Pinehurst Kids Wed, 05 Oct 2022 07:26:12 +0000 en-US hourly 1 Pinehurst Kids 32 32 SES successfully launches second and third C-band satellites on ULA Rocket Wed, 05 Oct 2022 05:25:00 +0000

CAPE CANAVERAL, Florida–(BUSINESS WIRE)–SES today announced that the SES-20 and SES-21 satellites have been successfully launched into space by the United Launch Alliance (ULA) Atlas V rocket from Cape Canaveral Space Force Station in Florida, United States, at 5:36 p.m. local time on Tuesday, October 4.

The two C-band satellites will allow SES to continue to deliver television and radio to millions of US homes and provide other critical network communications services. SES-20 and SES-21 will operate in the 103 degrees West and 131 degrees West orbital slots respectively and are scheduled to begin operations in November 2022.

These launches are part of a larger Federal Communications Commission (FCC) program to free up some C-band spectrum for wireless carriers to deploy 5G services across the contiguous United States (CONUS). . In response to this FCC mandate, satellite operators such as SES are required to upgrade their existing services from the lower 300 MHz to the upper 200 MHz of C-band spectrum to make room for 5G.

SES-20 and SES-21 are the second and third C-band satellites that SES has launched as part of its effort to free up the lower 300 MHz of C-band spectrum in the United States by December 2023 while maintaining uninterrupted services. SES-22 was the first C-band satellite to be launched on June 29, 2022.

The successful launch of SES-20 and SES-21 will allow us to help our customers bring high-quality sports and entertainment to tens of millions of American homes while delivering on our promise to reallocate spectrum to enable American leadership. in 5G,” said Steve Collar, CEO of SES. “The second phase of our US C-band compensation business is well underway and we are grateful for the hard work of our partners at Boeing and ULA. »

We are excited to support our business partner SES in its efforts to transition to C-band to meet the FCC’s goal of rolling out 5G service across the United States. Their mission aligns with our mission to connect the world and these capabilities will enable uninterrupted business services to many Americans. said Gary Wentz, ULA’s vice president of government and business programs. “The Atlas V delivered the satellites precisely into a near geosynchronous orbit 22,300 miles (35,888 km) above the equator. Thank you to the ULA team and our partners for ensuring the success of this in-orbit multi-payload mission.

Our unique dual-launch configuration has succeeded in this mission again,” said Ryan Reid, president of Boeing Satellite Systems International. “This, coupled with ULA Atlas V’s ability to reach an advantageous orbit, enables SES to bring these satellites into service within weeks. We appreciate the trust SES places in our industry team to make this happen.

More information about the SES-20 and SES-21 satellites can be found on the Boeing and ULA websites, as well as on SES C-band in the US Newsroom.

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About SES

SES has a bold vision to deliver incredible experiences anywhere on earth by distributing the highest quality video content and providing seamless connectivity around the world. As a global leader in content connectivity solutions, SES operates the world’s only multi-orbit satellite constellation offering a unique combination of global coverage and high performance, including the world-proven low-latency O3b Medium Earth Orbit system. trade. By leveraging a large, intelligent, cloud-enabled network, SES is able to deliver high-quality connectivity solutions anywhere on land, at sea or in the air, and is a trusted partner for leading companies. telecommunications companies, mobile network operators, governments, connectivity and cloud service providers, broadcasters, video platform operators and content owners. SES’ video network carries approximately 8,000 channels and has an unrivaled reach of 366 million homes, providing managed media services for linear and non-linear content. The company is listed on the Paris and Luxembourg stock exchanges (Ticker: SESG). Further information is available at:

Kylie Jenner’s side bangs feel so early 2000s Mon, 03 Oct 2022 23:37:00 +0000

Kylie Jenner was a bit of a surprise at Paris Fashion Week, making her debut at the Acne Studios show on September 28. She did not slow down, chaining show after show, always with a totally different hairstyle to go with the brand outfit. One of our favorites was Jenner’s side bangs that she rocked on a night out in Paris. We can’t help but think that emo style, Tumblr is back – with the side part.

Jenner loves to play with faux bangs and she did a few styles throughout the week. (Much like her shorter side bangs from the Ulta Beauty party.) These ones from Paris are longer and straighter, blending into her long black hair. Of course, Jesus Guerrero did both looks and all of Jenner’s hairstyles in Paris. He shared a behind-the-scenes snap of his writing “Love a side bang.” We too, Jesus. U.S. too.

Jenner paired her new bangs for the night with a Dilara Findikoglu “Dissolved Doll” dress, matching red bag and clear Gianvito Rossi heels. Her makeup was also a bit more dramatic. We don’t see the makeup mogul sporting a dark lip very often, but her longtime BFF, makeup artist Ariel Tejada, put it in an ombre lip with brown lip liner and a glossy nude center. (No, we don’t call them Brownie Glazed Lips.) The early 2000s-style lipstick and side bangs make this a very cool throwback style.

