Tadasei http://tadasei.com/ Thu, 26 May 2022 06:43:02 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://tadasei.com/wp-content/uploads/2021/04/tadasei-icon-150x150.png Tadasei http://tadasei.com/ 32 32 2022 Roller Skates Market Report Covers Profiling Top Key Players – Skorpion Sports, Mesuca Sports, Roces, Seba Skates, Cougar, K2 Sports https://tadasei.com/2022-roller-skates-market-report-covers-profiling-top-key-players-skorpion-sports-mesuca-sports-roces-seba-skates-cougar-k2-sports/ Thu, 26 May 2022 06:43:02 +0000 https://tadasei.com/2022-roller-skates-market-report-covers-profiling-top-key-players-skorpion-sports-mesuca-sports-roces-seba-skates-cougar-k2-sports/

Halal Market Size 2022 Industry Share, Strategies, Growth Analysis, Regional Demand, Revenue, Key Players and Forecast Research Report 2030

In this report, a comprehensive analysis of the current global Halal market in terms of demand and supply environment is provided along with the price trend currently and in the coming years. Global key players are profiled with their revenue, market share, profit margin, major product portfolio, and SWOT analysis. From an industry perspective, this report analyzes the supply chain, including process diagram introduction, upstream raw material and key cost analysis, distributor and buyer analysis in downstream. This report also includes global and regional market size and forecast, key product development trend and typical downstream segment scenario, in the context of market drivers and inhibitors analysis.

By Top Key Players

Regalal
Pure ingredients
Halal-ash
Tariq Halal
Tsaritsyno
Island Delice
Crown Chicken(Cranswick)
Ekol
Carrefour S.A.
Shaheen Foods
Eggelbusch
Tahira Foods Ltd.
Cleone Foods
simons
Euro Foods Group
Casino
Reinert Group
Nestlé SA
Tesco plc

By types

Cereals and cereal products
Processed products
Frozen savory products
Fresh products

By app

Young generation
Middle-aged generation
Seniors

Click the link for a free sample report @ https://crediblemarkets.com/sample-request/halal-market-172887?utm_source=Yugandhara&utm_medium=SatPR

The Global Halal Market is further classified based on region as follows:

  • North America (US, Canada) Market Size, YOY Market Size, YOY Growth and Opportunity Analysis, Future Forecast and Opportunity Analysis
  • Latin America (Brazil, Mexico, Argentina, Rest of LATAM) Market Size, Annual Growth, Future Forecast and Opportunity Analysis
  • Europe (UK, Germany, France, Italy, Spain, Hungary, BENELUX (Belgium, Netherlands, Luxembourg), NORDIC (Norway, Denmark, Sweden, Finland), Poland, Russia, Rest of Europe), Size Market Analysis, Annual Growth, Future Forecast and Opportunity Analysis
  • Asia-Pacific (China, India, Japan, South Korea, Malaysia, Indonesia, Taiwan, Hong Kong, Australia, New Zealand, Rest of Asia-Pacific) Market Size, Annual Growth, Future Forecast and Market Analysis opportunities
  • Middle East and Africa (Israel, GCC (Saudi Arabia, UAE, Bahrain, Kuwait, Qatar, Oman), North Africa, South Africa, Rest of Middle East and Africa) market size, annual growth, future forecasts and opportunity analysis

A few points from the table of contents:

Market overview: It includes six chapters, research scope, key manufacturers covered, market segments by type, Halal market segments by application, study objectives and years considered.

Market landscape: Here, the global Halal market competition is analyzed by price, revenue, sales and market share by company, market rate, competitive landscape situations and latest trends, merger, expansion, acquisition and market shares of top companies.

Manufacturer Profiles: Here, leading players of the global Halal market are studied based on sales area, key products, gross margin, revenue, price, and production.

Market Status and Outlook by Region: In this section, the report discusses gross margin, sales, revenue, production, market share, CAGR, and market size by region. Here, the Global Halal Market is thoroughly analyzed on the basis of regions and countries such as North America, Europe, China, India, Japan, and MEA.

Application or end user: This section of the research study shows how different end-user/application segments are contributing to the global Halal Market.

Market Forecast: Production side: In this part of the report, the authors have focused on production and production value forecasts, major producers forecasts and production and production value forecasts by type.

Research results and conclusion: This is one of the last sections of the report where the analysts’ findings and the conclusion of the research study are provided.

Directly Buy This Market Research Report Now @ https://crediblemarkets.com/reports/purchase/halal-market-172887?license_type=single_user;utm_source=Yugandhara&utm_medium=SatPR

Answers to important questions

  • What is the growth potential of the Halal market?
  • Which company is currently leading the Halal market? Will the company continue to dominate in the forecast period 2022-2030?
  • What are the main strategies that players should adopt in the coming years?
  • Which regional market is expected to get the highest market share?
  • How will the competitive landscape change in the future?
  • What should players do to adapt to future competitive changes?
  • What will be the total production and consumption in the Halal market by 2030?
  • What are the key upcoming technologies? What impact will they have on the halal market?
  • Which product segment is expected to show the highest CAGR?
  • Which application is expected to gain the largest market share?

Contact us

Credible market analyzes
99 Wall Street 2124 New York, NY 10005
E-mail:
[email protected]

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Three concerts on the bill at Blackmon https://tadasei.com/three-concerts-on-the-bill-at-blackmon/ Wed, 25 May 2022 13:54:00 +0000 https://tadasei.com/three-concerts-on-the-bill-at-blackmon/

The annual Tommy Jarrell Celebration – to commemorate the life and music of the influential local musician, is scheduled for February 24-24. 26 at the Historic Earle Theater in Mount Airy.

The celebration includes concerts, a competition for young people, workshops and a film screening. The popular festival has something for all lovers of early music. The annual event celebrates the music and teachings of Surry County musical pioneer and icon Tommy Jarrell, who lived from March 1, 1901 to January 28, 1985.

Many activities are planned at the Old-Time Music Heritage Hall in the Historic Earle Theater at 142 North Main Street.

