Evolution music – Evolution International http://evolutioninternational.net/ Fri, 20 May 2022 08:31:10 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://evolutioninternational.net/wp-content/uploads/2021/11/icon-120x120.jpg Evolution music – Evolution International http://evolutioninternational.net/ 32 32 Chuck Smith’s groovy music is the perfect answer to today’s world https://evolutioninternational.net/chuck-smiths-groovy-music-is-the-perfect-answer-to-todays-world/ Fri, 20 May 2022 07:12:55 +0000 https://evolutioninternational.net/chuck-smiths-groovy-music-is-the-perfect-answer-to-todays-world/ In today’s world there is a lot of uncertainty and fear. This feeling is amplified when people listen to the news or read headlines online. To help us deal with all of this, we need more music that deals with these emotions in a light way. Enter Chuck Smith, aka Stray Deuce Music, a legendary […]]]>

In today’s world there is a lot of uncertainty and fear. This feeling is amplified when people listen to the news or read headlines online. To help us deal with all of this, we need more music that deals with these emotions in a light way. Enter Chuck Smith, aka Stray Deuce Music, a legendary Los Angeles-based singer-songwriter who delivers just that. Chuck has been writing comedic songs for decades, and his latest songs are no exception. These tracks are humorous, groovy and timely, reminding the listener that there’s still plenty to smile about in these uncertain times.


Mandrel has been in the music industry for decades, working alongside some of the most iconic artists of the last generation. A talented singer, songwriter and guitarist, Smith has performed and recorded many hit songs under his stage name Stray Deuce. The entertainer took his big break 18 months after moving to Los Angeles after a chance encounter with someone just getting started in the music management business. Smith’s talent speaking for itself, it didn’t take much to convince his new acquaintance to try his luck with him. They put money in for Smith to record a four-song demo, which landed him a recording contract at Motown as an artist and songwriter.

Shortly after signing with Motown, Black-smith wrote a tune that the president of the company chose for Diana Ross. The tune actually became the title track of one of Ross’ albums, Baby it’s me. Over the years, Smith’s career grew and he worked with other luminaries like Oscar and Grammy winner Paul Williams, smooth jazz legend Lee Ritenour and Top 40 hitmaker Johnny Rivers. , among others. Smith has also played with Willie’s Nerve Clinic, a band he formed with bass icon Dirk Lance, founding member of multi-platinum band Incubus.

Besides being an award-winning artist and performer, Smith is also an accomplished instructor. He frequently leads songwriting workshops and has lectured at the San Diego Writers Conference and Apprenticeship Annex. Some classes Chuck has taught include the history of rock ‘n’ roll and the evolution of songwriting. A multi-talented instrumentalist, Chuck also leads private lessons where he teaches guitar, bass, vocals and songwriting.

Black-smith has trained singers for different contests like the American Idol tryouts. Some of his alumni have also signed deals with major record labels. These include members of Incubus, the million-selling modern rock band; the lead singer of Facebook dance-rap sensation Hyper-Crush; and play the prestigious Hotel Cafe tour. Chuck has groomed many students for television and film auditions, as well as school dramas and musicals. A guitar student he taught throughout high school recently released an album he made of his original songs named Mandrel for Chuck Smith.

Although he’s a rock music veteran, Chuck hasn’t lost his creativity or innovation. On the contrary, his peers think he has never been so good, which is high praise for other legends. Chuck’s latest songs include “Billie Sings” and “Lockdown Daze”. The first is a tribute song to award-winning artist Billie Eilish who Chuck says is a trailblazer, and the second is his straightforward, rock-hard takedown of the pandemic. “Trash Mars” is another original song that uses humor to address a pressing global issue. Many fans adored these songs, which humorously tell stories of hope at a time when the world needs it most.




















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‘Music of Cuban Independence’ concert celebrates the island’s musical heritage | Way of life https://evolutioninternational.net/music-of-cuban-independence-concert-celebrates-the-islands-musical-heritage-way-of-life/ Thu, 19 May 2022 11:47:00 +0000 https://evolutioninternational.net/music-of-cuban-independence-concert-celebrates-the-islands-musical-heritage-way-of-life/ Taking place on the day Cuba celebrates its independence from Spain – May 20 – world-renowned musicians will come together to explore Cuba’s spectacular musical heritage, celebrating the contributions of famous Cuban artists and composers. The performance will travel a journey of Cuban music from the post-colonial era to the 21st century, acknowledging important artistic […]]]>

Taking place on the day Cuba celebrates its independence from Spain – May 20 – world-renowned musicians will come together to explore Cuba’s spectacular musical heritage, celebrating the contributions of famous Cuban artists and composers.

The performance will travel a journey of Cuban music from the post-colonial era to the 21st century, acknowledging important artistic contributions.

“These artists will transport us to the roots of our own hometown’s art and culture,” said Carlene Sawyer, CEO of Dranoff 2 Piano Foundationconcert producers.