It’s not the only 2000-era trend that Jenner showed off during Paris Fashion Week. Tejada bleached her brows for the Coperni show and brought them back to her natural dark shade for the Mugler show. Jenner has also tried thinner brows, which is a trend that scares us millennials a little too much. But for King Kylie? Everything is fine.

Can “K-pop” offer a global hit on ETFs? Mon, 03 Oct 2022 04:00:55 +0000

South Korean entertainment has risen to the top of global charts – and now an ETF provider is hoping that fame can translate into financial gains for exchange-traded fund investors beyond the Asian country.

Research suggests that thematic ETFs, on average, underperform, in part because when they launch they are already late to the party. But CT Investments, a relative newcomer to the ETF industry, thinks the Korean entertainment craze is far from over.

According to Jackie Choy, director of exchange-traded fund research for Morningstar, domestic South Korean investors are already enthusiastic buyers of narrow thematic ETFs and can access funds focused on “K-Pop” music, games, the metaverse, and even Korean cuisine. Asia.

It specifies that, of the 128 local thematic funds listed in South Korea at the end of 2021, 80 had been launched during the previous two years. These new entrants accounted for 52.5% of thematic fund assets at the end of 2021.

However, KPOP Korean Entertainment ETF, which launched on the NYSE Arca exchange last month, is a rare attempt to introduce South Korean culture to overseas investors.

CT Investments maintains close ties with the South Korean music industry. It is a wholly-owned subsidiary of Seoul-based Content Technologies, whose investments, according to the two companies’ managing director, Jangwon Lee, include a majority stake in Beyond Music’s management company. The latter is South Korea’s answer to Hipgnosis, the Blackstone-backed global music rights company that has picked up catalogs of artists ranging from Blondie to Neil Young.

Lee argues that the time has come. It highlights the international success of K-Pop groups such as BTS, which was the world’s top-selling group last year, and Blackpink. They have over 80 million subscribers on YouTube and their videos have been viewed over 26 billion times.

CT’s KPOP ETF is also investing in Studio Dragon, the entertainment company that produced Parasite which in 2020 became the first foreign language film to win Best Picture at the Oscars. It is also invested in Showbox and Bucket Studio, backers associated with squid gamewhich became the most-watched program on the Netflix streaming service when it was released last year.

“My premise is that there must be fans who don’t just want to consume [a South Korean cultural export]they also want to own it,” says Lee.

Some analysts, however, are skeptical. ” While we [in the US] have narrowly targeted U.S.-listed ETFs related to cannabis, cybersecurity, climate change, video games and even space exploration, there’s no such thing as KPOP,” says Todd Rosenbluth, Head of research at VettaFi. “It’s hard to justify investing in the strategy,” he argues, “other than to make your portfolio more fun.”

Rosenbluth also points out that investors are unlikely to know what KPOP owns. “When investors think about exposure to South Korean equities, they [usually] want the benefits of multinationals based there like Samsung Electronics or Hyundai Motor,” he suggests.

“KPOP would be a contrarian bet on the Korean stock market versus what they traditionally invest in.”

KPOP ETF invests in only 30 stocks listed on the Korea Stock Exchange. Lee says the companies tend to be more nimble than the traditional chaebol — the sprawling, family-owned industrial conglomerates, such as Samsung, that dominate in South Korea.

Lee also points to KPOP’s investment rules, which include a stipulation that companies must have a market capitalization of at least 100 billion won ($73 million).

The ETF is targeting a 70-80% weighting in the entertainment industry, split between music, movies and TV shows, as well as between 20% and 30% in the media and interactive services industry . This includes stakes in Naver (the South Korean answer to Google) and Kakao (the South Korean equivalent of mobile messaging service WhatsApp).

The index is rebalanced quarterly and the ETF has a total expense ratio of 0.75%.

Kenneth Lamont, senior fund analyst for passive strategies at Morningstar, said the decision to launch such a South Korea-themed ETF in the United States was highly unusual.

“Having extensively reviewed the global thematic ETF dataset, I can say that innovation in terms of new thematic ETFs has been largely driven and driven by the US and European markets,” he notes.

But he adds that one of the few examples of an investment trend starting outside of those markets was also a South Korean ETF.

Lamont points out that the first hydrogen economy ETF he could find was listed in South Korea. “We subsequently saw several hydrogen economy ETFs emerge in the US and Europe, as well as Brazil and Australia, which collectively hold over $1 billion in assets.”

However, supporting K-Pop groups and successful South Korean movies and streaming shows are very different propositions for investing in future power sources. And, as Choy points out, niche products are, as their name suggests, focused on very specific narrow themes and segments.

“Sometimes themes can come and go pretty quickly,” he says.

Warner Music Group Corp. (NASDAQ:WMG) Receives Consensus “Moderate Buy” Rating From Brokerages Sun, 02 Oct 2022 06:40:59 +0000

Shares of Warner Music Group Corp. (NASDAQ:WMG – Get Rating) received an average rating of “moderate buy” from the fifteen rating agencies that cover the company, reports MarketBeat Ratings. Two equity research analysts rated the stock with a sell recommendation, two issued a hold recommendation and ten issued a buy recommendation on the company. The 12-month average price target among analysts who have updated their coverage of the stock over the past year is $40.38.