On Thursday February 24, there are free courses for young people. The flatfoot dance is at 4:30 p.m., violin lessons are at 5:30 p.m., followed by guitar, banjo and mandolin lessons at 6:15 p.m. Music lessons are taught by Jim Vipperman, recipient of the Brown-Hudson Folklore Award as a traditional musician and teacher. These lessons are sponsored in part by a TAPS grant from the Folklife Division of the North Carolina Arts Council, a division of the Department of Natural and Cultural Resources.

The Southeast Sirens Tour will take to the stage at 7:30 p.m. Thursday. The tour is presented by the Surry Arts Council and Pine State Marketing and features Caitlin Krisko & The Broadcast and Abby Bryant & The Echoes. Tickets are $15.

Friday at 7 p.m., free screening of “You Gave Me A Song”, a film about Alice Gerrard. The film offers an intimate portrait of early music pioneer Alice Gerrard and her remarkable and unpredictable journey in the creation and preservation of traditional music. A Q&A with director Kenny Dalsheimer and Gerrard will follow the film.

A short performance by Gerrard accompanied by Tatiana Hargreaves and Reed Stutz will follow the Q&A. This film and event are made possible in part by the vital support of Presenting Sponsor, the North Carolina Department of Natural and Cultural Resources through their “She Changed the World: NC Women Breaking Barriers” and “ Come Hear NC”.

In a career spanning over 50 years, Gerrard has left an indelible mark on the history of traditional music. Her groundbreaking collaboration with Appalachian singer Hazel Dickens in the 1960s and 1970s produced four classic albums (recently reissued by Rounder) and influenced many young female singers. His next four solo albums, including Bittersweet, produced by Laurie Lewis, and Follow the Music, produced by Mike Taylor of His Golden Messenger, showcased Gerrard’s many talents: his captivating and eclectic songwriting; his powerful, cutting voice and instrumental mastery of rhythm guitar, banjo and old-school fiddle. Gerrard’s 2015 album Follow the Music was nominated for a Grammy. His latest release, Sing Me Back Home: The DC Tapes 1965-1969 on Free Dirt Records, won critical acclaim for its intimate insight into unreleased Hazel and Alice practice tapes.

Gerrard has appeared on over 20 recordings, including projects with many mainstream musicians such as Tommy Jarrell, Enoch Rutherford, Otis Burris, Luther Davis and Matokie Slaughter; with Tom Sauber and Brad Leftwich as Tom, Brad & Alice, with the Harmony Sisters, the Herald Angels, Beverly Smith, and with Anna Roberts-Gevalt and Elizabeth LaPrelle.

Old-Time workshops take place on Saturdays from 1:30 p.m. to 5:00 p.m. at the Earle. Workshops are $25 per person and participants can register online www.surryarts.org or rj@surryarts.org or call 336-786-7998. Through classes, presentations, workshops and performances, attendees will learn from some of the most esteemed and respected musicians in the field: Chester McMillian, Martha Spencer and Emily Spencer.

The workshops will take place in the Historic Earle Theater and will include fiddle, banjo, guitar, bass, singing and dancing – whatever participants want to learn. Martha Spencer is a singer-songwriter, mountain musician and dancer from the Blue Ridge Mountains of Virginia. She grew up in the Spencer musical family and learned to play multiple instruments (guitar, fiddle, banjo, bass, dulcimer, mandolin) and flatfoot/hooffoot at a young age. She has performed shows, festivals and led workshops across the US, Australia, UK and Europe. She just released a solo album and has been featured in articles such as Rolling Stone Country, No Depression, Wide Open Country, Cowboys & Indians Magazine, Americana Highways and PopMatters.

Emily Spencer is a certified PK-12 teacher and has taught fiddle, banjo, guitar, mandolin, dulcimer, and bass in schools and at Wilkes Community College and Wytheville Community College. Since childhood she has played music and started playing with the Whitetop Mountain Band in the 1970s with Thornton Spencer and continues with the band today.

Chester McMillian was born in Carroll County, Virginia to a musical family and community. He has been playing traditional Old-time Round Peak style music since he was a child. By the age of 11 or 12 he was living in Surry County and actively involved in the Round Peak music community. In 1962 Chester married into the Dix Freeman family and the two began playing a lot of music together. Chester played guitar with Tommy Jarrell for fifteen years, and he developed his guitar style specifically for playing with Tommy. He has also performed and recorded with Dix Freeman, Kirk Sutphin and Greg Hooven, with whom he founded the band Backstep.

On Saturday, the WPAQ Merry-Go-Round begins at 11 a.m. with workshop instructors and participants followed by bands including Grace ‘N Grass.

Lew Bode and Jim Vipperman will preside over the Tommy Jarrell Festival Youth Competition Saturday at 3 p.m. at the Andy Griffith Museum Theater under the Andy Griffith Museum. Categories include fiddle, clawhammer banjo, guitar, vocals, dance, and others (which includes all other instruments and bands), in two age levels: 5-12 and 13-18. Competitors will have three minutes to perform and may have an attendant, although no recorded saves are allowed. Competitors can register for the event, there is no entry fee and trophies are awarded after the competition.

The Whitetop Mountain Band will take the stage Saturday at 7 p.m. for the Tommy Jarrell Birthday Concert and Dance, hosted by Lew Bode. The Whitetop Mountain Band is a family band from the highest mountains in Virginia. Known for their high energy and charisma on stage, Whitetop Mountain Band is one of Appalachia’s most popular dance groups. They have performed at all manner of venues across the United States and abroad, including the Smithsonian Folklife Festival, National Folklife Festival, World Music Institute, Carter Family Festival, Dock Boggs Festival, Exposition universal, the Virginia Arts Festival, the Floyd Fest, the Ola Belle Reed Festival. , and Merlefest. Tickets are $10.

For more information or to purchase tickets, visit www.surryarts.org or call the Surry Arts Council at 336-786-7998. Tickets can also be purchased at the door before each show if available. Select Tommy Jarrell Festival events are supported in part by the North Carolina Arts Council, a division of the Department of Natural and Cultural Resources.

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‘This Is Us’ Series Finale Review and Recap Made Us Cry the Perfect Amount https://tadasei.com/this-is-us-series-finale-review-and-recap-made-us-cry-the-perfect-amount/ Wed, 25 May 2022 07:34:26 +0000 https://tadasei.com/this-is-us-series-finale-review-and-recap-made-us-cry-the-perfect-amount/

At the start of the It’s us finale, all-time great emoter Randall Pearson (Sterling K. Brown) effectively sums up my mood about writing this farewell to the NBC drama: “I’m fine. I am rightly sad and I am rightly anxious about this eulogy.