“The Dranoff Concerts for Cuban Independence are a fantastic opportunity to showcase and champion Miami’s large and diverse Latino population, the artistic richness and the changing waves of music that have traversed Cuba’s 90 miles of water. spanning 100 years of popular favorites from classical and jazz to Afro-Cuban music and dance beats,” Sawyer added in a press release.

“Music of Cuban Independence” features Miami’s own Cuban-American artists:

– Grammy Award-winning and nominated pianists Martin Bejerano and Tal Cohen,

– Bassist Jose Armando Gola

– Master percussionist and Cuban music historian Ignacio Berroa

The “Music of Cuban Independence” takes place on Friday, May 20 at 8:00 p.m. Miami-Dade County Auditoriumlocated at 2901 W Flagler St, Miami

Tickets can be purchased at ticket master or by calling (305) 547-5414.

VIP admission is $50 and includes the post-concert reception. Standard admission is and student (ID required). admission is $5.

Dranoff International 2 Piano Foundation is the only international foundation accredited by the World Federation of International Music Competitions and promotes the awareness of a new generation of students about the transformative power of music and the inspiring concert program, PIANO SLAM.

For more click here or follow them on instagram @dranoff2piano



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Author Oswaldo Lucca, Releases New Book “Salsa Music in the Pacific Northwest” Highlights Local Talent and Pays Tribute to Local Musicians https://evolutioninternational.net/author-oswaldo-lucca-releases-new-book-salsa-music-in-the-pacific-northwest-highlights-local-talent-and-pays-tribute-to-local-musicians/ Wed, 18 May 2022 21:56:08 +0000 https://evolutioninternational.net/author-oswaldo-lucca-releases-new-book-salsa-music-in-the-pacific-northwest-highlights-local-talent-and-pays-tribute-to-local-musicians/ This book project includes three CDs curated by Steve Guasch of Salsaneo Records, featuring a selection of forty original salsa and Latin jazz songs from Pacific NW bands so that readers can enjoy different samples from the last forty years of salsa music in the region. Author Oswaldo Lucca wanted to document, validate and recognize […]]]>

This book project includes three CDs curated by Steve Guasch of Salsaneo Records, featuring a selection of forty original salsa and Latin jazz songs from Pacific NW bands so that readers can enjoy different samples from the last forty years of salsa music in the region. Author Oswaldo Lucca wanted to document, validate and recognize all the talent and efforts of local musicians with the release of “Salsa Music In The Pacific Northwest: A Collective Memoir”.

Seattle, Washington – May 18and2022 – Author Oswaldo Lucca officially announced the launch of his highly anticipated book this week, Salsa Music in the Pacific Northwest: A Collective Memory. Her new book follows the release of Salsa Informant, a salsa dance calendar originally published in 1994. Salsa Music in the Pacific Northwest is the first of its kind, which not only brings readers into the lives of NW Pacific musicians, but showcases a wide range of talent from the salsa community and includes a wide range of musical selections from the past 40 years of salsa and from the Latin jazz.

In a recent interview, Oswaldo Lucca was quoted as saying, “I had considered this project since 1994 when I started posting Salsa informant, a local salsa calendar. This project is about tracking the evolution of local salsa music and giving a voice to the very people who were involved in creating this salsa music community in the Pacific Northwest. What started as a simple compilation of music from local bands has blossomed into a historic dedication not only to local bands but to the salsa community as a whole: dancers, DJs, venues, musicians, promoters, and more.

He went on to say, “Readers will not only learn about the musicians and talents of the salsa community, but will be able to find out more about their origins. They can also listen to the forty song selections in the three CDs that are included with the book. The selected songs were chosen by Steve Guasch of Salsaneo Records, exclusively for this project.

The book has involved the collaboration of many people from the salsa community in the region and has nine chapters written by key members of the salsa community. The book was published by Rincón Cultural.

Learn more or buy Salsa Music in the Pacific Northwest: A Collective Memoryvisit their official website at https://www.facebook.com/salsamusicinthepacificnorthwest/.

About the Author

Oswaldo Lucca, Ph.D., came to the NW Pacific from Puerto Rico in the late 1970s and went to graduate school at UW in 1981. He has taught at Edmonds College for more than 30 years. He founded Rincon Cultural, a local publishing house, and released a series of publications, including Salsa informant, Nuestra Musicaand Latin entertainment guide. He also edited and published Labrador, Cuentas, Every day is a picnicand A taste of Latin America. He owned La Copla, a Latin music store in the university district. Additionally, he produced two Salsa radio shows at KFOX 1250 AM, Salsa Esquina from Seattle, and Latin son. He also led two local salsa groups.

