, had developed a line of mass-produced electric guitars with sturdy bodies, bolt-on necks and resplendent paint jobs, like those found in cars of the day. . Mustangs were sold by the thousands to children who had seen the Beatles on “The Ed Sullivan Show”, in February 1964 – as Frisell did – and then picked up the guitar. I think aloud: would he have remained faithful to the clarinet all these years if Fender had released an electric model? “A cool looking bright red thing with fins on it?” he said laughing. “That was the thing with the guitar, at the age I was first drawn to: It was the age of hot rods.”

It’s an article of faith among guitarists that Fender’s electric instruments have changed the world, and Frisell’s faithful are concerned about his mid-career shift from hand-built guitars to Fender Telecasters. But the kind of acoustic guitar that sits next to Frisell on the couch—small body, light spruce top, round rosette, dark wood neck and sides—is a world-changing instrument in its own right. In 1922, CF Martin, who had been making guitars in Nazareth, Pennsylvania since the 1830s, began offering a production model guitar with steel strings rather than gut. (Steel strings respond well to a pick and are noisier than gut or nylon strings when fingered.) In the same year, Gibson, of Kalamazoo, Michigan, developed the L-5, a steel-string guitar with a particularly resonant bow. High. These instruments moved guitar music out of the living room and onto the porch – and into the barn dance, the blues session, the bluegrass jam, the union rally, the coffee shop and the civil rights rally – and what you could call the century of the guitar was on its way.

Frisell’s music of the past three decades draws on those early steel-string years to a striking degree. Blind Willie Johnson’s 1927 “It’s Nobody’s Fault but Mine” and “Wildwood Flower,” made popular by a Carter family recording the following year, are staples of his repertoire. What is it, I ask him, about this decade, these songs, these suddenly steely guitar sounds? “In my mind, all the things you just mentioned don’t seem old to me,” he said. “All this music feels alive and radical to me. It’s not worn out, that’s for sure. There is more to do with that. I mean, ‘Hard Times’ [by Stephen Foster]- It’s from the 1800s, and it’s a tough time right now. There’s all this history, and it’s like the history attaches to the songs and they always reveal more.

In the book “Beautiful Dreamer”, Watson highlights Frisell’s reverence for three jazz geniuses: trumpeter Miles Davis, tenor saxophonist Sonny Rollins and pianist Thelonious Monk, all composers. But Frisell has another set of forerunners in the steel-string guitar tradition. Maybelle Carter played a steel string acoustic. Much like Blind Willie Johnson, using a pocket knife as a slide. Just like Leadbelly (a twelve string) and Woody Guthrie and Hank Williams. So did Bob Dylan and Joni Mitchell, so did Boubacar Traoré, a Malian griot whose personal influence on Frisell was considerable. “I met him in Seattle, him and [the percussionist] Sidiki Camara,” Frisell says. “They were on tour. I was invited to this dinner, with them, and they handed the guitar to Boubacar. We were just sitting around the table [as he played]and I was, like, ‘Holy shit, what is this that?’ I couldn’t tell what was going on, and I thought he had the guitar tuned in a weird way. Then he handed me the guitar and said, “Now you play,” and I thought I wouldn’t be able to play this guitar. But the guitar was tuned in standard tuning after all. “We were supposed to do a concert together, and then 9/11 happened, and he didn’t want to travel,” Frisell says ruefully. They haven’t seen each other since, but Frisell has featured Traore’s “Baba Dramé” and his own tribute, “Boubacar,” on half a dozen recordings and performed them live hundreds of times.

The biography is jam-packed with musical encounters, so numerous that every two pages there is an unreleased Frisell recording for the reader to seek out. Looking for a King Sunny Adé record, Frisell went to the Downtown Music Gallery, a record store then on East Fifth Street in Manhattan, and ended up talking to the man behind the counter, John Zorn, the saxophonist and composer; they have played together on and off ever since. He made records with Ron Carter and with trumpeter Chet Baker, who was addicted to heroin. (“The last time I saw him, in Paris, he tells me, it was snowing and he didn’t have his shoes on.”) He plays with Ginger Baker, of Cream; as well as Norah Jones and Paul Simon; with sixties jazz stalwarts Elvin Jones and Charles Lloyd; and with folksong scholar Sam Amidon. He does twenty eight records with Paul Motian, known as the drummer of Bill Evans’ trio. For years, Motian’s late-summer residency at the Village Vanguard, along with Frisell and tenor saxophonist Joe Lovano, has been a bridge between the horn-based jazz tradition and the rock guitar émigrés that make up a great part of Frisell’s fan base. Motian died in 2011 and Frisell maintained the residency. On YouTube, the club’s red background remains the same across dozens of videos, while Frisell plays different guitars from one to the next.