Last week, the extended Pearson clan said goodbye to matriarch Rebecca (Mandy Moore) in an episode that made me cry so much it hurt my head. It sounds like a terrible experience, and sometimes Dan Fogelman’s series leaned into misery – think bringing out the mystery of Jack’s death, for example. Headaches aside, “The Train” is a fine penultimate outing that highlights Moore’s terrific performance and Fogelman’s ability to weave an unexpected narrative into the familiar tapestry of Pearson.

“We” is much more understated by comparison, combining two elements the show excels at portraying: the mundane and the meaningful. In the “before” finale, the inclusion of Rebecca telling Miguel (Jon Huertas) that she’s not ready to let go of the memories of the days “when nothing big really happened” is a neon sign pointing to the Pearson family’s “Completely Free Saturday”. which coincides with the day of Rebecca’s funeral.

Choosing to pair a familiar weekend setup with a solemn ritual softens the overall tone, and the latter is (thankfully) less focused on the funeral itself and more on what’s to come. I haven’t lost sight of the fact that Rebecca’s demise in her twilight years spanned a decade, in stark contrast to the sudden nature of Jack’s (Milo Ventimiglia) death when the Big Three were teenagers. It doesn’t matter that Jack has been dead for 30 years, because his legacy lives on in his children, grandchildren, and younger brother Nicky (Griffin Dunne). (Sorry, Jack, I’m still not done with your abandonment of Nicky after the Vietnam War.)

In the case of Randall’s eulogy, we never hear of his oratory skills, because Fogelman keeps those words mysterious. The short montage in the church is deliberately disorienting, and Randall later tells his three now adult children, “I don’t remember a single thing I said.” His grief also took on an unusually nihilistic tone. “It all seems so pointless, he intones before Deja (La Trice Harper) pulls him (and us) from the brink of despair.

No one is better at crying on screen or shedding a single tear than Brown, and his reaction to finding out he’s going to have a grandson after being surrounded by women his entire adult life is mood-shattering. Jack and Rebecca aren’t the only two parental figures commemorated by this family. Already told Randall he wanted to name baby William, which triggered my tear ducts. “Your grandson will be named after a man I’ve never met, but I know him because I know you. It doesn’t hurt.”

Already’s “very good news of a very sad day” highlights the cyclical nature of life (struggling not to sing Elton John Lion King hymn) that It’s us served from day one. The pilot episode combines tragedy and hope, and this pattern repeats itself throughout all six seasons.

Instead of opting for another abstract timeline, like last week’s depiction of the crash that happened on the same day as the Pearson house fire, this narrative is strictly Pearson-only. Spins are not necessary for the series finale which, on a scale of how I Met Your Mother for Six feet Under ground, draws closer to Alan Ball’s farewell to the Fisher family. (Although nothing reached the effectiveness of this final sequence set to Sia’s “Breathe Me”.)

The future isn’t quite mapped out, but we got a glimpse of Kate’s (Chrissy Metz) and Toby’s (Chris Sullivan) son’s rock star career. Adult Jack (Blake Stadnik) isn’t too out of touch to take his child to the park to play on the swings, as shown in the montage at the start of “Us.” If there’s one thing a multi-generational story tells us, it’s that swings are good no matter the era.

A swing is the reason Rebecca has a scar over her eye, but it’s a permanent reminder of her time with her dad. “I really wish I had spent more time enjoying it when it was all happening, instead of just worrying about the ending,” she says in the opening scene of “Us.” We don’t need Moore to break the fourth wall to understand that this line is a conniving nod to the characters we’re watching and our own lives.

We don’t know if Randall will become president or if Kate’s music school for the blind will turn into a global empire. Their mother told them to “live without fear”, and the Big Three have big ambitions to honor her wishes and their dreams.

Perhaps the most poignant part of this final conversation between siblings is when they do the “Big Three” chant that made its first appearance in the second episode. A cute invention by Jack connects the three children together and we see the origin of this ordinary Saturday at home. Young Kate wants to watch movies at home, and Jack pulls out the first performance, much to Kevin’s chagrin because he’s seen it “like a million times”.

Timelines pile up on timelines, and the scene cuts to Jack filming this original recital. Now it’s here It’s us may be considered too cheesy, but this is the last episode, and I welcome the additional cheesy encore.

In the present, Kate admits her nightmare is that busy lives will inevitably lead to the drift of the Big Three. The non-linear storytelling device revealed the many ups and downs, including the monumental falling out between Kevin and Randall, particularly over Rebecca’s healthcare. Differences are finally put aside and hurtful words are forgotten. Singing isn’t the glue that holds them together, but it is a tangible bond with their father. If only they had all inherited their mother’s musical talents. They could have taken this show on the road.

Flashes of the Pearson family’s past parallel what is now the near future. (One mystery the show doesn’t answer is what year it actually is, but I put it around 2032.) The paradox of always looking forward (when we’re young) or backward (as we get older) is essential to explain why It’s us strike a chord. Jack’s sentiments of “trying to enjoy the moments” sound like something you might find sewn onto a throw pillow or an affirmation to hang in your kitchen, but it also rings true. Clichés are cliches for a reason.

Covering large swathes of time in a family setup means most viewers will find something or someone that resonates. For my friends who had a baby during the pandemic, Kevin and Madison’s story struck a chord, and there are many details that match their new parents’ worldview.

To me, there’s so much about Nicky that reminds me of my dad, who died the year It’s us made its debut. Seeing this depiction of his struggles with alcohol and the warmth that Nicky exudes when he’s sober made me feel like I’m seeing my dad again. Therefore, I find it impossible to forgive Jack.

Every time I mention there’s a new episode of It’s us watch, my Catholic husband (with his tongue firmly stuck in his cheek) refers to this as “going to church”. The reason? “You don’t necessarily always want to go, but you always get something out of it.”

I lost count of the number of times through watery eyes I said the phrase “fuck this show” because of how close it was to bone. None of that sounds like affectionate terms, but I can assure you it is, and I’ve spent six years laughing, screaming (often at Kevin), and talking about this show, even when several crying emojis spoke louder than words.

