Local fans of the Celtic sounds of Irish music can flock to downtown Loveland Friday night for the return of a Boulder duo and a small farewell to their local fan community.
Adam Agee and Jon Sousa will be performing at the Rialto Theater with their show, ‘Adam and Jon: An Evening of Irish Music,’ after not having performed there since before the pandemic, bringing their Irish music to area residents.
Agee said that for around a year during the beginning of the pandemic the duo did not perform live shows. He said, though, that it did not stop his musical creativity; he held outdoor music lessons to teach others how to play.
“There was more than a year there that was very quiet,” he said. “It actually created a healthy pause, a time for breathing out and gathering creative forces and taking a step back. The possibility of coming together again and sharing our music with the world again was all the sweeter.”
He said that he and Sousa began performing again in the spring of 2021 and will be returning to the Rialto this Friday, a venue they had performed at several times in the past.
He said for this concert he will be playing the fiddle and Sousa will be playing on both the guitar and Irish tenor banjo, adding they are going to “keep it simple this time.”
Agee added that this tour will also be a sort of farewell to their local fan base, as both men will be heading overseas soon, with Agee heading to Ireland and Sousa to Sweden.
“It felt really important for us to have a chance to share our music with our local communities another time before we head off,” he said.
Agee added that he and Sousa are both thankful to be able to perform before live crowds again. He compared the ability to perform live to that of sitting down face-to-face with a friend to have a conversation in person and not over a device. He said that quality of connection and community is “really at the core” of what they do.
“It is so precious to us, this opportunity to be physically in front of people, conveying this music,” he said. “The more we play, the more I recognize that what musicians are able to share is so much more than the sonic elements, so much more than just the notes, but really what is being shared from our hearts.”
The show will begin at 7 p.m. Friday at the Rialto Theater, 228 E. Fourth St. Tickets are $29 in advance, including fees, or $33 at the door, with students, seniors and military personnel receiving a discounted rate of $21 a ticket; tickets can be purchased online at rialtotheatercenter.org.
Agee and Sousa will also be performing at The Nomad Playhouse, 1410 Quince Ave., in Boulder at 7 p.m. Saturday and 2 p.m. Sunday. More information and tickets for these shows can be found at nomadplayhouse.org.
More information on Agee, Sousa and their music can be found at adamandjon.com.
For those who don’t know, Hurricane Ian is supposed to hit Florida this upcoming weekend, causing a ton of people to evacuate and prepare as needed.
From past experiences, we know how devastating hurricanes can be, and our thoughts and prayers go out to everybody who resides in Florida this weekend.
And while it hasn’t even made landfall yet, it’s already causing problems.
Moon Crush “Harvest Moon,” a boutique country music festival in Miramar Beach, Florida, featuring headlining performances from Eric Church and the Turnpike Troubadours, has been postponed.
In the peak of hurricane season, and with one expected to make landfall in the Gulf this week, the festival confessed that they couldn’t find someone will to insure the event. They even tried to secure multiple insurers to take portions of the risk, but were unsuccessful.
They shared in statement:
“It is with heavy hearts we must share, due to circumstances beyond our control, Moon Crush ‘Harvest Moon’, scheduled to take place October 27-29, 2022, has been postponed to a date to be determined in the future.
While we are working with the artists to find another window of time that fits with their touring schedules, we’ll be issuing full refunds to all guests. Our team will begin processing these refunds on Tuesday, September 27, 2022, and complete them by Friday, September 30, 2022.
We were recently informed by our current insurance carrier, who has provided coverage for our previous Moon Crush Music Vacations, that they are no longer able to underwrite the necessary coverage limits for our Moon Crush ‘Harvest Moon’ event that would protect our guests, artists, and vendors in the case of a cancellation due to weather.
Despite tireless efforts by our team to find another carrier, we have been unsuccessful.”
Sony Music Publishing today announced it has signed a global deal with singer, songwriter and Emmy-Award winning actress Dove Cameron.
As the 2022 recipient of MTV’s VMA for Best New Artist, Dove Cameron continues to build momentum for what has already been an exciting year. This notable award comes fresh off the heels of her impactful and uncompromising music video release for her new single “Breakfast.”