I point out that Motian has been gone for over ten years and suggest that Frisell has taken his place as a musical statesman.

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– NoHo Arts District – Theatre, dining, bars, shopping and a vibrant community. https://swedishmusicshop.com/noho-arts-district-theatre-dining-bars-shopping-and-a-vibrant-community/ Sun, 15 May 2022 05:08:40 +0000 https://swedishmusicshop.com/noho-arts-district-theatre-dining-bars-shopping-and-a-vibrant-community/ A NoHo Arts music review of Dylan Tauber’s “He Loves Carmen” album. A NoHo Arts music review of Dylan Tauber’s “He Loves Carmen” album. Dylan Tauber is a very prolific musician. I just reviewed his album “Sounds from Space 2”, which seems like just a few weeks ago, even though it was actually last year…and […]]]>

A NoHo Arts music review of Dylan Tauber’s “He Loves Carmen” album.

A NoHo Arts music review of Dylan Tauber’s “He Loves Carmen” album.

Dylan Tauber is a very prolific musician. I just reviewed his album “Sounds from Space 2”, which seems like just a few weeks ago, even though it was actually last year…and I loved it. This new album is a bit more romantic, as you can tell from the title, but it’s just as enigmatic and moving.

The idea that electronica can be soulful, human, or soulful may seem antithetical to some, but Dylan Tauber’s music is deeply organic. Every sound emitted comes from somewhere deep within his mind, creating waves of rhythm and delicate spiraling emotive soundscapes. It’s easy to get carried away by it, even while listening to what’s clearly being made. But isn’t everything we hear just our mind’s interpretation of what is real?

A NoHo Arts music review of the album

In this sense, each of us masters our own sound, our own unique version of the echoes of the world around us. So “He Loves Carmen” is simply Dylan Tauber’s reflection of his reinvented world. There is also a collaboration with a Ukrainian singer on the album, recorded since the beginning of the war, which of course adds even more to the meaningful and poetic themes of love and peace.

Electronic music is the music of my youth. 80s bands like Eurythmics, Depeche Mode, Thomas Dolby, Pet Shop Boys, OMD, Human League, all seem like the start of everything to me. Thus “He Loves Carmen” by Dylan Tauber, with its purely electronic sound, synthesized, altered and fabricated, is deeply touching and familiar. It’s warm and comforting in these uncertain times, infinitely and unapologetically human. I loved this album.

Team:

Musicians/Instruments: Dylan Tauber / keyboards

Producer(s): Dylan Tauber

Websites:

Official: https://www.DylanTauber.com

SW Studios: https://SWStudios.net/music/HeLovesCarmen

Facebook

Twitter

instagram

Spotify

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Youtube channel

Artist contact email: https://www.swstudios.net/contact.html

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The pandemic has forced St. Louis arts groups to go online for good https://swedishmusicshop.com/the-pandemic-has-forced-st-louis-arts-groups-to-go-online-for-good/ Fri, 13 May 2022 10:21:00 +0000 https://swedishmusicshop.com/the-pandemic-has-forced-st-louis-arts-groups-to-go-online-for-good/ On an upper level of Powell Hall, behind a place where ushers stand and greet members of the public, there is a nondescript door marked “Firehose Room”. Behind is a narrow space with a high ceiling where, on a recent Friday evening, a team of four gathered to capture the concert in high definition video, […]]]>

On an upper level of Powell Hall, behind a place where ushers stand and greet members of the public, there is a nondescript door marked “Firehose Room”.

Behind is a narrow space with a high ceiling where, on a recent Friday evening, a team of four gathered to capture the concert in high definition video, operating eight cameras by remote control.

The St. Louis Symphony Orchestra began offering concert streams and educational programs online when the coronavirus pandemic made in-person gatherings unsafe. Capacity restrictions are now long gone, but the organization will create more online deals next season.