Media Contact:

Rincon Cultural
Seattle, WA United States
206-683-8936
[email protected]

Salsaneo Records
Lynnwood WA United States
206-856-8288
[email protected]

Media Contact
Company Name: Rincon Cultural
Contact person: Media Relations
E-mail: Send an email
Call: 206-683-8936
City: Seattle
State: Washington
Country: United States
Website: https://www.facebook.com/salsamusicinthepacificnorthwest/


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Tears for Fears’ Curt Smith talks about the band’s evolution and inspiration https://evolutioninternational.net/tears-for-fears-curt-smith-talks-about-the-bands-evolution-and-inspiration/ Wed, 18 May 2022 02:08:51 +0000 https://evolutioninternational.net/tears-for-fears-curt-smith-talks-about-the-bands-evolution-and-inspiration/ English new wave rockers Tears For Fears are bringing their collection of chart-topping songs, accumulated over four decades, to Cincinnati this week on Friday, May 20. Their new album, “The Tipping Point,” shows a nuanced focus on social issues and updates the duo’s sonic palette through contemporary sampling and production while preserving the band’s signature […]]]>

English new wave rockers Tears For Fears are bringing their collection of chart-topping songs, accumulated over four decades, to Cincinnati this week on Friday, May 20. Their new album, “The Tipping Point,” shows a nuanced focus on social issues and updates the duo’s sonic palette through contemporary sampling and production while preserving the band’s signature pop sensibility. I recently had the honor of speaking with bassist and vocalist Curt Smith about the band’s evolution and influences, the 21st century sound of “The Tipping Point” and the place of music in a modern social context. .

Q: I’m sure the tours are a blur, but do you have any stories on your way through Cincinnati?

A: My youngest daughter is at Kenyan College. So I spent a lot of time in Ohio – mostly Columbus and Gambier. I have a weakness for it. When we were on tour before, we didn’t see many cities because it was so crazy. You get recognized all the time, or you have interviews all day, and it really wasn’t conducive to touring. Nowadays, we do all the interviews beforehand. And luckily, we’re at an age where people don’t bother us that much. So I can really see the places where we play.


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Review: After 36 years, a Malcolm X opera sings to the future https://evolutioninternational.net/review-after-36-years-a-malcolm-x-opera-sings-to-the-future/ Sun, 15 May 2022 16:17:04 +0000 https://evolutioninternational.net/review-after-36-years-a-malcolm-x-opera-sings-to-the-future/ DETROIT — “When a man is lost,” sings Betty Shabazz, wife of Malcolm X, “does the sky bleed for him, or does the sunset ignore his tears?” The beginning of a smoldering aria, these words are perhaps the most poetic and poignant in Anthony Davis’ opera “X: The Life and Times of Malcolm X.” All […]]]>

DETROIT — “When a man is lost,” sings Betty Shabazz, wife of Malcolm X, “does the sky bleed for him, or does the sunset ignore his tears?”

The beginning of a smoldering aria, these words are perhaps the most poetic and poignant in Anthony Davis’ opera “X: The Life and Times of Malcolm X.” All the more poignant since, for several decades, “X”, too, was ignored.

The work, with a libretto by Thulani Davis, the composer’s cousin, from a story by his brother, Christopher Davis, premiered in the mid-1980s, first in Philadelphia and, officially, in New York City. Opera. And then… mostly silence.

For 36 years, we talk about it more than we hear. (An excellent studio recording from 1992 is now out of print.) And it was obvious, at the opening of a new production Saturday at the Detroit Opera House, what “X” stands to gain from being caught live: its footage of incantation turn into something like a sacred rite.

In these passages, on carpets of complex and repetitive rhythms in the orchestra, the ensemble sings short lines – “Africa for Africans”, “Betrayal is on his lips”, “Freedom, justice, equality” – again and again, building and overlapping. Opera is at its best in these long stretches of music between intensity and immobility. Without copying the prayer practices of Malcolm’s Muslim faith, the work evokes them.

Bringing “X” back to the stage is a bang for the Detroit Opera, which recently rebranded itself after 50 years as the Michigan Opera Theater, ushering in a new era under the artistic direction of Yuval Sharon.

Sharon rose to prominence as the founder of experimental Los Angeles company The Industry, and he quickly brought ambitious and inventive programming to Detroit, such as a “Götterdämmerung” in a parking lot and a “La Bohème” whose four acts are played backwards. . The estate is noticing what it’s up to: As part of a widespread effort to belatedly showcase more works by black composers and librettists, this “X” will travel to the Metropolitan Opera (in fall 2023), Lyric Chicago Opera, Omaha Opera and Seattle Opera.

In biopic style, the booklet sketches the outline of a short but eventful life: the murder of Malcolm’s father when Malcolm was a boy in Lansing, Michigan; his mother’s mental breakdown; his move to live with his half-sister in Boston, where he falls into a fast-moving mob and ends up in jail; his conversion in prison to the teachings of Elijah Muhammad and the Nation of Islam; the success of his black nationalist ministry; his split with Muhammad over tactics; his pilgrimage to Mecca; and glimmers of a more universalist ideology of peace and racial unity, which he barely had the opportunity to expound before his assassination in 1965, aged just 39.