A number of research analysts have recently commented on WMG’s stock. Citigroup cut its price target on Warner Music Group shares from $31.00 to $27.00 and set a “neutral” rating on the stock in a Thursday, July 7 research report. Morgan Stanley cut its price target on shares of Warner Music Group from $37.00 to $34.00 and set an “overweight” rating on the stock in a Monday, July 25 research report. Truist Financial cut its price target on Warner Music Group shares from $40.00 to $35.00 and set a “buy” rating on the stock in a Tuesday, July 19 research report. JPMorgan Chase & Co. cut its price target on Warner Music Group shares from $40.00 to $34.00 and set an “overweight” rating on the stock in a Wednesday, July 13 report. Finally, Barclays cut its price target on Warner Music Group shares from $37.00 to $33.00 and set an “overweight” rating on the stock in a Tuesday, July 5 report.

Institutional investors weigh in on Warner Music Group

Institutional investors and hedge funds have recently bought and sold shares of the company. Verition Fund Management LLC acquired a new position in Warner Music Group in the second quarter worth approximately $270,000. Prelude Capital Management LLC purchased a new stake in Warner Music Group stock in the second quarter worth approximately $204,000. Legal & General Group Plc increased its position in Warner Music Group by 47.4% in the second quarter. Legal & General Group Plc now owns 96,125 shares in the company worth $2,342,000 after purchasing an additional 30,908 shares during the period. ExodusPoint Capital Management LP bought a new position in Warner Music Group in the second quarter worth $2,160,000. Finally, Goldman Sachs Group Inc. increased its position in Warner Music Group by 23.2% in the second quarter. Goldman Sachs Group Inc. now owns 434,161 shares of the company worth $10,576,000 after purchasing an additional 81,685 shares during the period. 22.44% of the shares are held by institutional investors and hedge funds.

Warner Music Group trades up 0.3%

Shares of WMG opened at $23.21 on Friday. The stock has a market capitalization of $11.95 billion, a price-to-earnings ratio of 27.96, a growth price-to-earnings ratio of 0.88 and a beta of 1.58. The company has a quick ratio of 0.58, a current ratio of 0.61 and a debt ratio of 22.01. Warner Music Group has a fifty-two week low of $22.75 and a fifty-two week high of $50.23. The company’s 50-day moving average price is $27.97 and its two-hundred-day moving average price is $29.41.

Warner Music Group (NASDAQ:WMG – Get Rating) last announced its quarterly results on Tuesday, August 9. The company reported earnings per share of $0.24 for the quarter, beating consensus analyst estimates of $0.18 by $0.06. The company posted revenue of $1.43 billion for the quarter, versus $1.41 billion for analysts. Warner Music Group achieved a net margin of 7.43% and a return on equity of 351.69%. Warner Music Group revenue increased 6.9% compared to the same quarter last year. In the same period a year earlier, the company posted earnings per share of $0.14. On average, analysts expect Warner Music Group to post an EPS of 0.91 for the current year.

Warner Music Group increases its dividend

The company also recently disclosed a quarterly dividend, which was paid on Thursday, September 1. Investors of record on Wednesday August 24 received a dividend of $0.16. The ex-dividend date was Tuesday, August 23. This represents an annualized dividend of $0.64 and a yield of 2.76%. This is an increase from Warner Music Group’s previous quarterly dividend of $0.15. Warner Music Group’s dividend payout ratio is currently 77.11%.

Warner Music Group Company Profile

(Get a rating)

Warner Music Group Corp. operates as a music entertainment company in the United States, United Kingdom, Germany and internationally. The Company operates through the Recorded Music and Music Publishing segments. The Recorded Music segment is involved in the discovery and development of recording artists, as well as the related marketing, promotion, distribution, sale and licensing of music created by such recording artists; markets its music catalog through compilations and reissues of previously released music and video titles, as well as unreleased content; and operates primarily through a collection of record labels, such as Warner Records and Atlantic Records, as well as Asylum, Big Beat, Canvasback, East West, Erato, FFRR, Fueled by Ramen, Nonesuch, Parlophone, Reprise, Roadrunner, Sire, Spinnin’ Records, Warner Classics and Warner Music Nashville.

See also

Analyst Recommendations for Warner Music Group (NASDAQ:WMG)

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Native American students hope new education law will help reverse years of misinformation Sat, 01 Oct 2022 18:45:04 +0000

By Joe Hong, CalMatters

Raven Casas, 16, remembers an English homework assignment where her teacher sent students a link to a website called “Native American Artifacts.” Students had to choose an artifact and write about its symbolism. But when Casas clicked on the link, she found images of merchandise touting the Kansas City Chiefs professional football team.

“They were just things with Native American symbols on them, and they called them Native American artifacts,” she said. “I just explained to him how it was wrong and how this mission was offensive.”

That’s why Native American students like Casas and tribal leaders are cheering for a new law signed by Governor Gavin Newsom last week. It establishes the California Indian Education Act, which encourages school districts to work with local Native American tribes to develop history lessons and strategies to close the achievement gap for Native students. Local districts would then submit the work of their task forces to the state, helping California become an authority in serving Native American students.