The finale mixes levity and heartache with low-key MVP Beth (Susan Kelechi Watson) shining in a final Worst Case Scenario game to unwind her husband Randall. Of the Big Three, Randall deservedly gets the lion’s share of “We.” This includes a poignant flashback to a conversation with William (Ron Cephas Jones) about the role of being a grandparent that explores the notion of unconditional love and the power of smell as memory.

Wrapping up a series of over 100 episodes is no easy task, especially in a time when the network shows like It’s us become a thing of the past. Fogelman and the extended set (thanks to the casting team) can rest easy since they blocked the landing. And luckily it didn’t give me a headache this time.

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Blood test predicts response to immunotherapy https://tadasei.com/blood-test-predicts-response-to-immunotherapy/ Tue, 24 May 2022 08:10:16 +0000 https://tadasei.com/blood-test-predicts-response-to-immunotherapy/

According to a study published in natural medicine.

“The results of this study will help us identify and design better blood biomarkers in immuno-oncology,” said Young Kwang Chae, MD, MPH, MBA, associate professor of medicine in the Division of Hematology and Oncology and co-author of the study.

Atezolizumab monotherapy, an immune checkpoint therapy, is an effective treatment for patients with locally advanced or metastatic non-small cell lung cancer (NSCLC) whose tumors exhibit elevated expression of the programmed death ligand 1 (PD-L1). When PD-L1 is bound on the outside of a cell, it tells roaming T cells to leave the cell alone. Many cancers have upregulated PD-L1 to help hide cancer cells from the immune system.

However, a biopsy is required to determine PD-L1 levels, and up to 30 percent of patients with NSCLC may not have enough high-quality tissue biopsied at diagnosis for accurate biomarker analyses, according to Chae.

“We often encounter the problem of insufficient tissue samples to perform biomarker analysis in lung cancer, so it is important to develop a blood biomarker that predicts response to immunotherapy,” said Chae, who is also a fellow from Robert H. Lurie. Northwestern University Comprehensive Cancer Center.

In the trial, which recruited 153 patients with NSCLC, researchers analyzed circulating tumor DNA (ctDNA) for tumor mutation load (TMB), a measure of the total mutations found in the DNA of cancer cells. High TMB cancers have been associated with a positive response to immune checkpoint inhibitor treatments.

Of the patients, 28 had high TMB values ​​- making them suitable for atezolizumab monotherapy – while 91 patients had low TMB values. Notably, the high BMR group was slightly younger and had more smokers.

All patients received atezolizumab as monotherapy and treatment response rates were much higher in the high TMB group – 35.7% compared to only 5.5% in the low TMB group. Patients in the high TMB group also experienced longer survival than those in the low TMB group.

The results demonstrate that measuring TMB in ctDNA is a viable option to stratify patients for immune checkpoint inhibitor treatment, according to the authors. Although more work is needed to understand the relationship between TMB and immune checkpoint inhibitor therapy – hopefully revealing a subpopulation of patients who would benefit most from therapy – the basis for selection therapy using a simple blood test are solid, according to Chae.

“This will allow the right therapy to be delivered to the right group of patients,” Chae said.

This study was supported by F. Hoffmann-La Roche.

Chae has received research grants from AbbVie, Bristol Myers Squibb, Biodesix, Lexent Bio and Freenome and honoraria to serve on advisory boards from Roche/Genentech, Bristol Myers Squibb, AstraZeneca, Merck, Foundation Medicine, Counsyl, Neogenomics, Guardant Health, Boehringher Ingelheim, Biodesix, ImmuneOncia, Lilly Oncology, Merck, Takeda, Pfizer, Tempus, Lunit and Jazz Pharmaceuticals.

Reference: Kim ES, Velcheti V, Mekhail T, et al. Blood-based tumor mutational load as a biomarker of atezolizumab in non-small cell lung cancer: the phase 2 B-F1RST trial. NatMed. 2022;28(5):939-945. doi:10.1038/s41591-022-01754-x

This article was republished from the following documents. Note: Material may have been edited for length and content. For more information, please contact the quoted source.

]]> Pittsburgh Dance Council’s new season brings exciting works on stage and on ice | Dance | Pittsburgh https://tadasei.com/pittsburgh-dance-councils-new-season-brings-exciting-works-on-stage-and-on-ice-dance-pittsburgh/ Mon, 23 May 2022 21:40:59 +0000 https://tadasei.com/pittsburgh-dance-councils-new-season-brings-exciting-works-on-stage-and-on-ice-dance-pittsburgh/

Click to enlarge

Photo: Mathieu Doyon

ELASTIC

The Pittsburgh Dance Council knows that audiences crave live performances after going without them for more than two years. In a press release, Randal Miller of the Pittsburgh Cultural Trust said that last season the Council “celebrated the return of shows to Pittsburgh’s Cultural District and received overwhelming support from the Pittsburgh community.”

The Council will continue to bring the best in dance to Pittsburgh and beyond with an upcoming season featuring “extraordinary repertoire, premieres and artistry from world-renowned contemporary dance companies.”

The Council announced that its 52nd season, running from fall 2022 to spring 2023, will include a series of six shows and two seasonal specials. The contemporary dance presentations will feature a “diverse roster of national and international returning artists, premieres and unique dance-inspired performances taking place in public spaces.

The season kicks off Sept. 17 with San Francisco-based Alonzo King LINES ballet, followed in November by Ballet Hispánico, billed as the “largest Latinx cultural organization in the United States.” Ballet Hispánico will present a “mixed repertoire program” that draws on musical influences ranging from mambo music from Pérez Prado to Julio Iglesias, as well as rock in Spanish and flamenco.

The program will include Pittsburgh premieres by international artists RUBBERBAND, Le Patin Libre and Rocío Molina. Always so lightly by Canadian choreographer Victor Quijada and RUBBERBAND will feature 10 “dancer-athletes”, as well as a live DJ, a musician and a wide-open room, and will explore the “behavioral mechanisms and reflexes we develop against the relentless flow of irritants that bombard us in our daily lives.

Expect ‘partial nudity’ during presentation by Spanish choreographer Rocío Molina Caida del Cielo (Fallen From Heaven), a work that highlights his “reinvented traditional flamenco style”. The performance will also serve as a US premiere.