All this is translated into the exacerbated register of the opera. Even the dialogue is pithy and exalted: “I come from a desert of pain and remorse. The music is varied and ingenious; Davis won a Pulitzer Prize in 2020 for his most recent opera, “The Central Park Five,” but “X” is a deeper score.

It begins in a gloomy and dark atmosphere, the moments of anxiety flirting with blues and subtle swing. Sensitively guided by conductor Kazem Abdullah, the music moves from hard-hitting modernism to lyrical lushness, from peaceful worship to nervous energy and stentorian force.

An essay in the program describes how Davis’ original contract specified that “the word ‘jazz’ should not be used in connection with this piece”, although an innovation here was to incorporate an improvisational ensemble within of a traditional orchestra. It works smoothly, as when a saxophone aptly depicts Malcolm’s new life in the big city of Boston, or when a whining, nostalgic trumpet accompanies prayer in Mecca. The prisoners’ dirge is warmed by creaks of brass, smoking below; along with Betty’s enigmatically tender aria, it is the opera’s most intriguing music.

The new production, directed by Robert O’Hara (“Slave Play”), has a unit directed, by Clint Ramos, which evokes the partly crumbling Audubon ballroom in Harlem, where Malcolm was killed. (The mountain pass mural painted on the back wall of the ballroom stage depicts an idyll that almost seems to taunt the characters from the opera.)

Above hover large, swooping curves, used as a projection screen for textures, cartoons, and a scrolling list of names of victims of white violence, before and after Malcolm. The staging is inspired by Afrofuturism, the attempt to devise new, often fanciful, sometimes heavenly circumstances for a people suffering from crushing oppression.

“Imagine a world where Marcus Garvey’s Black Star Line is a spaceship,” O’Hara writes in a program note, referring to the “Back to Africa” ​​movement that Malcolm’s parents participated in. But it’s when the curves take on the literal flashing lights of such a ship that things get a little laughable, evoking the ship in “ET the Extra-Terrestrial” more than lofty dreams of escape and overhaul.

More effective is the introduction of four male dancers – their meandering choreography by Rickey Tripp – who meander through the production, sometimes like guardian angels watching over Young Malcolm (Charles Dennis), sometimes like meandering punctuation of the scenes. The reserve flexibility that O’Hara introduces works most often, even if the libretto’s specificity of place and situation is sacrificed in this more abstract view. Malcolm’s basic progress is still clear – minus the specifics of where he is and who, exactly, he’s talking to. The result, not unpleasant, is more a dream ballet than CNN.

Malcolm, however, still wears his distinctive browline glasses. It’s played here with superb control by bass-baritone Davóne Tines, steady, calm and engaged in both his physical presence and grounded voice, with a fiery core bubbling in his lead tune, “I wouldn’t tell you What I Know,” at the end of Act I.

As Malcolm’s mother and wife, soprano Whitney Morrison sings with gentle strength. Charming as Street, who amazes Malcolm in Boston, tenor Victor Ryan Robertson largely handles the muscular lines of Elijah Muhammad but strives to transmit his magnetism.

“X” sometimes hypnotizes but sometimes sags. Like Philip Glass’s ‘Satyagraha’, about Gandhi’s early years in South Africa, the opera is conceived as an ever-progressing account of the ideological evolution of a historical figure, without traditional dramatic tension. The main human conflict, between Malcolm and Elijah, is only lightly touched upon; that’s not the plot.

“Satyagraha”, however, fully indulges in stylization, its Sanskrit text detached from the action, its scenes like spectacle. The music and libretto of “X”, on the other hand, continue to promise crackling drama without quite delivering; there can be a sense of falling between the stools of trance repetition and standard storytelling.

Scattered throughout are interludes that sound like vamping musically and offer little obvious pretext for action. After so many years, the creators seem to have seen the need to do something with these stretches – “We added some vocal lines in places that were musical interludes”, writes Thulani Davis in the program – but they remain, and sap energy.

Yet ‘X’, for all his obvious admiration for his subject, resists sentimentality or melodrama admirably, especially avoiding an operatic death scene: at the end, Malcolm steps onto the ballroom podium. Audubon and briefly greets his audience in Arabic. Then there is a blackout as gunshots ring out.

For all the talk of spaceships and a better future, this is an inevitably stark conclusion. There will always be gifted and visionary boys and men, the work in this new staging seems to say, but their future is hardly assured.

X: The Life and Times of Malcolm X

Through May 22 at the Detroit Opera House; detroitopera.org.