Tribal leaders believe that better Native history education will not only enrich all students, but will also lead to better high school graduation rates and healthier lives for young Native Americans.

“Educating our people kind of takes us out of the shadows,” Casas said. “It shines a light on the true side of things.”

Casas is a member of the San Manuel Band of Mission Indians, a Native American tribe based in San Bernardino County. Casas and his peers say that despite their own ancestral roots in the area, public schools have failed to educate students about their tribe’s history.

Casas said that instead of completing the artifact mission, she sent a message to her teacher to educate her about her culture. She said she received no grades or feedback for the assignment. In fact, Casas said, the teacher never acknowledged her grade. She said this new law could help weed out other misinformed missions.

“I would like to shift the perspective of the program to the Native American point of view,” Casas said.

The San Manuel Band of Mission Indians Community Center on the San Manuel Reservation in San Bernardino on September 27, 2022.Pablo Unzueta/CalMatters

Johnny Hernandez, the vice president of the San Manuel Band of Mission Indians who advocated for the new law, stressed the importance of local history.

“It’s important because as California nations, each tribal community has unique cultural identities,” Hernandez said. “It’s important for people to get to know the indigenous tribes in their areas.”

The new law was drafted as a bill by California Assemblyman James Ramos de Rancho Cucamonga, the only Native American member of the state legislature. This law would require task forces to submit annual reports to the California Department of Education, which would then report to the Senate and Assembly Education Committees. Lawmakers would use these reports to inform future policies.

The bill was supported unanimously in the Senate and the State Assembly. Teachers’ unions, the California Charter Schools Association and state Superintendent of Public Instruction Tony Thurmond all backed the legislation.

“We have to start at the local level,” Ramos said. “The goal is for that local knowledge to feed into the state and you can have an all-culture clearinghouse in California”

Ramos, also a member of the San Manuel tribe, said the bill was long overdue. He remembers one of his own teachers asking him and his fellow tribesmen to perform a Native American drum song from a tribe outside of California. He said his teacher shamed him because he didn’t know how.

“We were told to sit down because we don’t have to be Native Americans,” Ramos said.

Last year, when a Teacher at Riverside High School wearing a faux feather headdress and imitating a Native American chant to illustrate a mathematical concept, insensitivity sounded familiar to Ramos. But today there is enough political momentum to better inform teachers and students and prevent future incidents.

And while the law doesn’t require districts to form task forces, Hernandez says it’s a step in the right direction.

“I hope people are interested in doing the right thing,” he said. “Time will tell, but the indigenous peoples will never stop fighting for this.”

Hernandez said his tribe is still working on designing course materials for local districts, but he cited the Agua Caliente Band of Cahuilla Indians as an example of a tribe that has already developed curricula. The tribe, based in Palm Springs, piloted a third-grade program last year that taught students about tribal history, culture and land use.

The hands-on program used real tribal artifacts to teach students about local customs. The program has been recognized by the Harvard University Project on American Indian Economic Development.

Hernandez said cultural ignorance can fuel caricatures like the Riverisde incident, while a thoughtful curriculum can help Native American students form “a complete view of who they are as a tribal person.” Hernandez hopes a stronger sense of identity will also translate to higher high school graduation rates.

In 2021, Native American students had a 73% graduation rate, lower than any other racial or ethnic group except black students. Less than a third of graduating Native American students have completed the courses required to attend a University of California or California State University, the lowest college readiness rate among all races and ethnicities.

Hernandez said better education in one’s own culture and history can have ripple effects outside of the classroom, especially within Native American communities that experience disproportionate rates of drug abuse and suicide.

“How do you help the whole student and not just the academic parts?” he said. “It’s about looking at the student in a well-balanced way.”

A richer history curriculum leads to fewer misunderstandings. Fewer misunderstandings gives Native American students a sense of belonging on campus, Hernandez said.

“When people think of San Manuel, they only think of casinos,” he said. “We have the opportunity to talk about what it means to be a tribal government.”

Hernandez’s 16-year-old son Gauge, who traveled to Sacramento to lobby for the bill before it became law, said his classmates stereotype Native Americans as wealthy landlords of casinos.

“I feel like it happens every week or every month,” Gauge said. “As a Native American, they think I’m just a slot machine.”

But both Gauge and Casas want young Californians to know how their people got to where they are today: the genocide and displacement that preceded the current success of some Native Americans.

“In the program, it’s important to maintain our culture and our identity,” Gauge said. “We have to see it in a better way.”

Rachel Berry’s Best Solos, Ranked – Billboard Fri, 30 Sep 2022 22:08:29 +0000

More than 10 years later Joy premiered on the small screen, one of its latest storylines came to life on September 6 when the show’s lead actress, Lea Michele, debuted as Fanny Brice in the 2022 Broadway revival of funny girl.