“Breakfast” is the follow up to Dove’s RIAA gold-certified, noir-pop turned massively beloved queer anthem “Boyfriend.” Since the release of “Boyfriend,” the song has achieved over 349 million streams worldwide and peaked at #2 on Top 40 radio, #10 on Spotify’s US chart, as well as the Top 20 on Billboard’s Hot 100 and #9 on the UK Official chart. With recent performances on The Tonight Show Starring Jimmy Fallon, Ellen, the 33rd Annual GLAAD Media Awards and iHeart’s Can’t Cancel Pride, Dove has firmly established herself as an unstoppable force in the music world.
Dove Cameron said, “I’m so excited to be joining the Sony Music Publishing family where they continue to grow and support me as an artist and a songwriter. With this partnership, I look forward to bringing my fans music that can become the soundtrack to their lives.”
Sony Music Publishing VP, Creative Thomas Krottinger said, “Dove is a brilliant songwriter – her creative authenticity has not only led to chart success, but it has enabled her to become an important voice representing the LGBTQ+ community. We’re thrilled to welcome Dove to SMP, and we look forward to supporting her in this next chapter.”
Dove Cameron began writing songs at the age of fifteen while also pursuing her career in acting. Her love for music is reflected in her film and TV performances including the Apple TV+ musical-comedy series Schmigadoon!. She also recently starred in the B.J. Novak-directed VENGEANCE with Issa Rae and Ashton Kutcher, and the Colson Baker (AKA Machine Gun Kelly) directed feature film Good Mourning alongside Pete Davidson, Megan Fox, Becky G, Mod Sun, and Whitney Cummings.
K.O has taken to his timeline to let Mzansi know that he’s enjoying every success of his hit single featuring Blxckie and Young Stunna, SETE
The star agreed that the new song might be the biggest song he has released in his career, adding that it’s bigger than his classic Cara Cara
The rapper shared that SETE went double platinum over the weekend and the music video has reached 5 million views in just three weeks
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K.O is enjoying the success of his hit song, SETE. The track is currently the biggest songs in Mzansi.
It might also be the biggest songs the rapper has ever released. The lit track features Blxckie and Young Stunna.
SETE is dominating charts across Mzansi radio stations and doing massive numbers on official digital music streaming platforms. Taking to Twitter, K.O agreed that the song might be bigger than his classic hit Cara Cara.
“Well done King. Blessings on Blessings on Blessings on Blessings. You absolutely deserve it ALL! ‘You beeeeen the 1’.”
“Yoooh the goosebumps I just got from watching this.”
“Cara Cara and Sete are completely different songs. Clearly this guy is infinite creatively.”
“Who needs Burna Boy when we got Mr Cashtime!!”
K.O celebrates SETE music video hitting 4 million views in 2 weeks
In related news, Briefly News reported that K.O’s music video for SETE has reached four million views in two weeks. The rapper took to his timeline to celebrate the massive milestone.
The star features Blxckie and Young Stunna on the dope single. It is the lead song to his recently released album, Skhanda Republic 3. The song was also recently certified platinum. Taking to Twitter, Mr Cash Time shared a screenshot of the music video which is doing massive numbers on YouTube.
A few weeks ago, Thailand’s Creative Economy Agency launched a strategy, aimed at competing with and over time, overtaking Korea’s K-Pop as a global cultural phenomenon. The strategy, according to the agency’s director Chakrit Pichyangkul, wants to globalise Thai popular culture by promoting three pillars – people, businesses and locations. One of the initial projects, interestingly, is a metaverse culture lab, whose objective is to ensure whatever is done in real life is mirrored online, a strategy that Korean record labels and management companies have been deploying for over a decade. At the same time, halfway around the world, Zimbabwe has published a UNESCO supported music strategy, aimed at developing artists and music IP to boost the country’s GDP and create new jobs. There, the government’s stated objective is to develop a sustainable music industry and “utilise music as a tool for enhancing the country’s image and harnessing the Zimbabwean diaspora for consumption and investment in the sector.” K-Pop may be first, but next we may see T-Pop, or Z-Pop.