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Entertainment News Summary: ‘Vape’ Is the Word: US Judge Allows ‘Grease’ Parody; Claire Danes Digs into Mystical Mystery in ‘The Essex Serpent’ and More https://evolutioninternational.net/entertainment-news-summary-vape-is-the-word-us-judge-allows-grease-parody-claire-danes-digs-into-mystical-mystery-in-the-essex-serpent-and-more/ Fri, 13 May 2022 04:58:49 +0000 https://evolutioninternational.net/entertainment-news-summary-vape-is-the-word-us-judge-allows-grease-parody-claire-danes-digs-into-mystical-mystery-in-the-essex-serpent-and-more/ Below is a summary of the entertainment news briefs. ‘Vape’ is the word: US judge clears ‘Grease’ parody A U.S. judge ruled Thursday that “Vape: The Musical,” which mocks the 1978 hit movie “Grease,” constitutes fair use and does not infringe the rights of “Grease” copyright holders. Manhattan Federal Court Chief Judge Laura […]]]>

Below is a summary of the entertainment news briefs.

‘Vape’ is the word: US judge clears ‘Grease’ parody

A U.S. judge ruled Thursday that “Vape: The Musical,” which mocks the 1978 hit movie “Grease,” constitutes fair use and does not infringe the rights of “Grease” copyright holders. Manhattan Federal Court Chief Judge Laura Taylor Swain says Sketchworks Industrial Strength Comedy, the Atlanta troupe that created “Vape,” transformed “Grease” by updating it for the #MeToo era and exposing his misogynistic tendencies.

Claire Danes digs into mystical mystery in ‘The Essex Serpent’

Claire Danes says her first role after nearly a decade in the hit drama ‘Homeland’ was both ‘wonderful’ and ‘scary’, transitioning from a CIA officer to a British widow 19th century mourners in new miniseries “The Essex Serpent”. The 43-year-old actress won numerous awards for her portrayal of fearless bipolar protagonist Carrie Mathison on the 2011-2020 show.

Abbey Road Studios honors music photography with inaugural awards

London’s Abbey Road Studios are holding their first music photography awards this weekend, shining the spotlight on a category they believe deserves recognition. From live shots to intimate portraits, the May 14 awards, described as the first to celebrate the art of music photography, will pay tribute to emerging and established photographers.

Ukrainian orchestra Kalush seeks to boost morale at Eurovision

Kalush Orchestra aims to “lift the spirits” of their fellow Ukrainians by riding a wave of public support to win the Eurovision Song Contest in the Italian city of Turin on Saturday night. Their entry “Stefania”, sung in Ukrainian, fuses rap with traditional folk music and is a tribute to frontman Oleh Psiuk’s mother.

Movie critics rave about Tom Cruise’s return in ‘Top Gun’ sequel

It took 36 years for Tom Cruise to return to the danger zone, and movie critics said Thursday it was worth the wait to see “Top Gun” on the big screen again. The sequel to the 1986 blockbuster, titled “Top Gun: Maverick,” has a positive rating of 96% from 76 reviews collected on the Rotten Tomatoes website.

Apple unplugs iPod after 20 years

Apple Inc is discontinuing the iPod more than 20 years after the device became the face of portable music and launched its meteoric evolution into the world’s biggest company. The iPod Touch, the only version of the portable music player still sold, will be available while supplies last, Apple said in a blog post Tuesday.

A Minute With: The cast of ‘Conversations with Friends’ on adapting a bestselling book

A highly anticipated adaptation of Irish author Sally Rooney’s debut novel ‘Conversation with Friends’ is out this weekend, following in the footsteps of her TV-turned-book ‘Normal People’. Alison Oliver and Sasha Lane star as ex-girlfriends and now best friends Frances and Bobbi, who meet older married couple Melissa and Nick, played by Jemima Kirke and Joe Alwyn, at a poetry night in Dublin. The story follows their different relationships as their lives intertwine.

(With agency contributions.)


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Lim Young-woong leads the evolution of trotting fandom https://evolutioninternational.net/lim-young-woong-leads-the-evolution-of-trotting-fandom/ Thu, 12 May 2022 08:56:48 +0000 https://evolutioninternational.net/lim-young-woong-leads-the-evolution-of-trotting-fandom/ Lim Young-woong poses for photos ahead of the May 2 press conference for his debut album “IM HERO.” (Yonhap) At 71, Kim Im-kyung is learning to be a fangirl. In her three-room apartment in Seoul, Kim has turned an entire room into a shrine to her idol – Korean trotting singer Lim Young-woong – by […]]]>

Lim Young-woong poses for photos ahead of the May 2 press conference for his debut album “IM HERO.” (Yonhap)

At 71, Kim Im-kyung is learning to be a fangirl.

In her three-room apartment in Seoul, Kim has turned an entire room into a shrine to her idol – Korean trotting singer Lim Young-woong – by decorating it with his posters and a collection of fan merchandise like a glow stick.

To help Lim’s songs top the music charts, she listens to her latest album through an online music streaming service all day, although she personally owns five physical copies.

She watches almost all Lim-related videos on YouTube. His name also comes up in most of his conversations with friends these days.

“I’ve never loved anyone like that in the past 30 years,” Kim told the Korea Herald.

The last time she was a fan of someone, she was in her thirties. She remembers writing a handwritten letter to a TV station about an actor she adored at the time.