Many other organizations moved their programming online early in the pandemic, in what they saw as a short-term emergency measure that doesn’t match the in-person experience.

Then they discovered that online programming offered its own advantages and could attract large audiences. Many arts leaders, once skeptical of online programming, now plan to continue it even after pandemic restrictions end.

“It was an emergency”

Many arts educators initially viewed digital programming as a poor substitute for working in person with students. But they found the new programs reached a much wider audience, allowing young people in rural areas of Missouri and far beyond, or who lack reliable transportation, to participate.

“We were all in territory that we didn’t know how to handle. It was an emergency to find this material,” said Allison Felter, director of education and engagement for the Opera Theater of St. Louis.

Opera Theater completed its ongoing online educational programs in Spring 2020 as a last resort. Then he started planning ways to use online technology to his advantage.

The organization had to scrap a planned school tour of an animated, abridged production of Gilbert and Sullivan’s “The Pirates of Penzance.” But freed from the constraints of a traveling production, the creative team moved into a rehearsal studio and built more elaborate sets and costumes.

Saint-Louis Opera Theater

When the coronavirus pandemic prevented the Opera Theater of St. Louis from showing a production of “The Pirates of Penzance” in schools, the organization instead filmed a performance for online distribution at a rehearsal studio.

A typical tour would reach around 4,500 students. The audience for the online version was 87,000, Felter said.

“The impact? Huge. I mean, exponential,” she said. “What we found was that not only did a number of schools in St. Louis benefit, but that schools all over the world took advantage of it because everyone was in the same boat, everyone needed programming.

Digital programming comes with tradeoffs. Students miss the raw excitement of a live performance, and post-show video calls with the cast don’t pack the punch of in-person meetings. For online music lessons, a vocal student will sing along to a pre-recorded piano track rather than teaming up with a live accompanist who can be a creative partner.

“We should never go exclusively digital. We have to stay in person,” Felter said. “It’s a living, living, breathing art form that requires a live audience, I think, to fully enjoy and appreciate it. But it’s another way to deliver this great product.

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Jeremy D. Goodwin

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St. Louis Public Radio

David Torretta directs the webcasts of the concerts of the Orchester symphonique de Saint-Louis. While the ensemble plays, Audrey Kwong prereads the score and tells the rest of the team which musicians will be featured in the performance next.

The St. Louis Symphony Orchestra Education Department has developed a series of videos for elementary students titled sound laboratory. It combines instructions from an arts educator, footage of musicians from the St. Louis Symphony Orchestra performing the music in discussion, and videotaped commentary from children.

This school year, 84,000 students have worked with Soundlab in their classrooms, said Maureen Byrne, associate vice president for education and community partnerships. This is 20,000 more than the already impressive total of the previous school year.

“It was kind of an incredible realization for us, that this type of program is so needed and wanted in the early childhood classroom,” Byrne said.

In-person programs are back, but the organization plans to produce a third Soundlab series next season.

A piece? A movie? Maybe both

Performance video presentations, aimed at students or the general public, have different advantages and disadvantages than a live event. One approach is to simply record a live performance on stage, as it is. Another is to treat it more like a movie or TV show, making creative decisions about close-ups and camera angles.

Metro Theater Company tried both approaches. At the start of this experiment, artistic director Julia Flood said, the troupe’s general manager, Joe Gfaller, would ask her why she seemed so stressed.

“He saw me pulling my hair out and I was like, ‘You don’t understand, now we’re doing a play and a movie at the same time,'” Flood said. “It’s a different language, terminology and visual vocabulary.”

But the troupe found that online programming was attracting viewers far beyond its usual geographic reach. Viewers in 40 states and six countries watched a stream of “A Christmas Carol” by Charles Dickens, Pfaller said, and 565 new donors donated money to organizations.

A February production of “Last Stop on Market Street”, which included live shows at the Grandel in the Grand Center as well as an online version, became the highest-grossing show in the company’s history.

The St. Louis Symphony had planned to branch out into concert streams in the future — after a planned $100 million renovation of Powell Hall.

“When the pandemic hit, we put our foot on the accelerator pedal,” said vice president and general manager Erik Finley.

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Jeremy D. Goodwin

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St. Louis Public Radio

Sandy King operates four remote-controlled cameras from a small room in Powell Hall.