The development of the Korean pop music and culture sector, or Hallyuas it is referred to, was a two-decade long, patient and intentional state-structured process. Following a recession, a number of progressive policy makers recognised the potential impact of music and culture as a way out of debt. In 1997, after being humiliated in asking the IMF for an emergency loan to tackle a financial crisis, investment was directed to a publicly managed national rebranding exercise based on music, art and culture streams. What emerged is what we are seeing in BTS, NCT 127 or Girlpink, but each stream began with education programs and talent development support initiated, funded and directed in the public interest and with public money. What is being celebrated now may not be a model that works everywhere, but it demonstrates what could be true anywhere – that there is economic and social potential in music and culture and with it, the benefits of soft power and positive national branding. As countries and regions look to establish economic recovery policies and create socially sustainable economies which extract less from our environment, music and culture is recognised as a viable path. The raw materials are extracted from our minds, not the ground. And the options are limitless. This is something to celebrate, as there will never be ‘peak’ music, unlike what we’re facing with peak oil.
National and intergovernmental agencies are listening and in more places than ever and influenced by South Korea, acting, strategising and spending. For example, the Organization of American States has partnered with the Government of Dominica to develop a strategy that explores how to create long-term, salaried jobs in the creative economy. In the Caribbean, music is often a part-time pursuit, as most opportunities, bar a few superstars, are in the cash-in-hand tourism-led creative economy, one dependent on externalities, such as weather and capital flows. A project from Chinese giant Tencent and Billboard Magazine called Chinese Music Gravity aims to promote Chinese pop music around the world. Even Oman has been exploring music intentionally, using an Arabic hit as a tool to promote the country as an investment opportunity. The continued success of Spanish language artists in English charts, from Rosalia to J. Balvin, further confirms the opportunity.
This is an encouraging start, but there have been far more failures than successes. The downfall of these initiatives is that they come and go, like the governments that introduce them. Music is a long-term investment, as South Korea demonstrates. Canada initiated a content quota in 1971 and has been investing in funding music across all genres and disciplines ever since. It may take a decade or two for an artist from China, or Zimbabwe, or Thailand, to gain a significant fanbase abroad. This has yet to be recognised or well understood. Drafting a strategy is one thing. Following through over a long period with education investment, infrastructure and grassroots policies that ensure music is taken seriously in local and national contexts is another. Until Psy’s unlikely hit Gangnam Stylein 2012, few Korean artists broke through globally. And this was 15 years after the initial policy and investment were launched to develop Korean music and culture for international audiences.
But this expansion of nations treating music seriously is encouraging. Mexico, for example, published its first ever report chronicling the size of its commercial sector. Belize is embarking, for the first time, on an international music tourism plan. The Philippines is readying one as well.
With these strategies comes more music, more stories introducing new cultures and experiences and, if talented artists find audiences, more income and jobs.
Mugham, a pearl of the Azerbaijani music, was sounded in Poland within the VI International Congress of Turkology, titled “Studies on the Turkic World – Multidisciplinary Perspectives”, Azernews reports, citing the International Turkic Culture and Heritage Foundation.
Many public and cultural figures, heads of diplomatic missions, and scholars attended the event.
Agata Bareja-Starzynska, associate professor at the Faculty of Oriental Studies (University of Warsaw) kicked off the event with an opening speech.
In her speech, she stressed that the musical evenings organized as part of the Congress play an important role in bringing together different cultures, and thanked the International Turkic Culture and Heritage Foundation for organizing this event.
President of the International Turkic Culture and Heritage Foundation Gunay Afandiyeva expressed her confidence that the Congress of Turkology will make a great contribution to the expansion of relations between the Turkic and European peoples.
She emphasized that the congress is a major platform for the Turkic states to show their culture and art.
Gunay Afandiyeva also touched on mugham art and spoke about the rich cultural heritage of the Turkic world.