If you need a reminder, here’s what you missed Joy: With a vocal range nearly as big as her ego, Michele’s Rachel Berry has always had her sights set on stardom. The character was also obsessed with Barbra Streisand and performed many of her signature tunes throughout the series (including, funny girls own “Don’t Rain On My Parade”, introducing a whole new generation to the 1964 musical). A few seasons after graduating from McKinley High and embarking on a journey of self-discovery in New York, she finally landed her dream role as, you guessed it, Fanny Brice in Joyversion of a funny girl the comeback. So yes, life really imitates art.

Fanny marked a Broadway first for Rachel — but for Michele, it’s a homecoming. Pre-Joythe singer-actress made her Broadway debut as Young Cosette in Wretched Eight years. Later, she originated the role of Wendla, the female lead role in spring awakening. It may not be his first circus, but funny girl was “a dream come true” for Michele too.

To celebrate the fictional cast turned real, we dropped by JoyThe catalog of over 700 songs to choose from 15 of our favorite Rachel solos. Take a look at his best musical performances, all of which helped cement the musical’s place as a pop culture phenomenon.

]]> David Beck on Texas Firsts and new album ‘Bloom & Fade’ Fri, 30 Sep 2022 18:51:48 +0000

This article is part of the ongoing Wide Open Country series Where I come fromwhich explores how the artists’ hometowns have shaped them.

Raised in the Texas Hill Country, David Beck grew up revering Texas music. His father, Bill Whitbeck, has played bass for Texas icon Robert Earl Keen since the early ’90s, and the music of Lone Star State legends from Selena to George Strait marked his youth. The talented artist continued this legendary tradition through David Beck’s Tejano Weekend and his solo projects.

Below, Beck tells us how Texas music shaped him, an eventful journey to his first opening show at Emo’s in Austin and his new album. Bloom and fade.

Texas is known for its rich musical history. Did growing up in Texas help shape you as an artist?

Growing up in Texas, I had a lot of musicians I could look up to. George Strait, the king of country, Selena, the queen of Cumbia and Beyoncé Knowles the queen of almost everything else! My childhood was marked by staying up too late at my father’s shows. He’s been playing bass with Texas legend Robert Earl Keen since I was seven. All of these big names instilled in me a passion for performing, they gave me hope that one day my music could also resonate beyond the borders of Texas, in the rest of the world.

What do you find most inspiring in your hometown?

I grew up in San Marcos, Texas. This is a beautiful city. The San Marcos River springs from the Edwards Aquifer. The water is crystal clear, 72 degrees all year round. It flows in droughts, it also floods, but always returns to the center. It’s a resilient river, and I hope to be as stable and pure in my life.

So many artists are influenced by local artists in their hometown. Who are the local artists and performers you grew up listening to?

I grew up going to a club called Lucy’s. It is an old shotgun warehouse built in the late 1800s. The high ceilings and wooden floors make this a great hall for music. It was a stop on the road for many touring bands. The post-rock/screamo group At All Cost struck me the most. They were from Austin, the “big city”. They commanded the mob and turned this former cotton warehouse into the epicenter of something fierce. The power that four mortal Austin musicians could conjure up was inspiring. Music in any form has a way of transporting someone beyond their natural state. Seeing this magic ignited a spark in me that hasn’t been extinguished yet.

Did you grow up playing local venues?

One of my fondest memories is when my band performed at a club called Emo’s in Austin. It was a big deal for us. I had flooded their inbox with emails asking for a show. They finally relented and let us open for a traveling rock n roll side show act. I borrowed my dad’s car for the trip. We had a blowout on a major highway. While looking for tools to change the tire, I had found my father’s grass reserve! This was a game changer for us in high school, stable source! Delighted, we repaired the tire and drove off. We had never played in a “real” room and the soundcheck alone was life changing. Hear the power of a drum set with a mic, feel the subs send shockwaves through your body with every bass note. It was moving. The show probably sucked, but that didn’t matter. We were coming to the big city and we were playing in the biggest hardcore club there was.

Can you tell us about the creation of your new album Bloom and fade?

You can’t plan for inspiration, if you try it never works. It was November and my girlfriend and I were taking some time off in New Mexico. It’s a very cheap place to get away, and we took full advantage of it. I wrote “Ballad of a Dreamer” and “Red Tail” on the same day. Those songs led the charge, and with the seal broken, the rest of the tracks made their way onto the page and into my phone on a voice memo. It was clear there was a straight line, indie rock with a country sheen. My last record was pretty simple and lo-fi. I wanted a bigger sound on this album. We rented a studio called “The Space”. Dees Stribling cut all the drums from the album in two days! I took it back to my little studio in East Austin and began the methodical process of filling in the songs. My cousin Peter Huysman added some nice lush keyboard/string parts and my mate Wes Maxwell added some electric, played only as he can. Once the tracking was done, I took the project to my current space in Martindale, TX and did the final mix. Before the takes and before I started mixing, I asked someone. Please help him to be the best he can be and as honest as he can be. I can honestly say that I tried my best with every note, every word and every turn of the knob. I hope the energy of love is transmitted to the listener. It is my greatest hope.