The object of his affection – Lee, 30 – was the star of the TV singing competition show “Mr Trot” in 2020. On May 2, the singer released his first full album “IM HERO”.

Although Trot is the oldest genre of Korean pop popular mainly among older Koreans, its 12-track album achieved remarkable success here, having sold over 1.1 million physical copies.

Before him, Baekhyun of K-pop boy group EXO was the only solo artist to reach the coveted milestone with his album released in March 2021. Before Baekhyun, none managed to claim the title for 20 years since the author -songwriter. Kim Gunmo in 2001.

Lim is also very active in the digital music scene. Ten of his songs, including eight from the latest album, are in the top 100 of Melon, South Korea’s largest music subscription service. The rest is dominated by K-pop stars.

Lim’s YouTube channel has 1.35 million subscribers and 1.4 billion views.

On the platform, her fans — many of whom are in their 50s, 60s, and 70s — produce videos related to the star, just like K-pop fans do, like unboxing her album and reacting to tracks. and Lim’s performance.

Ryu Ho-jin hosts a livestream on his YouTube channel.

Ryu Ho-jin hosts a livestream on his YouTube channel.

Ryu Ho-jin, 63, runs his YouTube channel Young Grandpa 59 TV, which has 188,000 subscribers. Since the release of Lim’s album, he has uploaded around 60 videos solely focused on the singer.

The YouTuber covers nearly everything other fans might want to know, from ways to participate in real-time voting on TV music programs, how to successfully book concert tickets, to Lim’s schedule information.

“I provide information about Lim Young-woong and his songs to fans, but I get more courage and wisdom from them,” he said.

Lim isn’t the first star the trotting genre has produced in recent years. Another trotting singer, Song Ga-in rose to fame after winning the TV show “Miss Trot”, whose massive success in 2019 was the reason for its spin-off male version.

In addition to the genre’s general revival, Lim’s popularity can be attributed to the moving backstory of how he overcame many difficulties in life, said Son Min-jung, a music professor at National University. education in Korea. Lim lost his father when he was 5 years old and grew up in poverty.

“The main characteristics of trotting are that the music brings back collective memories about family and the losses that people experience in their lives,” said Son, who has studied the genre for the past 20 years.

According to the professor, people find solace in trotting music, especially when the country is going through tough times like when it was hit by the 1997-98 Asian financial crisis.

The grief and longing Lim conveys through his songs resonates with older fans as they believe he understands the shackles of life, Son added.

Kim, the 71-year-old fan, agrees with the expert’s analysis.

“Lim Young-woong’s songs touch my heart. I’m just proud of him because he didn’t give up on his dream of becoming a singer despite the hardships in his life,” she said.

Professor Son also pointed out that middle-aged and older music fans are no longer passive listeners who simply tune in to music played on television or radio.

“They are now able to use various media platforms, creating their own culture,” she said.

Music critic Cha Woo-jin echoed Son’s sentiments.

“As teenagers created their K-pop fan culture, their parents and grandparents learned a lot from them about supporting artists and building community,” he said.

While Lim’s new album had sparked debate over his authenticity as a trotting singer for showcasing other genres like ballad, dance and folk music, pundits saw it differently.

Son said Lim, overall, is still a trotting singer because he still retains the vocal timbre required by the genre, such as sounding a low note with a strong vibrato.

“The album shows how trot music can integrate with other genres to evolve. I would say it broadens the horizons of trot music,” she said.

Cha said Lim seems to have included other genres on the album to expand his fan base to the younger generation, considering he is only 30 years old.

Lim worked with singer-songwriter Lee Juck and composer and producer Jung Jae-il for the new album, key players in the country ballad scene in the late 90s and early 2000s.

“They produce music in which the memory and emotions experienced by people in their forties intertwine. It seems natural for Lim to target young listeners to support his career,” he said.

“It’s an interesting time to watch the country’s music scene make a big transition between generations.”

By Park Han-na (hnpark@heraldcorp.com)


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The One Thing The Incredible Hulk Does Better Than Any MCU Movie https://evolutioninternational.net/the-one-thing-the-incredible-hulk-does-better-than-any-mcu-movie/ Wed, 11 May 2022 18:30:00 +0000 https://evolutioninternational.net/the-one-thing-the-incredible-hulk-does-better-than-any-mcu-movie/ The Incredible Hulk is often overlooked in the Marvel Cinematic Universe, but it does better than every other Marvel movie in one particular area. The Incredible Hulk is often considered an outlier of the Marvel Cinematic Universe, but it does one specific thing better than any other MCU installment. The second MCU movie ever made, […]]]>

The Incredible Hulk is often overlooked in the Marvel Cinematic Universe, but it does better than every other Marvel movie in one particular area.