Click to enlarge Alvin Ailey American Dance Theater - PHOTO: DARIO CALMESE

Photo: Dario Calmese

Alvin Ailey American Dance Theater

While most performances will take place at the Byham Theater or Center Benedum, Le Patin Libre, a contemporary ice skating company from Montreal, has a different venue in mind. The company will be heading to the UPMC rink at PPG Place to Flamesa new work developed specifically for Pittsburgh that will revisit parts of the company’s “stunning repertoire and debut innovative new material.”

Also premiering in Pittsburgh, as part of the Council’s special season, is Intentional particle by choreographer and multidisciplinary artist Hiroaki Umeda. Presented at the Wood Street Galleries, the solo work will showcase Umeda’s “characteristic style which blends digital imagery, minimal soundscape and immensely powerful corporeality”, and demonstrate why he has become one of the scene’s leading figures. Japanese avant-garde art.

Rounding out the lineup is STREB EXTREME ACTION, which will appear at the 2022 Dollar Bank Three Rivers Arts Festival with a retrospective of founder Elizabeth Streb’s “classic ’70s and ’80s solos, early ’90s gear experiments and extreme action. breathtaking opus with the large-scale “action machines” for which the company has become known since the turn of the 21st century.

The Alvin Ailey American Dance Theater will conclude the season with a mixed repertoire program that includes contemporary works and Revelations, a play described as a “universal anthem of resilience that resonates again more than 60 years after its premiere.”

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Ronnie Scott’s Lost Album (Review) https://tadasei.com/ronnie-scotts-lost-album-review/ Mon, 23 May 2022 14:01:35 +0000 https://tadasei.com/ronnie-scotts-lost-album-review/

There is a long-standing tension in improvised music between the primacy of live performance and the permanence of recordings. When the music is so different every performance because there’s so much improvisation, the most valuable “experience” would seem to be hearing it. inhabit, in the moment. Yet because sheet music cannot capture a jazz performance, recordings are the only valid permanent representation of music. This results in some recordings becoming canonical, the official frozen-in-time version of a piece of music, even if the musicians themselves don’t go on to interpret it in the same way – just think of how Miles Davis’ “So What” kind of blue runs through our brains at a choppy mid-tempo even though the band almost always played it much faster and without the studio intro we know so well.

The groups of Charles Mingus have do not were locked into this dialectic just as much as certain artists. Mingus often re-recorded his favorite compositions (for example, there is not a single definitive “Goodbye Porkpie Hat” or “Fables of Faubus”), and some of his best recordings come from concerts, which emphasize the tunes as vehicles for interpretation that changes over time. And, with Mingus, the changing staff of his “Jazz Workshop” tended to give us a kaleidoscope of ways to hear his best tunes.

Nevertheless, Ronnie Scott’s Lost Album is distinguished by the pleasure of re-hearing the music of Mingus. It is an excellent tool to underline the scope that the Mingus approach could have. Recorded live at the famous London club in August 1972, it captures the iconic bassist, composer and bandleader both at the peak of his powers and in a moment of transition. It’s not a weak Mingus recording, exactly, but the band is partly forgettable and wouldn’t stay together for very long. But Mingus, his compositions and his conception fly away.

With his (apparently largely fictionalized) autobiography just published and a Guggenheim Fellowship bringing him to a well-deserved level of respect and recognition, Mingus was peaking as an artist at the age of 50. However, his group was changing. The brilliant group of the 1960s with Eric Dolphy, Booker Ervin and Jaki Byard was behind him, and the quintet with Don Pullen and George Adams had yet to be formed. He hadn’t recorded much in the late 1960s, and when Columbia Records signed him in the early 70s, it brought together Let my children hear music, a great recording but with a jazz orchestra produced by Teo Macero, not the workshop group. The result is that most of us don’t know the band that joined Ronnie Scott that summer: alto saxophonist Charles McPherson and tenor saxophonist Bobby Jones, the very young Jon Faddis on trumpet, pianist John Foster and drummer Roy Brooks. McPherson is by far the most august and experienced player, and Jones and Foster would probably consider the Mingus gig the highlight of their careers.

So what does a Mingus band like this look like? How is the group positioned? Is the music of the master still transcendent in the hands of this group? A Mingus band without Dannie Richmond? Really? The evidence needed to answer these questions, recorded by Columbia Records just a year before removing all jazz musicians from its roster other than Miles Davis, is being heard 50 years later for the first time.

The band sounds very much like a Mingus band, even a classic Mingus band. Brooks seems uniquely creative and connected to Mingus, at the height of his own considerable powers after years of drumming with the world’s best jazz musicians and gaining both fluency and creativity. It’s delightfully sloppy and loose in some places, only to close out the band at perfect pace in others. On “Orange Was the Color of Her Dress, Then Silk Blues,” he works perfectly with Mingus to move the band through tempos and sentiment, snapping for eight bars, then super smooth a moment later.

The other standout, of course, is McPherson, who plays with the combination of modern jazz intelligence and deeply felt blues authenticity that a Mingus band tends to draw from players. His solo, for example, on “Noddin’ Ya Head Blues”, is played with the utmost relaxation, the lines leaning back over easy phrasing that invokes Charlie Parker but also seems to date from a time before bebop came into its own. make every player a pee. a bit frantic. He plays with more range and expansiveness on the 35-minute version of “Fables of Faubus” from this set, but is also aware of the band’s past and as a result never seems to allude to the famous sax solos. Eric Dolphy’s vocalized alto on the tune. . Rather, he stays cool for long stretches, allowing his bandmates to chat with him, even if it’s his solo – then when the band pushes him forward, rhythmically, he becomes a quick exponent of a more modern sensibility.

The rest of the sidemen here are fascinating but not exceptional, individually or collectively. Faddis is only 19, fresh out of his Dizzy Gillespie apprenticeship, and he seems most at home slamming into the upper register or laying out notes expressively, but all the connective tissue of a solo well-designed is not there yet. On “Faubus”, he is entertaining but in the manner of a comedian telling lines rather than someone telling a story. (Faddis’s comparison here to 19-year-old Wynton Marsalis with Art Blakey reveals just how completed Marsalis was so young.)