READ MORE: Sunny Sweeney on Texas, Small Town Dreams and new album ‘Married Alone’

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Classical Concerts to Fill Your Music Weekends This Fall in DC Fri, 30 Sep 2022 10:07:26 +0000

For some people, the arrival of autumn is synonymous with cardigans and shawls. For others, it’s cider donuts and pumpkin spice.

But for us, it’s the return of classical music — and the more, the better. Fortunately for local music lovers, the orchestras and ensembles of our hometown are not left out. Here, find a selection of weekend concert season highlights to keep you up to date for October and November. (But I can’t fit that much: be sure to click on them and check out their full seasons!)

And for up to the full schedule — plus details on offerings from the Washington National Opera, National Symphony Orchestra, Washington Bach Consort and more — be sure to review our preview of the fall.

Live classical music picks up steam, with robust fall seasons

The relentlessly captivating chamber ensemble led by artistic directors Efi Hackmey and Carrie Bean Stute kicks off its fall season by hosting the Attacca Quartet for two nights. On October 1, they will perform Shostakovich’s Piano Quintet as well as string quartets by Edvard Grieg and Caroline Shaw; on October 2, it will be the Cello Quintet by Schubert and the string quartets by Maurice Ravel and Shaw. (Also note: Chiarina’s “Form, Shape, Groove” program on November 6, with music by Reinaldo Moya, Gabriela Ortiz, Jennifer Higdon, Kaija Saariaho and Astor Piazzolla.) October 1 and 2 at 7:30 p.m. St. Mark’s Episcopal Church, 301 A St. SE. $25; free for 18 and under.

Esteemed Musical Adventurers bring “Threnody,” a performance inspired by Armenian American artist Zarouhie Abdalian’s “Threnody for the Unwilling Martyrs” as well as the museum exhibit highlighting the works of 49 women and non-binary artists titled “Put It This Way: (Re)Visions from the Hirshhorn Collection. In addition to works by Tatev Amiryan, Susan Kander, Elena Ruehr, Stacy Garrop, Alexandra Gardner, Juri Seo and Tansy Davies, the Consort will perform “Lament for the City”, in memory of its composer and longtime associate, David Froom . October 1 at 5 p.m. Hirshhorn Museum, Ring Auditorium, Independence Avenue and Seventh Street SW. Free; reservations recommended.

Virginia Opera continues its Slow Cooker Ring cycle with a production of Richard Wagner’s “Die Walküre,” in a compact adaptation by Jonathan Dove and Graham Vick. (The company will stage “Siegfried” in 2023 and “Götterdämmerung” in 2024.) Bass-baritone Kyle Albertson takes on the role of Wotan, and soprano Alexandra Loutsion sings Brünnhilde. Adam Turner directs and Joachim Schamberger directs. Oct. 8 at 8 p.m. and Oct. 9 at 2 p.m. at the George Mason University Center for the Arts, 4373 Mason Pond Dr., Fairfax; additional performances at the Harrison Opera House in Norfolk (September 30, October 1 and 2) and the Dominion Energy Center in Richmond (October 14 and 16). $20 to $110.

Candlelight Concert Society

Entering its 50th season, the Candlelight Concert Society welcomes the Brentano String Quartet for an evening of Monteverdi, Mozart (his Clarinet Quintet in A major, K. 581, with clarinetist Alexander Fiterstein) and Dvorak (his Quartet in A flat major, opus 105). And while you’re at it, now might be a good time to buy tickets for the Society’s Oct. 29 rendezvous at the Linehan Concert Hall with pianist Marc-André Hamelin. Oct. 9 at 4 p.m. Horowitz Center Smith Theater, Howard Community College, 10901 Little Patuxent Pkwy., Columbia. $10 to $45; under 17 free with a paying adult.

Fairfax Symphony Orchestra

The Fairfax Symphony Orchestra welcomes virtuoso pianist and MacArthur companion Jeremy Denk for what is sure to be a thriller of a run through Brahms’ Second Piano Concerto, paired with Symphony No. 1 in E Minor, Op. 39. Denk will give a pre-concert talk with FSO Music Director Christopher Zimmerman at 7 p.m. October 15 at 8 p.m. Capital One Hall, 7750 Capital One Tysons Rd., Tysons. $33 to $65.

Pianist Garrick Ohlsson joins the Apollo Musagète Quartet for the opening weekend of the Library of Congress’ fall concert series (a strong and busy season that deserves a closer look). As part of the library’s celebrations marking Schubert’s 225th birthday, the quartet will perform Schubert’s String Quartet in D major, D. 94, and Krzysztof Penderecki’s Third String Quartet (“Leaves from an Unwritten Diary ), with Ohlsson in Shostakovich’s Piano Quintet in G minor, Op. 57. (Also mark your diaries for the LOC’s parlor-style Founder’s Day concert on October 29, featuring bass-baritone Eric Owens, and a November 19 appearance by avant-garde and toy piano specialist Margaret Leng Tan, which will take on “Metamorphoses, Volume 2” by George Crumb.) October 15 at 8 p.m. Library of Congress, Coolidge Auditorium, 101 Independence Ave SE. Free; advance registration recommended.