The Incredible Hulk is often considered an outlier of the Marvel Cinematic Universe, but it does one specific thing better than any other MCU installment. The second MCU movie ever made, 2008 The Incredible Hulk fails to convey the interdependent way the universe will function despite Iron Manthe success of two years ago. Instead, it tells a grittier, more traditional Hulk story as Edward Norton’s Bruce Banner embraces his violent side – but it’s that distance from the rest of the MCU that allows The Incredible Hulk to succeed in a specific way.

When Bruce Banner officially joins the Marvel Cinematic Universe in The Incredible Hulk, he is already established as the Hulk and is being pursued by the US government. Bruce is aided by General Thaddeus “Thunderbolt” Ross’s (William Hurt) daughter, Betty (Liv Tyler), as he tries to keep the Hulk in check while avoiding his father. After Hulk defeated Abomination and Thunderbolt in The Incredible Hulk‘s coda, Ross meets Tony Stark, who informs him of the Avengers Initiative, setting up the events of The Avengers in 2012.

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Related: Avengers: Endgame Theory – Who Hulk Saw In The Soulworld

Perhaps due to his detachment from the rest of the franchise, The Incredible Hulk has the best soundtrack in the Marvel Cinematic Universe. While critics don’t consider the film’s story to be anything close to the best of the MCU, most agree in their assessment that Craig Armstrong’s soundtrack is a highlight. Armstrong’s heart-pounding music gives the film its unique tone, feeling far more serious than anything else in the MCU since. In this way, apart from the ubiquitous Alan Silvestri avengers theme, it is perhaps the most considered and compelling piece of music featured in the Marvel Cinematic Universe to date.



The Incredible Hulk

Armstrong’s score is shockingly effective. He gives The Incredible Hulk legitimacy as a more serious take on the superhero genre than many of its MCU Phase 1 contemporaries, such as Iron Man or Captain America: The First Avenger, can gather. The soundtrack is defined by intense strings and a heavy drum layer that adds to the intensity of the chased Bruce and his much more serious transformations into the Hulk. When looking at the Hulk’s evolution, however, it’s hard to see Mark Ruffalo’s take on Banner engaging in non-comedic action with such a dramatic score behind him.


As a result, it’s a shame the Marvel Cinematic Universe hasn’t used Armstrong’s outstanding score as a theme for Hulk in other projects. However, the tone of the MCU has changed dramatically since the release of The Incredible Hulk, and Mark Ruffalo’s take on the Hulk saw the hero transform into a much lighter, more comedic figure. The Marvel Cinematic Universe doesn’t often reuse scores from past movies, but if Mark Ruffalo gets his own solo movie, and it’s darker (perhaps adapting the iconic comic world war hulk history), the Armstrong theme of The Incredible Hulk should definitely come back.


Next: Moon Knight Episode 2 Proves How Hulk Failed The MCU

  • Doctor Strange in the Multiverse of Madness (2022)Release date: May 06, 2022
  • Thor: Love and Thunder (2022)Release Date: Jul 08, 2022
  • Black Panther: Wakanda Forever/Black Panther 2 (2022)Release date: November 11, 2022
  • Marvels/Captain Marvel 2 (2023)Release date: July 28, 2023
  • Guardians of the Galaxy Vol. 3 (2023)Release date: May 05, 2023
  • Ant-Man and the Wasp: Quantumania (2023)Release date: February 17, 2023

How Thor: Love & Thunder is different from Ragnarok explained by the director


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Madonna and Beeple collaborate on an NFT triptych https://evolutioninternational.net/madonna-and-beeple-collaborate-on-an-nft-triptych/ Tue, 10 May 2022 20:30:00 +0000 https://evolutioninternational.net/madonna-and-beeple-collaborate-on-an-nft-triptych/ mother of nature Courtesy of SuperRare Text size A non-fungible symbolic triptych, created in collaboration between Madonna and Beeple, will be offered Wednesday through Friday via SuperRare, a curated NFT artwork platform. With a starting bid of just 0.00035774 ethereum ($1), all proceeds from the sale will benefit three nonprofits: the Voices of Children Foundation, […]]]>

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FREE EVENT! St. Mary’s College of Maryland Jazzed Up for the Mulberry Music Festival Friday, June 17 – Southern Maryland News Net https://evolutioninternational.net/free-event-st-marys-college-of-maryland-jazzed-up-for-the-mulberry-music-festival-friday-june-17-southern-maryland-news-net/ Mon, 09 May 2022 23:50:42 +0000 https://evolutioninternational.net/free-event-st-marys-college-of-maryland-jazzed-up-for-the-mulberry-music-festival-friday-june-17-southern-maryland-news-net/ The Kelly Bell Group St. Mary’s College of Maryland presents Mulberry Music Festival: Jazz, featuring Joseph Brotherton, the Kelly Bell Band, Carly Harvey, and headlined by Sharón Clark on Friday, June 17, beginning at 6 p.m. on Townhouse Green of the College. The event is free and open to the public. It will be simulcast […]]]>

The Kelly Bell Group

St. Mary’s College of Maryland presents Mulberry Music Festival: Jazz, featuring Joseph Brotherton, the Kelly Bell Band, Carly Harvey, and headlined by Sharón Clark on Friday, June 17, beginning at 6 p.m. on Townhouse Green of the College.