The organization invested $150,000 in video equipment which it used to record concerts and develop online education programs. Through January, music fans in 10,000 households watched St. Louis Symphony Orchestra concerts online.

On-demand ticket sales aren’t generating a profit, Finley said, but he expects that to change as the organization builds its video library over time.

Many industry players expected demand for online content to decline once in-person events returned, Metro Theater Company’s Gfaller said.

“At least so far, knock on wood, we haven’t seen that happen,” Gfaller said. “I’m sure it will even be okay at some point. But what comforted me the most is that the streaming audience for each subsequent production only increases.

As arts organizations continue to adapt to an evolving pandemic, many will be looking for other ways to make online technology an asset – rather than just a last resort.

Follow Jeremy on Twitter: @jeremydgoodwin

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LADYBUG MUSIC FESTIVAL Presented by CHASE BANK https://swedishmusicshop.com/ladybug-music-festival-presented-by-chase-bank/ Wed, 11 May 2022 21:38:19 +0000 https://swedishmusicshop.com/ladybug-music-festival-presented-by-chase-bank/ May 11, 2022 The Ladybug Music Festival returns to Market Street in Wilmington on Friday, May 20, 2022, with over 40 artists from across the country celebrating women in music. Beginning in 2012, the Ladybug Music Festival features an all-female lineup of artists taking over a two-block area of ​​LOMA for an evening of great […]]]>
May 11, 2022

The Ladybug Music Festival returns to Market Street in Wilmington on Friday, May 20, 2022, with over 40 artists from across the country celebrating women in music. Beginning in 2012, the Ladybug Music Festival features an all-female lineup of artists taking over a two-block area of ​​LOMA for an evening of great music. In addition to music, Ladybug will feature a variety of vendors, food trucks, and alcoholic libations. Admission is FREE and this is a rain or shine event.

Businesses in the 200 block of the market open their doors to welcome a variety of talent at this year’s event. Artists come not only from Wilmington, Philadelphia and surrounding areas, but also from New York, Nashville, Tennessee and Portland, Oregon. This year’s headliner is the fantastic Sweet Lizzy Project. Founded in Cuba in the mid-2010s, the band defected to the United States in 2017 where they recorded and toured from their home base of Nashville. Their modern rock anthem and energetic performance will be the perfect way to cap off an incredible day of music. Other artists on the bill include The Upstarters, The Infamous HER, Laura Cheadle, Sug Daniels and many more. Founder Gayle Dillman is excited about the diversity of this year’s lineup. “We try to touch as many musical genres as possible. And I think we touch pretty much everything,” Dillman said. “In addition to rock, we have alternative indie bands, hip-hop, folk and country as well as singer-songwriters and jazz. A little bit of everything” The Ladybug Music Festival takes place May 20, 2022 in the 200 and 300 blocks of Market Street, with an additional stage at Humble Park on 4th & Shipley. Music begins at 5:00 p.m. and is made possible through support from Chase Bank, 2nd and LOMA, ShopRite Kenny Family Stores, Downtown Visions, The Office of Economic Development, The City of Wilmington, BPG, Greater Wilmington Visitors Bureau, and Wilmington Alliance. Other sponsors include Out & About, InWilmington, WDEL, Faithful Friends, Bracy & Associates, Lyons Insurance, WhyFly, The Wilmington Whiskey Club, Soundgirls and Del Tech Community College. FESTIVAL DETAILS:WHEN: Friday, May 20, 2022OR: 200 & 300 Blocks of Market St, Wilmington, DEWEATHER: 5:00 p.m. – 10:00 p.m.TICKET INFORMATION: Free entry.

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This $12 Pack of Scrunchies on Amazon Can Hide Cash, Lip Balm and More https://swedishmusicshop.com/this-12-pack-of-scrunchies-on-amazon-can-hide-cash-lip-balm-and-more/ Tue, 10 May 2022 10:00:00 +0000 https://swedishmusicshop.com/this-12-pack-of-scrunchies-on-amazon-can-hide-cash-lip-balm-and-more/ Want to know what Amazon shoppers think? See the following reviews. “I’m so excited to try these! They’re stretchy, soft and durable. Being on the thick side, they fit my chubby wrist, so definitely approved for plus size. I’m so excited to have them at EDC for put my keys or lip balm in. I […]]]>

Want to know what Amazon shoppers think? See the following reviews.