“Mugham is improvisation. It’s an inspiration that instantly fills your heart. It is admiration, fascination, and influence. Mugham is a tradition. It is the oral bearer of centuries-old Azerbaijani culture, the key to the treasury of literature. It is the preservation of the legacy of great poets, such as Nizami, Fuzuli, Nasimi, and Vagif. Mugham is the truth. It is a philosophical view of life. It is a link with the land, roots, and patriotism. The true identity of the Azerbaijani people is a reflection of their national values. It is a memory formed in the fateful lands of a country. Mugham is Karabakh. It is the breath and voice of Mir Mohsen Nawab, Sadiqjan, Jabbar Garyagdioglu, Bulbul, Xan Shushinski. Some 30 years ago, we were separated, and tears flew from our eyes. Today is a great pride. It is an inseparable part of the Turkic world,” she said.
In her speech, she underlined that the art of mugham was recognized internationally as a result of the initiative and support of First Vice President of Azerbaijan, President of the Heydar Aliyev Foundation, Goodwill Ambassador of UNESCO, and ICESCO Mehriban Aliyeva. She recalled that the Azerbaijani mugham was included in UNESCO’s Representative List of Intangible Cultural Heritage in 2008.
Gunay Afandiyeva also highlighted the activities of the International Turkic Culture and Heritage Foundation, which was established by the initiative of President of Azerbaijan Ilham Aliyev and with the support of the heads of state of the Republics of Kazakhstan, Kyrgyzstan, and Turkiye in order to promote the material and moral values, literature, music, and art of the Turkic people on the world stage.
Furthermore, a mugham trio consisting of soloist Nisbat Sadrayeva, the winner of the International Mugham Competition 2018, accompanied by talented musicians Rustam Muslimov (tar) and Elnur Salahov (kamancha) delighted the audience with Azerbaijani music and folk songs of Kazakhstan, Kyrgyzstan, Uzbekistan, and Turkiye.
An exhibition reflecting the centuries-old history, rich culture, outstanding personalities, and national architectural monuments of Karabakh was demonstrated as part of the musical evening. The guests of the event were presented with samples of Azerbaijani national cuisine.
The main partners of the VI International Congress of Turkology included the International Turkic Culture and Heritage Foundation, the embassies of Azerbaijan, Turkiye, Kazakhstan, and Uzbekistan in Poland, as well as the Yunus Emre Institute, and the Karaite Heritage Foundation.
OPINION: Between What Now and Wheel of Fortune, long before stints as the host of Stars in Their Eyes and Sing Like a Superstar, Simon Barnett hosted a strange little quiz show that became something of a cult hit.
Sure, there’s no one unforgettable moments to rival Thingy losing an eye on Son of Gunn, but 30 years on from its debut in 1992, Face the Music still conjures up wistful nostalgia for a generation of Kiwis.
Whether it was the chaotic, dog-eared nature of the show, the eclectic contestants, the garish early ‘90s set, or the sight and sound of Dwayne Francks and his Roland keyboard “reinterpreting” hit songs, it’s hard to pinpoint exactly what the appeal truly was, but it was addictive tea-time viewing between 1992 and ‘94 and, once it was gone, for many years there were many appeals to TVNZ to bring it back.
That it resisted could also explain why it’s virtually impossible to find “official” footage of the show. That repository of all things televisual from our shores, NZ On Screen, doesn’t even have an entry for the show, let alone any still or moving imagery.
Could you have correctly guessed these six songs and won a pair of mountain bikes?
However, thanks to a few former participants and those with extensive VHS archives, a few episodes exist in their entirety on YouTube (which even allows you to indulge in pre-Tammy Wells-era Briscoes adverts and McDonalds’ shilling short-lived items like mango thickshakes and passionfruit sundaes).
What they reveal is an eye-wateringly busy set (including a band who are seemingly just there for show), a surprisingly simple conceit that’s far closer to Name That Tune (at least two elements of the format borrowed liberally from that show that first aired UK and US versions in the 1950s) than Never Mind the Buzzcocks and a boyish, puppyish Barnett who, even in the third season, seems like a bundle of nervous energy.
“What things are you into?” he asks a contestant, just moments after announcer Jeoff Barraclough has informed us of exactly that. What follows is a truly awkward couple of minutes, as Barnett blunders his way through a trio of ice-breaking conversations, offering up bold opinions on heavy metal (“I can’t hear a lot of music in there”), desperately trying not be phased by one contestant’s love of frogs legs and snails and another’s failing, husky voice from a karaoke evening the night before and hastily backing down from his original stance on both AC/DC and Metallica – once confronted with a true fan.