Likewise, John Foster’s pianism sounds brash and exciting but disparate. Unlike McPherson, Foster seems to be playing completely in the shadow of his famous predecessor, Jaki Byard. He uses Byard’s pseudo-stride playing whenever he can, employing crackling dissonance one moment, then pre-bop two-handed pianism the next. Listen to his “Faubus” solo (it’s the performance during the set that really exposes everyone’s best and worst side), and any number of 45-second tracks will stop you, but if you’re anything like me, you don’t know how the solo set makes no sense.

Tenor saxophonist Bobby Jones is perhaps the hardest player to crack. Jones plays his solo “Faubus” more like a pro, listening intently to the leader’s cues, tossing ideas back and forth, capable of a seemingly endless chain of interesting licks. Some of the licks seem otherworldly – meaning he sometimes converses with Mingus on “Faubus” as if he’s channeling Boots Randolph rather than Booker Ervin or Lester Young. It’s weird, but he integrates them into a fluid improvisation that has its own logic. He’s skillfully excellent, yes, but he looks like he’s visiting Mingus from a distant land, and, well, the master is kind and brilliant enough to welcome him. He didn’t last long with Mingus in the “jazz” world. Too bad in some ways, but when we hear him on the crazy and wildly open track “Mind Reader’s Convention in Milano (Aka No. 29)” we feel that his excellent saxophony is not so much at the service of feelings as at the service of production of notes.

Mingus himself is a wonder at every turn. He takes long unaccompanied solos (perhaps because he knew the full band wasn’t quite there?), and they’re masterful: free and full of form at the same time. His famous humor is in the spotlight as he pushes and pulls the rhythm section with known licks and propulsive rhythm, and he also sticks the proceedings in earnest. “Mind Reader’s Convention” uses various composing cells like railroad cars along a half-hour procession, and the Mingus/Brooks tandem keeps it gasping. Perhaps if this group had stayed together, Mingus would have been the one to get them all into shape, performing their individual vocals in concert.

Some of the other directories in this set are curious. “Noddin’ Ya Head” is a vocal feature for Foster – a vocal novelty being a not unheard of gamble in the Mingus quiver, but otherwise more of a lark than a joy. “Pops” is simply a Mingus-style version of “When the Saints Go Marchin’ In,” again with Foster on vocals, doing his best Armstrong impersonation. I mean it’s a blast and all, with Jones playing the clarinet and Faddis indulging in some New Orleans style, but only McPherson and Mingus seem to understand that this gender-playing exercise is designed to be as serious as lark. The release also contains some brief intro-outro tracks (“Ko-Ko” and “Airmail Special”) which are not good performances. Ultimately, the set is evenly split between long versions of Mingus classics and material of limited interest.

That doesn’t mean that Ronnie Scott’s Lost Album has no pleasures and no value. It’s Mingus’ centenary year, so we can spend some time on less essential material. But in a brilliant work like that of Charles Mingus, it’s more nerve than muscle or bone.

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Disability businesses struggle to stay afloat https://tadasei.com/disability-businesses-struggle-to-stay-afloat/ Mon, 23 May 2022 05:39:01 +0000 https://tadasei.com/disability-businesses-struggle-to-stay-afloat/

Yangyel Lhaden

Almost six months after the Disabled People’s Organization (DPO), with the support of the United Nations Development Program (UNDP) and the Korea International Cooperation Agency (KOICA), established four businesses for people with disabilities (PwD), only one music school is operational today.

The prolonged lockdown has severely hampered businesses.

A total of 45 people with disabilities received music, sewing, baking and candy-making equipment to engage in group businesses.

Seven people with disabilities run the Kuenphel Entertainment of Visually Impaired music school in Pamtsho.

Before confinement, the music school had around 30 students. Today there are about three students.

The school not only teaches music, but also records songs, music, and composes songs.

A member of Kuenphel Entertainment, Sangay Kinzang, said he was grateful for the support that made him and his friends independent. “We always wanted to teach music, but we couldn’t afford musical instruments.”

The bakery, Healthy Options, operated from November but was unable to open after the lockdown.

The Bhutan Stroke Foundation, which takes care of the bakery, has decided to reopen the bakery only with reforms.

The bakery was supposed to be run by 15 disabled people, but only 12 decided to run and during the trial only six disabled people ran the business. They split the revenue.

Bhutan Stroke Foundation founder Dawa Tshering said without a mentor to guide members, it was a difficult experience for people with disabilities.

“They couldn’t work as a team because they all had different forms of disability,” he said. “Lack of capital and limited equipment was also a problem.”

Dawa Tshering plans to offer a monthly payment system to members, promote the Healthy Options brand with its standard packaging, and introduce a mentor to guide PwDs in making the bakery work to its full potential with donor agencies.

A tailoring business, Lhagoe Tailoring, which started with five disabled people, now has only two members.

One member, Dorji Tamang, said that working in a group was not easy and it was discouraging when group members left.

“I am satisfied with my income and I intend to continue working here. I feel the need to return my gratitude to the donors and the DPO for creating this business for us, he said.

The sweets business, Bhutan Center for Disabilities, started briefly with five disabled people but could not continue the business after the lockdown as it was labor intensive and disabled people found it difficult to take it over.

Sources also said that the company was located on the third floor of a building, which made it difficult for members. “They couldn’t break into the market either,” a source said.

DPO Executive Director Sonam Gyamtsho said the prolonged lockdown hampered the progress of the group’s activities as they could not monitor it during the lockdown and problems arose during the lockdown.

“We couldn’t impart soft skills such as living together and working together to people with disabilities,” he said.

He said people with disabilities generally face socialization problems as they live in isolation most of the time. “They need three times as much support and we are looking at other alternatives to get their business going again, such as providing them with soft skills, introducing a mentor or someone to run the business with the obligation to employ at least a certain percentage of people with disabilities.”

Sonam Gyamtsho said their dream is to see people with disabilities as entrepreneurs and take charge of their own business, but they are still used to being employees.

Dawa Tshering said that among the 15 people with disabilities who have undergone bakery training, some are employed in the large bakery in Draktsho, while others have received support from other organizations to set up bakeries in their residence.

Some of the sewing equipment recipients also operate home-based businesses.