“I’m so excited to try these! They’re stretchy, soft and durable. Being on the thick side, they fit my chubby wrist, so definitely approved for plus size. I’m so excited to have them at EDC for put my keys or lip balm in. I can easily get to my wrist instead of rummaging through my whole bag. So worth it.

“Love my new scrunchies! They fit really well in my hair! Love being able to throw my extra key in there without worrying about losing it. And it’s comfy and soft! Love it! Will continue to buy ONLY these!”

“I’m really thrilled with this product! I love scrunchies and I hate it when I don’t have room to carry something. It’s a really smart and creative invention!”

“Great for training. My daughter loves running and hiking and luckily usually takes her dog along. But he’s not even close to an attack dog, and we want her to be safe. I I bought these for her. They are great for holding keys, lip balm and money. She also has a little pepper spray thing in one. Also perfect for when she goes out. No one wants to hold a bag handbags all night when they dance, and women’s clothes were never meant to be practical with their pockets.”

I bought these a little over a year ago for myself and love them. I’ve used them for gigs and even to keep things simple like my debit/license card or just lip balm. I even bought some for my friend for Christmas because she is always doing things, loves scrunchies and hates bringing a bag everywhere. She’s obsessed!”

“Perfect for travelling! We didn’t use them to hold our long hair in place; more like a tool to have cash on hand. These hair ties stretch and wrap nicely enough to be cute around a ponytail with a few bucks in the zipper pouch. Also, comfy on my wrist/kids wrists!”

“Super comfy and has more room than you think. Love how the zippers blend in with the scrunchie!”

“Everyone loved it! My family loves to travel, so it’s the perfect solution for hiding small necessities.”

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A South Shields burglar raided hairdressers after breaking into a music store https://swedishmusicshop.com/a-south-shields-burglar-raided-hairdressers-after-breaking-into-a-music-store/ Mon, 09 May 2022 03:57:24 +0000 https://swedishmusicshop.com/a-south-shields-burglar-raided-hairdressers-after-breaking-into-a-music-store/ John Bothick, 45, claimed he did not illegally enter CH Guitars and crash into the ceiling in the Diamond Hair outlet below in Fowler Street, South Shields. Bothick, of Beach Road, South Shields, pleaded not guilty after prosecutors presented only blurry CCTV footage of a suspect at the scene on Friday October 22. But new […]]]>

John Bothick, 45, claimed he did not illegally enter CH Guitars and crash into the ceiling in the Diamond Hair outlet below in Fowler Street, South Shields.

Bothick, of Beach Road, South Shields, pleaded not guilty after prosecutors presented only blurry CCTV footage of a suspect at the scene on Friday October 22.

But new forensic fingerprint evidence was presented in court on the day of his trial, causing him to sing a different song – and change his plea.

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South Tyneside Magistrates’ Court.

A judge has now given him a last-minute reprieve from jail after he first admitted she had intended him for jail time but changed her mind at the last moment.

Prosecutor Marc Atkins told South Tyneside Magistrates’ Court: ‘CH Guitars was where he entered the premises below.

“He entered using a saw which was in the premises to cut the floor, and he used a ladder which was also in the premises to descend to the hairdressers.

“The money was taken from the hairdresser’s till, it was £50, which was the next day’s float.

“A tip jar containing around £700, which had been there for some time and only emptied once a year at Christmas, was stolen.

“The guitar shop manager is a DIY enthusiast and did a lot of the repairs himself, but had to pay £30 for a repair kit for his damaged door.”

Mr Atkins added: ‘There was CCTV of the guitar shop. The accused was questioned about the offence, but denied it.

“On the day of the trial, evidence of a footprint was submitted which led to a guilty plea.”

Bothick, who has 39 previous convictions for 98 offenses, including 55 for theft or relatedness, pleaded guilty to burglary and criminal damage.

The court heard he was jailed for eight months for a non-residential burglary in February last year and was on license when he did it again.

Peter Farrier, defending, said Bothick had not reoffended since and the imposition of a hard curfew had positively changed his behavior.

He added: “In a nutshell, Mr Bothick knows his predicament very well.”

A probation service report read in court found Bothick was working well with his rehabilitation teams and was seeking help for substance abuse.

Sentencing Bothick, District Judge Zoe Passfield told him she had written on her notepad that she would jail him for six months.