The event is free and open to the public. It will be simulcast live on the College’s website at www.smcm.edu/mulberry. In addition to performing, Harvey, a former student of St. Mary’s College, will reprise her role as master of ceremonies.

The Mulberry Music Festival is the vision of President Tuajuanda C. Jordan and is held annually on the eve of June 19. Originally created in 2019, this festival featured a gospel theme and chart-topping recording artist Jason Nelson.

“I strongly believe in bringing people together through the universal language of music. This year’s Mulberry Music Festival, focused on jazz – a true American art form created by African Americans and characterized by harmony, syncopated rhythms and improvisation – is sure to do just that,” said said Tuajuanda C. Jordan, president of St. Mary’s College.

Attendees are encouraged to bring lawn chairs, blankets and food to help enjoy the event. Food vendors will be on site. The Townhouse Green opens at 4 p.m. on the day of the event.

About the performers

Joseph Brotherton is well known for his musical sense and trumpet style. Born in Nashville, Tennessee, Brotherton started playing the trumpet when he was 8 years old. After serving as a trumpeter in the Marine Corps Band Quantico, he settled in Washington, DC and is now thriving on the music scene in the East Coast region and abroad. . Brotherton studied with Wynton Marsalis, Ingrid Jensen and Ron Blake among others. He has performed live with Gregory Porter, Aaron Neville, James Earl Jones, Greg Karukas, Benito Gonzales, Robert “Mousey” Thompson, Stephen Riley, Neal Caine, Kermit Ruffins and Eric Lewis, to name a few.

According to Jazz Improv Magazine, “Joseph Brotherton is an exciting and spectacular soloist, well-educated in post-bop tradition and concepts. His solos are notable for their clarity, connectedness of ideas, clear articulation, intonation, and tasteful and measured use of his ample technique.

Based in Washington, DC, Carly Harvey combines blues, jazz, soul and American roots styles to create a unique sound reminiscent of Etta James, Bonnie Raitt and Nina Simone, with a bit of Ella Fitzgerald thrown in for good measure. In July 2018, she was featured in Big City Blues Magazine as one of the youngest blues artists to watch. She has had the privilege of sharing the stage with iconic musicians including Annika Chambers, Ron Holloway, Kebbie Williams, Ephraim Owens, Cory Henry, Kofi Burbridge, Junior Marvin and Susan Tedeschi – an artist whose work has been the basis of his musical development. Currently dubbed DC’s Queen of Blues, Harvey is the winner of the 2021 Wammie Award for Top Blues Artist.

Originally formed as the back-up band for rock and roll pioneer Bo Diddley, the Kelly Bell Band has since traveled the world, entertaining fans in Japan, Spain, Italy, Greece, Cuba, Germany and Moreover. The band has won two prestigious Maryland Music Awards, was voted “Best Blues Band” in the Mid-Atlantic region for 12 consecutive years, and was recently named “Best Band” by Baltimore Style magazine. The band’s debut album, “Phat Blues Music” remains one of the best-selling albums in the history of the Mid-Atlantic region. The group is led by Kelly Bell, known as “The Bluesman”, who is joined by Ryan Fowler and Eric Robinson (guitar), Taylor Zimmerman (vocals/violin) Frankie Hernandez (bass), John Robert Buell (drums) and Jon Mauer (keyboard).

Washington, DC star Sharón Clark has had audiences uplifted at festivals and concerts around the world. The Jazz Times wrote of Clark: “A revelation. . . I never thought I would hear a singer with the range, musicality and mastery of tone and timbre that was Sarah [Vaughan] at its best, but now I’ve done it.

Clark has toured countless internationally, from Europe to Southeast Asia, the Middle East and Russia, where she has developed a significant following. She has performed as a featured soloist with the Duke Ellington Orchestra, Smithsonian Jazz Masterworks Orchestra, Richmond Symphony and Baltimore Symphony.

She has appeared at festivals at home and abroad. The Smithsonian Jazz Masterworks Orchestra and the Ludacris Foundation chose Clark to perform for their separate tributes to Quincy Jones.

Clark won the gold medal and $10,000 first prize in the American Traditions Competition at the Savannah Music Festival. She went on to win first place in the Billie Holiday Vocal Competition, taking home a $2,500 prize as well as a featured appearance with the Baltimore Symphony.

St. Mary’s College of Maryland, the National Public Honors College, was designated an Honorary College of the State of Maryland in 1992. It is ranked among the top public liberal arts schools in the nation by US News & World Report. About 1,600 students attend the college, nestled on the St. Mary’s River in southern Maryland.

The Kelly Bell Group

Sharon Clark

Carly Harvey

Joseph Brotherton








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