Bhakti Maya sews from her home in Tsirang while Tshering Dema also sews from her home in Haa.

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Happy Birthday Mr. Frank! Local Pearl Harbor survivor Frank Emond turns 104: NorthEscambia.com https://tadasei.com/happy-birthday-mr-frank-local-pearl-harbor-survivor-frank-emond-turns-104-northescambia-com/ Sun, 22 May 2022 04:41:15 +0000 https://tadasei.com/happy-birthday-mr-frank-local-pearl-harbor-survivor-frank-emond-turns-104-northescambia-com/

Pearl Harbor survivor Frank Emond of Cantonment celebrated his 104th birthday on Saturday. You can leave your birthday wishes in the comments section below, or on our Facebook page.

Originally from Rhode Island, Emond enlisted in the Navy in 1938 as a musician. He played the French horn for the ship’s orchestra and was even able to perform at the 1939 World’s Fair in New York before being assigned to the USS Emond, CWO4 USN (RET.), spent his career navy as a musician and conductor. He was on the stern of the USS Pennsylvania (BB-38) preparing to play the morning “Colors” on his French horn when the Japanese attacked Pearl Harbor on December 7, 1941. Emond then walked to the leader’s stand conductor, took the baton and led the band in “Stars and Stripes”.

After seven years playing the horn, he became a Navy bandleader and retired in 1968.

“I’m pretty much the last (Pearl Harbor survivor) left here,” Emond said during a previous birthday drive to Gonzalez United Methodist Church.

He remained a man of music; occasionally conducting music at Gonzalez Methodist and performing with the Pensacola Civic Band.

Last November, he broke his own Guinness World Record as the “world’s oldest conductor”. At 103, he led the US Air Force Band’s Airmen of Note in Glenn Miller’s iconic “In the Mood” at the American Veteran Center’s “America Valor: A Salute to our Heroes” at the Omni Shoreham Hotel in Washington.

For photos from the 2020 Emond 102nd Anniversary Drive-In Event, click or tap here.

Pictured above: At 103, Pearl Harbor survivor Frank Emond of Cantonment broke his own Guinness World Record as ‘the world’s oldest conductor’ in Washington, DC Pictured Below: Scenes from Frank Emond’s 2020 Drive-In 102nd Birthday Party at Gonzalez United Methodist Church. Photos from NorthEscambia.com, click to enlarge.

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Withdraw? East Bay pianist Professor Bob Athayde has other ideas https://tadasei.com/withdraw-east-bay-pianist-professor-bob-athayde-has-other-ideas/ Sat, 21 May 2022 15:00:10 +0000 https://tadasei.com/withdraw-east-bay-pianist-professor-bob-athayde-has-other-ideas/

Bob Athayde did not receive the retirement memo.

After 45 years in the classroom, including a perpetual run as orchestra director of Stanley Middle School since 1986, he’s well overdue for some rest and relaxation. There’s fish to catch, books to read, and a comfy chair to escape gravity.

But the only session Athayde seems to have scheduled involves a piano bench (you can catch him playing solo at La Finestra Piano Lounge in Moraga and holding the Thursday jam session at Bonehead’s Texas BBQ in Lafayette).

“When I wake up in the morning, I train for a few hours and normally would go to school,” Athayde said of his impending schedule change. “It has been my life’s work. I hope that the energy enters me instead of leaving it. I really want to play more.

His final weeks at Stanley were marked by several celebrations. It continues on May 22, when friends and family hosted an afternoon at St. Perpetua Church in Lafayette. Hosted by the Lafayette Summer Music Jazz Workshop, the innovative program Athayde founded in 1998, Farewell features a jazz combo led by his son, multi-instrumentalist Kyle Athayde.

“My sister Ellie will be there too,” said Kyle, 34, referring to bassist Eliana Athayde, the youngest of Athayde’s four musical siblings. “She leaves the road just in time.”

A gifted improviser and composer who leads the talented big band Kyle Athayde Dance Party, he attended Stanley Middle School’s music program and got to see his dad at work up close. For many middle schoolers, the thought of attending the same campus as a faculty relative, let alone sharing a classroom, would elicit an epic reaction.

Rather than causing angst, Athayde said the experience “was amazing. I loved having him as a teacher. All the ways he provided opportunities and inspired other students, it was all there for me too.

The musical opportunities available at Stanley Middle School are a result of Athyade’s support throughout the community, including
the Stanley PTA, the Lafayette Partners in Education, the Generations in Jazz Foundation, and the Julia Burke Foundation, which also paved the way for one of his major post-Stanley initiatives.

Rather than relax, he is about to mark his post-retirement career by launching a new educational initiative. With support from the Julia Burke Foundation, he will consult with schools that can use his knowledge of curriculum development.

In a meeting with the Julia Burke Foundation, “They asked, ‘What are you going to do after Stanley?’ and I said ‘Help schools and teachers in need’. ‘Who is funding this?’ ‘Nobody.’ “We’ll fund it. Ever since the pandemic happened, all the music programs are in need. I can go anywhere in the United States and work with them.

Athayde has a knack for attracting people who have something to give and a keen eye for identifying stellar musicians who are also effective educators. When he launched the Lafayette Summer Music Jazz Workshop, his first decision was to recruit veteran saxophonist Mary Fettig, a universally esteemed player who gave the program instant gravitas and made it easier to attract other talented teachers.

“If she calls someone, they’ll join,” Athayde said. “She was the first curriculum director. At the beginning, we had some good players who weren’t committed teachers. But little by little, we kept bringing back people who could teach.

Success begat success. Students who have completed the program and become professional musicians return summer after summer to teach and coach Stanley students during the school year. Moraga-raised trombonist/composer Alan Ferber, 47, credits Athayde with changing the course of his life by putting him in touch with trombone teacher Dean Hubbard.

A Grammy-nominated bandleader based in New York, Ferber has taught at the Lafayette workshop since the mid-2000s, observing how “Bob is really an advocate for people who grew up in his orbit to come back to teach. I have also done a few workshops in his Stanley class and he will be blasting music for his students before they start which will keep them motivated.

Athayde feels he is leaving Stanley’s music program in good hands and he will continue at the Lafayette workshop. His retirement without retirement feels like a whole new musical adventure.

Contact Andrew Gilbert at jazzscribe@aol.com.