But she revealed that she changed her mind at the eleventh hour after hearing the positive input from the probation service.

Judge Passfield jailed him for six months, suspended him for 18 months and ordered him to pay compensation of £750 to Diamond Hair and £30 to CH Guitars.

The conditions of the suspended sentence are that he must commit no further offences, complete 20 days of rehabilitation and observe a 12-week curfew from 7 p.m. to 7 a.m.

There were no court costs or victim fine surcharges.

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Asexuality! The Solo Musical – NoHo Arts District https://swedishmusicshop.com/asexuality-the-solo-musical-noho-arts-district/ Sat, 07 May 2022 18:14:16 +0000 https://swedishmusicshop.com/asexuality-the-solo-musical-noho-arts-district/ [NoHo Arts District, CA] – “Top of the Fringe” winner and transgender artist Rebecca McGlynn uses original music and comedy to explore asexuality in a hypersexual world in this new solo show, “Asexuality! The Solo Musical” at the Hollywood Fringe Festival . Rebecca McGlynn not only spent much of her youth as a woman trapped […]]]>

[NoHo Arts District, CA] – “Top of the Fringe” winner and transgender artist Rebecca McGlynn uses original music and comedy to explore asexuality in a hypersexual world in this new solo show, “Asexuality! The Solo Musical” at the Hollywood Fringe Festival .

Rebecca McGlynn not only spent much of her youth as a woman trapped in a male body, but she also tried to figure out exactly where she was on the spectrum of sexuality. She was not “straight, gay or bi”, she was not sexually active, she was not understood by her peers who were at the peak of their sexuality, and as such she felt a deep sense of loneliness. . This changed when she became involved in acting, specifically in the solo theater community.

“I knew I had to do a show about my experience of gender identity,” McGlynn said. “Especially since asexuality is something a lot of people don’t even know exists.”

As such, “Asexuality! The Solo Musical makes its world premiere in June on studio/stage as part of the Hollywood Fringe Festival.

Written and performed by acclaimed transgender artist McGlynn (co-writer and producer of “Top of the Fringe” winner “My Big Fat Blonde Musical”), “Asexuality! The Solo Musical” is a new autobiographical musical about life of Rebecca before transitioning. The story follows Robert, an asexual man navigating a hypersexual world. Through music and comedy, he explores sex, romance, gender roles, toxic masculinity and heartbreak…and , ultimately, her true gender identity.

“The show explores sexuality and gender identity, and really explores how toxic masculinity hurts those of us who are born male,” McGlynn said. “It also touches on romanticized love, depression, consent, healing, and the importance of portraying queer people in popular culture.”

While the show definitely touches on heavier themes, McGlynn relies on her musical training and comedic chops to put on a truly unique one-man show. She interacts with herself via multimedia projections, sings duets (of poignant and humorous songs) with herself, and has in-depth conversations… with her (and Robert’s) genitals.

A true multi-hyphenate, McGlynn is a queer transgender writer-actor-songwriter-director-editor (in no particular order) working in film and television production in Los Angeles. She co-wrote the 2016 ‘Top of the Fringe’ winner’s book, music and lyrics.My Fat Blonde Musical.” She’s also a classically trained singer, Emmy-nominated photojournalist, and (in some circles) a “sound goddess.” Managing McGlynn is Heather Dowling, Fringe veteran and Soaring Solo instructor (“Unemployment finally”, “Fertile”)

A reading of the show debuted last December as part of Soaring Solo’s “Revealed” virtual reading series. McGlynn also performs a 10-minute excerpt on April 30 as part of the Joshua Tree Solo Festival. She’s excited to bring the full show to the Fringe community and hopes this will be the first of many festivals for the show. She is delighted to see how customers react.