While things improve once the quizzing gets under way, Barnett it seems can’t resist oversharing as a way of banter (nautical TV drama The Onedin Line one of many things to earn his wrath), when not botching up a “slice of hot gossip” about former Happy Days star Scott Baio getting engaged “to the lady off Baywatch”. But while it is entertaining watching the now consummate radio and occasional TV professional endearingly flounder (to the point at which you think he might be responsible for burying any footage of the show, although it could also more seriously be because Francks was later convicted of indecent assault in 2005), you can see the charisma and hear the clear enunciation that led to a lengthy onscreen career.
The format itself is fairly unremarkable. Three rounds of music questions – the second involving Francks and his keyboard revealing songs in four-note “batches” for contestants to guess – divided into various categories (everything from TV Theme Tunes to Instrumentals, Love Songs and AC/DC), with each poser worth a certain – mostly similar – amount of points. A few offered the chance to double up via a second, non-music-based question.
One of the particular quirks was that, in the third round, the points increased the longer you waited to answer the question, leading to some bizarre situations where a game was won or lost depending on when you hit the buzzer.
Once a final winner was declared and the other two were packed off with that TVNZ late-20th Century staple consolation prize of a Parker Pen Set, the victor then faced correctly identifying six tunes in 30 seconds in order to claim anything other than the right to return for the next episode. It was a stiff challenge that meant producers didn’t have to hand out too many video cameras, musical instruments, stereo systems or, umm, mountain bikes?
Looking back now, especially in light of modern day programmes like Dancing With Stars, it is remarkable the original music was used and not some K-Tel “copy” or interpretation by the live-band. Ultimately, no matter how little they had to shell out for prizes, licence fees may well be the reason why TVNZ resisted ever bringing the show back – or even archiving it in any way.
The annual Life is Beautiful music festival returned to the streets east of downtown Las Vegas September 16th-18th. This was its ninth iteration. This festival, founded in part by the revered Tony Hsieh emphases an overall sensory experience. That makes sense. In a city founded in part upon instant marriage, why not build a music festival which marries art and culture. This festival is not just music, it’s also an art exhibition at scale across nearly a square mile of buildings, and a quickly improving assortment of chef driven food options. Keeping with the Las Vegas theme, the Life is Beautiful experience is more than just sound, it’s an immersive plunge into a shared experience along with tens of thousands of your new best friends.
Headliners for the weekend were Arctic Monkeys, Calvin Harris, Gorillaz, Lorde, Jack Harlow, Kygo and Cage the Elephant. Mixed into that was Dermot Kennedy, Jungle, Pussy Riot, Shaggy, Elderbrook, Neil Frances, Blu DeTiger, Clair Rosenkranz and Wet Leg and more, plus a whole weekend’s lineup of both EDM acts and comedians. If you were temporarily overloaded by music, then there was the option to attend cocktail mixing classes, eat an omakase chef dinner or shop in an artisan’s marketplace.
The weekend is curated to have something for all tastes. There is the classic four stage set up with the primary and tertiary stages nearby, almost always alternating so the crowd can move between them during stage turnovers for the next performer. At the farther end of the festival, down Fremont Street a leisurely ten-minute walk is the secondary primary stage and the EDM structure complete with massive lighting rigs. In between are an assortment of small pop-up stages and branded performance spaces, including a large and beautiful new building housing the comedy performances and an iconic building hosting the “Country Club” which is where country music was represented both in performance and in the opportunity to line dance.
There is always a weather question when attending a mid-September festival in the desert. This year was magical. The days peaked in the low 90’s. The evenings were perfect shirtsleeve weather descending to the high 70’s as the festival ended each night around 1 am.
One of the great joys of Life Is Beautiful is that it exists in walking distance from the Fremont Street Experience, and a short ride away from the Strip. Unlike many other festivals in which you walk a mile or so from your car to get into the festival, then trudge back out when it’s over for the evening, this festival exits right onto trafficked streets with shuttles, taxies, and app-based transportation options. And, as Vegas is a 24-hour town, if you’re looking for an after show, meal, drink, or other options, they’re just minutes away.