SIR. ATHAYDE RETIREMENT PARTY

When: 2-6 p.m. May 22

Or: St. Perpetua Church, 3454 Hamlin Road, Lafayette

More information: RSVP to Ginni Reynolds ginreyn@comcast.net, www.facebook.com/events/2800669926901353/

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The Manhattan School of Music held the 2022 gala in New York’s iconic Rainbow Room https://tadasei.com/the-manhattan-school-of-music-held-the-2022-gala-in-new-yorks-iconic-rainbow-room/ Fri, 20 May 2022 23:53:01 +0000 https://tadasei.com/the-manhattan-school-of-music-held-the-2022-gala-in-new-yorks-iconic-rainbow-room/

The Manhattan School of Music (MSM) hosted its 2022 Gala on Wednesday, May 18, 2022 at the Rainbow Room, Rockefeller Plaza, New York City.

The gala honored Trustee Emeritus Carla Bossi-Comelli (HonDMA ’20) and celebrated the 30th anniversary of the School’s prestigious Orchestral Performance Program (OPP).

Hosted by Isabel Leonard (HonDMA ’21), an alumnus of MSM’s pre-college program and recently appointed faculty member of the school’s Vocal Arts College, the gala featured performances from faculty and distinguished alumni from the PPO of the Chicago Symphony Orchestra, Cincinnati Opera Orchestra, Harlem String Quartet, Metropolitan Opera Orchestra, Orchester symphonique de Montréal and New York Philharmonic.

Notable attendees included: Carla Bossi-Comelli, winner of the 2022 MSM Gala; MSM President James Gandre; President of the MSM Board of Directors, Lorraine Gallard; Katherine Aulitzky – Executive Director, American Austria Foundation; Tony Bechara – Abstract painter and President Emeritus of El Museo del Barrio; Ambassador Markus Börlin – Consul General of Switzerland in New York; Noreen Buckfire – member of the International Council of the New York Philharmonic Orchestra; Veronca Bulgari – President, Washington Square Park Conservancy; Fabrizio Di Michele – Consul General of Italy in New York; Adolphus Hailstork – MSM alumnus, American composer; Daisy Soros – Co-Founder of the Paul & Daisy Soros Fellowships for New Americans; Sylvia Hemingway – Administrator of the Friends of the Budapest Festival Orchestra; Elinor Hoover – chair of the board of trustees of the Chamber Music Society of Lincoln Center; Dominique Laffont – Advisory Director of the Metropolitan Opera Board and sponsor of the Met’s Laffont Competition; Ambassador Philip Reeker – Acting Assistant Secretary of State, European and Eurasian Affairs; So-Chung Shinn Lee; Adrienne Vittadini – Hungarian-American fashion designer and philanthropist.

Following the school’s centenary celebrations in 2018-2019, which culminated in an all-star gala concert hosted by Alec Baldwin at Carnegie Hall, the school’s last two gala celebrations have been “virtual” in due to the COVID-19 pandemic.

The 2022 gala represented a return to in-person celebration and a return to the Rainbow Room, where the school has hosted several gala celebrations over the past few years.



Orchestral Performance Program

In 1991, the Manhattan School of Music inaugurated the Graduate Program in Orchestral Performance, the first accredited degree program of its kind in the United States.

Chaired by former New York Philharmonic Concertmaster Glenn Dicterow for its first 30 years – Met Opera Orchestra Concertmaster David Chan takes over the program’s leadership this summer – the program produces fine musicians from highest artistic caliber, who are intensively prepared in the orchestral repertoire for careers as symphonic performers.

Students are trained to participate fully in both performance and other non-musical aspects of life in the modern orchestra, such as orchestral governance, artistic planning, community engagement and development public. Graduates of the program populate many of the most prestigious orchestras in the world.

Related: The First Hill is the Best Hill: What to Do in a Week in Jackson

Carla Bossi Comelli

Since 2009, Carla Bossi-Comelli has chaired the International Advisory Board (IAB) of MSM, a group of philanthropists and music lovers representing 12 countries.

The IAB unites to support the school and ensure the success of MSM’s extremely talented international students, including raising critical funds for scholarships.

Ms. Bossi-Comelli has been a strong supporter of MSM’s physical transformation over the past few years, helping to ensure that the school’s facilities are state of the art.

In 2011, she made a generous donation towards the renovation of what is now the Carla Bossi-Comelli Studio, one of the school’s most versatile performance spaces.

The Studio was inaugurated in 2012 and is constantly used for rehearsals and performances of jazz, classical music and musical theater, as well as for lectures and masterclasses.

Ms. Bossi-Comelli was also a lead sponsor for the renovation of MSM’s main performance venue, Neidorff-Karpati Hall, which reopened in 2018 to mark the school’s centennial.

She led the charge to raise funds for this much needed and highly visible project among the IAB and other international friends of the school.

The “International Advisory Council Lobby”, an elegant space adjoining the room, is the result of his successful efforts.

Manhattan School of Music

Founded as a community music school by Janet Daniels Schenck in 1918, MSM is recognized today for its more than 985 extremely talented undergraduate and graduate students who hail from more than 50 countries and nearly all 50 States; its innovative programs and world-renowned artist-teacher faculty that includes musicians from the New York Philharmonic, the Met Opera Orchestra, and the top ranks of the jazz and Broadway communities; and a distinguished community of accomplished and award-winning alumni working at the highest levels of the musical, educational, cultural and professional worlds.

The school is dedicated to the personal, artistic and intellectual development of budding musicians, from its pre-university students to those pursuing doctoral studies.

Offering classical, jazz and musical theater training, MSM grants a range of undergraduate and graduate degrees.

True to MSM’s origins as a music school for children, the pre-college program continues to provide superior musical education to 475 young musicians ages 5-18.

The school also serves some 2,000 New York City school children through its Arts-in-Education program, and another 2,000 students through its critically acclaimed and pioneering distance learning program.

Photo credit: 1) Michele Wright, Edward Lowenthal, Caitlin Anto, Jennifer Anto, Chris Anto. 2) 1 Daisy Soros, Marco Pecori, Carla Bossi-Comelli 3) Isabel Leonard and James Gandre. 4) Chiona Schwarz and James Gandre, guests.

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