“I hope audiences leave my show with a fresh perspective, especially if they are unfamiliar with asexuality and/or transgender issues,” she said. “I hope to offer a sense of forgiveness, both for oneself and for others. And I hope at least a few people leave humming one of these fun tunes! »

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Nano Sputtering Instruments Market Size and Forecast https://swedishmusicshop.com/nano-sputtering-instruments-market-size-and-forecast/ Fri, 06 May 2022 12:23:28 +0000 https://swedishmusicshop.com/nano-sputtering-instruments-market-size-and-forecast/ New Jersey, United States – Comprehensive analyzes of the fastest growing companies Nano-Sputtering Instruments Market provide information that helps stakeholders identify opportunities and challenges. The 2022 markets could be another big year for Nano Spray Instrument. This report provides an overview of the company’s activities and financial situation (a company profile is required if you […]]]>

New Jersey, United States – Comprehensive analyzes of the fastest growing companies Nano-Sputtering Instruments Market provide information that helps stakeholders identify opportunities and challenges. The 2022 markets could be another big year for Nano Spray Instrument. This report provides an overview of the company’s activities and financial situation (a company profile is required if you want to raise capital or attract investors), recent developments (mergers and acquisitions) and recent SWOT analyses. This report focuses on the Nano Spray Instrument Market over the assessment period 2029. The report also provides an analysis of the growth of the Nano Spray Instrument market which includes Porter’s five factor analysis and analysis of the supply chain.

It describes the behavior of the industry. It also outlines a future direction that will help companies and other stakeholders make informed decisions that will ensure strong returns for years to come. The report provides a practical overview of the global market and its changing environment to help readers make informed decisions about market projects. This report focuses on growth opportunities that allow the market to expand its operations in existing markets.

Get Sample Full PDF Copy of Report: (Including Full TOC, List of Tables & Figures, Chart) @ https://www.verifiedmarketreports.com/download-sample/?rid=507709

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The report helps both major players and new entrants to analyze the market in depth. This helps key players determine their business strategy and set goals. The report provides key market insights including niche growth opportunities along with market size, growth rate and forecast in key regions and countries.

The Nano Spray Instrument report contains data based on rigorous studies in elementary and secondary schools using the best research practices. The report contains exhaustive information which will enable you to evaluate each segment of the Nano Spray Instrument market. This report has been prepared considering various aspects of market research and analysis. It includes market size estimates, market dynamics, and company and market best practices. Entry marketing strategy, positioning, segmentation, competitive landscape and economic forecasts. Industry-specific technology solutions, roadmap analysis, alignment to key buying criteria, in-depth vendor product benchmarking

Key Players Mentioned in the Nano Spray Instruments Market Research Report:

Overborder Shop, Argus Le, CooSkin, AORAEM, Hunputa, SKG, Versa Skin Care, CosBeauty, Belulu, Xx shop, ONXE, HooYL, Pedi Solutions, KINGDOM CARES, okachi gliya

Nano-Sputtering Instruments Market Segmentation:

By Product Type, the market is primarily split into:

• USB charging
• Battery

By application, this report covers the following segments:

• B2B
• B2C

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Scope of the Nano Spray Instruments Market Report

ATTRIBUTES DETAILS
ESTIMATED YEAR 2022
YEAR OF REFERENCE 2021
FORECAST YEAR 2029
HISTORICAL YEAR 2020
UNITY Value (million USD/billion)
SECTORS COVERED Types, applications, end users, and more.
REPORT COVER Revenue Forecast, Business Ranking, Competitive Landscape, Growth Factors and Trends
BY REGION North America, Europe, Asia-Pacific, Latin America, Middle East and Africa
CUSTOMIZATION SCOPE Free report customization (equivalent to up to 4 analyst business days) with purchase. Added or changed country, region and segment scope.

Geographic segment covered in the report:

The Nano Spray Instrument report provides information on the market area, which is further sub-divided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country and sub-region over the estimated period.

• North America (USA and Canada)
• Europe (UK, Germany, France and rest of Europe)
• Asia-Pacific (China, Japan, India and the rest of the Asia-Pacific region)
• Latin America (Brazil, Mexico and rest of Latin America)
• Middle East and Africa (GCC and Rest of Middle East and Africa)

Key questions answered in this Nano Spray Instruments Market report

  1. How much revenue will the Nano Spray Instrument market generate by the end of the forecast period?
  2. Which market segment is expected to have the maximum market share?
  3. What are the influencing factors and their impact on the Nano Spray Instrument market?
  4. Which regions are currently contributing the maximum share of the global Nano Spray Instrument market?
  5. Which indicators are likely to drive the Nano Spray Instrument market?
  6. What are the key strategies of the major Nano Spray Instrument market players to expand their geographical presence?
  7. What are the key advancements of the Nano Spray Instrument market?
  8. How are regulatory standards affecting the Nano spray instruments market?

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