The Thirteen Choir and Orchestra, led by director Matthew Robertson, opens its fall season with a performance of Monteverdi’s Vespers from 1610, featuring the Washington Children’s Choir and period brass from the Dark Horse Consort. (Also note Thirteen’s “Barber, Brahms, Britten and Bruckner” program from November 11-13, which will include a world premiere by British composer Ed Rex, as well as pieces by George Walker and Caroline Shaw.) Oct. 21 at 7:30 p.m. at Episcopal High School, 1200 N. Quaker Lane, Alexandria; Oct. 22 at 7:30 p.m. at St. Peter’s Church on Capitol Hill, 313 Second St. SE; October 23 at 5 p.m. at Bradley Hills Presbyterian Church, 6601 Bradley Blvd., Bethesda. $10 to $40.

On October 22, violinist Gil Shaham joins conductor Piotr Gajewski and his national philharmonic orchestra for a program of Joseph Bologne, the first symphony of the Chevalier de Saint-Georges; the Third Violin Concerto by Camille Saint-Saëns; and Louise Farrenc’s Third Symphony. Mark your diaries, too, for November 12, when Stan Engebretson conducts the Philharmonie and the National Philharmonic Choral in Berlioz’s epic Requiem (Op. 5, also known as “Grand Messe des Morts”). October 22 at 8 p.m. Strathmore Music Center, 5301 Tuckerman Lane, North Bethesda. $79 to $99; free for children from 7 to 17 years old.

Gil Shaham, the NSO and Mother Nature take Wolf Trap by storm

The Atlanta Ballet joins the Cathedral Choral Society for a dramatic rendition of Berlioz’s 1839 choral symphony, “Romeo and Juliet,” with new choreography by Claudia Schreier. The powerful trio of mezzo-soprano Krisztina Szabó, tenor Patrick Kilbride and bass-baritone Kevin Deas joins the Cathedral Choral Society Orchestra, conducted by conductor Steven Fox. October 22 at 4 p.m. Washington National Cathedral, 3101 Wisconsin Ave. NW. $22.50 to $112.

After a long pandemic delay, the Washington Chorus presents “Tomorrow!” A Reflection on Hope and Resilience,” described as a “visual and immersive experience” featuring a live performance of Damien Geter’s pandemic-driven choral work “Cantata for a More Hopeful Tomorrow” as well as the short film of the same name from Emmy-winning director Bob Berg. Oct. 28 and 29 at 7 p.m. and 8:30 p.m. Live! at 10th and G, inside the First Congregational United Church of Christ, 945 G St. NW. $25 to $49.

Washington Performing Arts brings the 2021 Kennedy Center winner back to DC for a unique program that mixes sonatas and partitas by Bach (a sweet spot for the acclaimed violinist) with contemporary works by Jessie Montgomery (her Rhapsody No. 1) and John Zorn (“Passagen”). October 30 at 7:30 p.m. Kennedy Center Terrace Theater, 2700 F St. NW. $30.

Midori’s career began with a fleeting moment. It has become a lasting legacy.

American Youth Philharmonic Orchestra

If you want to listen to the future, on November 6, the talented American Youth Philharmonic Orchestra, conducted by conductor Timothy Dixon, presents its autumn concert, a program by Tchaikovsky (Symphony No. 4 in F minor, op 36) and Verdi (the overture to “La Forza Del Destino”). Nov. 6 at 3 p.m. Schlesinger Hall, 4915 E. Campus Dr., Alexandria. $10; free for under 21s.

Italian-born pianist Rodolfo Leone (who won first prize in 2017 at the Vienna International Beethoven Piano Competition) comes to Dumbarton Oaks to make his DC debut with a pair of concerts covering works by Beethoven, Chopin, Debussy and Stravinsky. Nov. 13 and 14 at 7 p.m. Dumbarton Oaks, 1703 32nd St. NW. $55; single ticket sales begin October 13.

New Choral Arts Artistic Director Jace Kaholokula Saplan leads the Choral Arts Symphonic Chorus in “O! What a Beautiful City: Wondrous Music Rooted in DC”, a program of locally sourced works by George Walker, Duke Ellington, BE Boykin and Ysaye Barnwell. Nov. 19 at 7 p.m. Washington National Cathedral, 3101 Wisconsin Ave NW. $15 to $59.

As part of the Hayes Piano Series, Washington Performing Arts welcomes Icelandic piano phenom Vikingur Olafsson, whose latest recording for Deutsche Grammophon arrives in mid-October. For this recital, Olafsson will draw on his most recent release, “Mozart & Contemporaries”, which mixes a fine selection of piano pieces by Mozart with lesser-heard works by Haydn, Baldassare Galuppi, CPE Bach and Domenico Cimarosa. Nov. 19 at 2 p.m. Kennedy Center Terrace Theater, 2700 F St. NW. $30 to $60.