The audience is an interesting mix across the age spectrum. The lineup reveals why. There was a little something for almost any taste. Cage The Elephant was a carnival ride. The EDM tent was jammed at all times. There were surprises like the completely filled room for EMO Night. There was simply no way to be unhappy on the festival grounds. The worst case situation was too many good options and not enough time.
Clair Rosenkranz is 18 years old and just starting to break through. Her new song is i’m too pretty for this. She played a tight set on the tiny Toyota Stage, with her father playing guitar in the backing band. The space was full with people who already knew the words to her songs, and wanted to see the next new chanteuse breakout live and front of them. This stage was a new addition to the Life is Beautiful layout, and gave new and emerging artists the opportunity to showcase their talents in front of a manageable crowd before they drifted off to the mighty acts playing on the Downtown stage just minutes away.
Lorde has been around for nearly a decade. One never knows exactly what she has in mind, but it’s usually something unexpected. Her Live is Beautiful performance was quite with a meticulous set design and careful choreography of how her band moved to complement her song choices:
Artic Monkeys are twenty years in and still incredibly powerful onstage. This translates to very engaged fans:
Gorillaz date back to 1998. There was still a giant crowd in place when they played Feel Good as they headed toward the end of their Saturday night closing set.
Sunday’s closing act was Calvin Harris who had a masterful set displaying what exactly EDM music can do to put a crowd in motion. The audience for Harris was as big any for the entire weekend.
The economic heartbeat of a festival is the food and beverage sales. Life is Beautiful has always been creative, but this year they stepped it up a level. Near to the tertiary stage they laid out an artificial lawn, placed picnic tables on it and at the back edges placed two terrific food options. One was an assortment of pizza chefs, with choices from deep dish Detroit style pizza to classic Romano pizza slices. The other was the “Cookout.” The cookout was a large open flame grill curated by Justin Kingsley Hall of Whiskey in the Wilderness. Each night there were two new choices, one from Jose Andres’ team and the other from Hall’s team. Hall’s dish on the last night was superb: grilled marinated duck and peaches, arugula salad and hot honey all served in pita.
Festivals have been difficult this year. As the economy has gotten tougher for most people, and inflation has eaten away at their discretionary income, ticket sales are down. The model used to be that a festival would essentially sell out as soon as the tickets went on sale. Now, across the country, tickets are available throughout the weekend of the event. Still, there was a substantial crowd out for Live Is Beautiful.
Whenever there is a large crowd in place together over three days the observant will have stories to tell. They may be as odd as the nearly naked middle-aged couple parading themselves around the festival grounds, as heartwarming as a father and son sharing time together learning about each other’s favorite music or as emotional as watching a group of friends encircle their disabled friend’s wheelchair to dance together in a celebration of joy, hope and friendship. Everybody has a story. When you share three days and nights together as the crowd of strangers slowly becomes a community, you are free to make new friends and share new experiences. People come for the music but return for the joy of being together with new friends and old. Life is Beautiful is an apt name for this long weekend. It’s the brand, the experience and the mantra. Next year is the festival’s 10-year anniversary. I’m quite certain there will be something special planned. Stay attentive, you probably should make plans to go.
Steilacoom Historical Museum Association announcement.
Apple is the theme at the Steilacoom Apple Squeeze. And the Squeeze is the place to indulge in various tastes of the apple.
In addition to cider, an unfiltered, unsweetened drink made from pressed raw apples, the fruit will appear in various ways at the Squeeze. Featured will be apple fritters, pieces of apple covered in batter and deep fried. Caramel apples on a stick are favorites, with nuts or without!
There is apple pie and ice cream served in Steilacoom Town Hall with cinnamon sauce as a topper. A favorite is the cider floats, a delicious combination of ice cream and cider sipped through a straw. Cinnamon, cloves and allspice flavor the hot spiced cider that will be available.
Apple Butter spread on bread is an autumn treat. This concentrated form of apple sauce is concocted from slow, low cooking of apples into a caramelized concentration of thickened butter-like consistency that is also delicious on ice cream, as a condiment, stirred into oatmeal, as topping on waffles, used in baking, or served with a salty brie on crackers!
While eating these goodie, take time to listen to the music of Cosmos Dream with Kristi and Steve Nebel, residents of Tacoma. They are an Americana/ Bluegrass group with country, folk, and pop oriented acoustic music. Alternating with them will be Brian Butler, songwriter, guitarist, blues singer and award winner. In 2019 his CD Butler’s Blues on won the Best Blues Recording by the Washington Blues Society. He won the Best Acoustic Blues Guitar award from that society in 2020 and 2021, topping it off in early 2022 with the Best Harmonica Lee Oskar Award in the Point West Video Challenge.
With entertainment like this, you may forget you came to the Apple Squeeze for the food!
The Squeeze is Sunday, October 2 from 10-4 in downtown Steilacoom, the historic town on the Sound. The event also features a street fair and children’s activities. For more information visit steilacoomhistorical.org.
Taylor Swift is always looking for new ways of keeping her fans entertained. Taylor Swift has dropped albums with no warning and she loves using cryptic eggs to keep her most dedicated fans looking for clues. “August” singer’s musical output. Her new album is available here MidnightShe found a way to publish her track list for the forthcoming addition to her discography. One title, in particular, sent fans into a tailspin and led to a new theory about the new album.
Each night at midnight, the pop star has been posting videos on TikTok where she’s used a bingo cage to determine track numbers, after which she’s revealed the corresponding song titles via a vintage phone. Fans love this and were particularly excited when she revealed the name. MidnightAs she revealed, it will be the eighth track. “Vigilante S**t.”Swift is the first artist to use a curse term in the song title. The video reveal is below.
This is an incredible reveal, especially considering her previous albums. “Reputation”Concerning her then-teen-friendly songs.
Taylor Swift’s (Non-)History with Swearing
Swifties know that this explicit title is huge. The pop princess was well-known for her down-to-earth, country music. Her 2014 album saw her transition to pop. 1989Swift still managed to keep her music clean and accessible for all ages. Swift was able to release her 2017 album ReputationShe also changed her music style and moved to. “America’s Sweetheart”Imagine an edge. This was her first album that was marked explicit for cursing. Many more mature lyrics are contained in this album. Swift has been cursing since the beginning of her career. Swift even included a curse term in her music. “All Too Well”When she released the 10-minute version from her re-recorded albums Red.
Swift has sung in public in defiance of her clean image in the past. However, Swift has never used a curse term in the title to a song. Many fans have suggested that Swift is a curse word-singer. MidnightSwift’s new album will be more explicit than previous albums, which is bringing in a new musical age.
Let’s get to the fan theories
An article by The BlastThis theory appears to support it, which suggests that Midnights will have more cursing. This theory is supported by “Vigilante S**t”Swift has also revealed other track names “Mastermind”And “Question…?”They are all very mysterious, and lend an almost noir vibe to the place. Midnight. One fan suggested that the titles sound like a serial murder movie.
vigilante shit??? question??? mastermind??? The track list for midnights is giving the serial killer murder mystery investigationSeptember 26, 2022
It would make perfect sense if this is Swift’s theme. The pop star explored this idea in her song. “No Body No Crime,”Haim was the star of that video. She would do it again, which is not unusual. One fan even collected a Caped Crusader theme song from the songlist.
“mastermind” “vigilante shit”What the fuck does taylor Swift do on her sleepless nights?! Gotham City: Fighting crimeSeptember 23, 2022
Taylor Swift could be channeling Batman, I’m sure. She is constantly making reference to late nights and other things that keep her awake at night. She would look great in the Bat-suit. This makes Kanye West look like the Joker. Wait, there’s more! sheThe Joker?
As Taylor Swift’s plans change, fans will have to wait and see. Midnight won’t be released until October 21st. Pre-save the album now on Spotify. Swift will also be appearing alongside Margot Robbie and Christian Bale in David O’Russell’s AmsterdamOn October 7th, the movie “The Greatest Showman” will be available in theaters. Check out our Fall 2022 Movie Release Schedule for other potential Oscar contenders.