]]> Muse Announces 2023 ‘Will Of The People’ North American Tour; Evanescence confirmed as special guest Fri, 30 Sep 2022 01:00:14 +0000

Muse (Photo credit: Nick Fancher/provided by BB Gun Press)

Thu Sep 29, 2022 8:55 PM

Tickets on sale to the general public at 10 a.m. on October 7 here

In addition to the worldwide success of their ninth studio album, “Will Of The People”, multi-platinum and Grammy Award-winning rock band Muse have announced a North American tour for Spring 2023.

The band’s team said, “Widely recognized as one of the best live bands in the world, Muse’s ‘Will Of The People’ world tour will be no exception. The North American Arena Tour will kick off in Chicago, with a two-month journey through several cities, including stops in Minneapolis, Toronto, New York, Los Angeles and more.

The tour includes special guest Evanescence.

The muses are Matt Bellamy, Dominic Howard and Chris Wolstenholme. Since its inception in 1994, Muse has released nine studio albums, selling over 30 million units worldwide. Their latest album, “Will Of The People”, debuted at No. 1 in several territories, including the UK (a seventh consecutive No. 1), Austria, France, Finland, Italy and Switzerland. The previous album, “Simulation Theory”, debuted at No. 1 in several territories. It followed 2015’s “Drones” album, which won a Grammy Award for Best Rock Album (the band’s second).

Muse has won numerous musical accolades, including two Grammys, an American Music Award, five MTV Europe Music Awards, two Brit Awards, 11 NME Awards and seven Q Awards, among others.

Tickets for the Muse presale begin at 10 a.m. local time on Tuesday, October 4. Fans can register at General tickets will go on sale three days later at

The show will travel to Scotiabank Arena in Toronto on March 9.

Follow Muse: website | Spotify | Apple Music | YouTube | Facebook | Twitter | instagram

Fall Fun, Music and Guns in Rutherford County Thu, 29 Sep 2022 17:33:48 +0000

Fall is here and Rutherford County couldn’t be more ready to celebrate the changing seasons. Check out the list below to find things to do in Murfreesboro, Eagleville, and Smyrna.

Fall family fun

Lucky Ladd Farms, 4374 Rocky Glad Road.

Bring the whole family on a memorable farming experience at Lucky Ladd Farms with a pumpkin patch, wagon rides, petting zoo and all the favorite fall treats. Tickets start at $15 with general admission. Children one year old or younger are free.

MGL Storytime

Friday, September 30 at 10 a.m.

Myrtle Glanton Lord Library, 521 Dr. Martin Luther King Jr. Blvd.

Join the MGL Library every Friday for singing, dancing and lots of story time fun. The MGL Library is located inside the Patterson Park Community Center and is free for all ages.

Juliet’s Apartment with Zach Worley

Friday, September 30 from 5 p.m. to 9 p.m.

Walnut House Event and Recording Studio, 116 North Walnut Street

Do you like indie pop music? Next, stop by the Walnut House and listen for a while as music inspired by alternative rock, pop, and emo music fills the room. This local Murfreesboro band is made up of Ethan Concors, Parker Milley, Elijah Mason and Seth Crumley. Tickets are $10 and are available on the All Events website.

gun show

Saturday October 1 and 2 – Day 1: 9 a.m. – 5 p.m., Day 2: 9 a.m. – 4 p.m.

Mid-TN Exposition, 1660 Middle Tennessee Boulevard

Gun collectors, hunting enthusiasts and everyone in between are invited to the RK Shows Tennessee Gun Show in Murfreesboro. Various vendors will display firearms, military surplus, outdoor gear and other supplies and help attendees find what they need. Tickets range from $5 to $14.50 and are available for purchase on the Rk Shows website.

Visitors to Stones River National Battlefield frequently walk through lands where soldiers marched, slept, and sacrificed their lives.

Murfreesboro National Public Lands Day

Saturday October 1 from 8:30 a.m. to 12:30 p.m.

Fortress Rosecrans, Golf Lane

Stones River National Battlefield and other partners will join the community for a day dedicated to stewardship of critical lands and waterways in the community of Murfreesboro. Registration is required and attendees can sign up for the Invasive Plant Removal or Trash Pickup Team. Volunteers are encouraged to bring work gloves, wear long-sleeved shirts, work pants, closed shoes, and bring water. At noon, dinner will be hosted by the Friends of the Stones River National Battlefield. Register on the All Events website.

Hoptoberfest 2022

Saturday October 1 from 12 p.m. to 8 p.m.

Panther Creek Brews, 714 Main Street West, Suite F

The beer, food and music of Los Swamp Monsters is all you need for a good Hoptoberfest, plus a legendary costume contest. Tickets are $10 on the Eventbrite website.

2nd Annual Auto Show

Saturday, Oct. 1 at 1 p.m.

Sam Davis House, 1399 Sam Davis Road

Join Mid-Tenn Hot Rodders in Smyrna to raise money for Sam Davis’ Historic Home and Plantation. There will be plenty of cars, food and music for all attendees. There is a $15 entry fee per car, truck, and bicycle, but spectators are admitted free.

Women’s Rock Rally 2022

From Thursday 6 October to Saturday 8 October

The event starts at noon on Thursday and ends at 11:30 p.m. on Saturday.