Music Venue Quotes

I was in a fast-food restaurant for the first time in my adult life, an enormous and garish place just around the corner from the music venue. It was mystifyingly, inexplicably busy. I wondered why humans would willingly queue at a counter to request processed food, then carry it to a table which was not even set, and then eat it from the paper? Afterward, despite having paid for it, the customer themselves are responsible for clearing away the detritus. Very strange.

On that same tour we ran into a band at Aylesbury Friars, a biggish venue in Oxfordshire, England. They were a four-piece from Ireland called U2. They seemed like nice fellows and they sounded pretty good, but we didn’t keep in touch. They’re probably taxi drivers and accountants by now.

You never had sex in a car.” “Yes, I have. You get ideas at least half the time whenever we’re in the back of one of your limos.” “Not the same at all. That’s a grown-up venue, a limo is. It’s sophisticated sex. And here we are, crammed together in the front seat of a police issue, and the lieutenant is both aroused and mildly embarrassed.” “I am not. Either.” But her pulse jumped, and her breath hitched when his thumbs brushed over the thin cotton covering her breasts. “This is ridiculous. We’re adults, we’re married. The steering wheel is jammed into the base of my spine.” “The first two are irrelevant, the last is part of the buzz. Music on, program five. Skyroof open.” She narrowed her eyes at him. “It’s not going to work. It’s uncomfortable and it’s stupid. And I have to work in this vehicle.” “I can make you come in ten seconds.” She actually smirked at him. “Ten,” she said, “nine, eight, seven, six, five . . . oh shit.” She’d underestimated his quick hands, his skilled fingers. He had her trousers unhooked, had her wet and throbbing. And over.

There is no such thing as a rock-and-roll venue; there's not one in the world that's made to play this kind of music as an ideal form.

One forgets that part of one's performance is one's history—or sometimes the lack of it. You're playing against what an audience knows, what they expect. This seems to be true of all performers; there's baggage that gets carried into the venue that we can't see.

Long ago, when New York City was affordable, people who felt they didn’t fit into the mainstream could take a chance and head there from wherever they were. Bob Dylan came east from Minnesota in the winter of 1961 and made his way downtown to Greenwich Village. Like countless others before him, he came to shed the constricted definition of his birthplace and the confinement of his past. I first saw Bob at Gerde’s Folk City, the Italian bar and restaurant cum music venue on the corner of Mercer and West Fourth Streets, one block west of Broadway and a few blocks east of Washington Square Park. Bob was playing back-up harmonica for various musicians and as a duo with another folksinger, Mark Spoelstra, before he played sets by himself. Mark played the twelve string guitar and had a melodious singing voice. Bob’s raspy voice and harmonica added a little dimension to the act. Their repertoire consisted of traditional folk songs and the songs of Woody Guthrie. They weren’t half bad. Bob was developing his image into his own version of a rambling troubadour, in the Guthrie mode.

The performing musician was now expected to write and create for two very different spaces: the live venue, and the device that could play a recording or receive a transmission. Socially and acoustically, these spaces were worlds apart. But the compositions were expected to be the same!

Dionysus, as the God of Wine, suggested that the occasion should be turned into a magnificent orgiastic event, with the Muses & the Graces dancing to the music of Apollo, Hermes & Pan as well as that of the Maenads & Bacchantes. So the venue that Dionysus suggested was agreed upon even before the main players, the King of the Gods & the Goddess of Love, had agreed to mate.

The dumbing down, oversimplification, or flattened character of public speech may make our declamations and documents more accessible, but it deprives us all of a measure of beauty and clarity that could enrich our lives together. In more and more venues where speech and writing are required, adequate is adequate. A most exhilarating denunciation of this sort of mediocrity may be found in Mark Twain's acerbic little essay, "Fenimore Cooper's Literary Offenses," in which he observes: When a person has a poor ear for music, he will flat and sharp right along without knowing it. He keeps near the tune, but it is not the tune. When a person has a poor ear for words, the result is a literary flatting and sharping; you perceive what he is intending to say, but you also perceive that he doesn't say it. This is Cooper. He was not a word-musician. His ear was satisfied with the approximate word.

Yet, it could not be denied that the Voorpret band Applausoleum had handily won the twenty-eighth Metagalactic Grand Prix with their darkwave prog-grunge power ballad “I Can’t Get No Liquefaction.” It’s really next to impossible to stay on key with a half-decomposed larynx and a moldering diaphragm, so Voorpret music takes the form of a genetically modified worm, about the size and shape of a dragonfly larva, dispersed into the audience via sprinkler system, trendy vintage beers on tap at the bar, silver platter passed among the paying public by attractive ushers, or T-shirt cannon, depending on how posh the venue.

The Framing Effect Context also shapes perception. In a social experiment, world-class violinist Joshua Bell decided to play a free impromptu concert in a Washington, DC subway station.[lxiv] Bell regularly sells out venues such as the Kennedy Center and Carnegie Hall for hundreds of dollars per ticket, but when placed in the context of the DC subway, his music fell upon deaf ears. Almost nobody knew they were walking past one of the most talented musicians in the world.

be familiar to potential participants, such as Passover or Hanukkah. Charge no entry fee to keep the barriers low for participation. 3. As an option, take an event or program already planned and move it into a public space. Or take a longer multisession program and divide it into individual stand-alone events. Also, plan events as part of the secular community-at-large calendar, such as local fairs and parades. 4. Always design events to appeal to a defined target audience. Focus on the needs of the potential participant, not the needs or interests of the sponsoring institution. 5. Make sure the event is convenient for potential participants to attend. Identify arts, music, and cultural venues that your target audience frequents, including bookstores, theaters, concert halls, and athletic centers. 6. Market your programs in secular venues

That was diverse.” Poppy looks surprised as she slides down the wall like a bird that’s forgotten how to fly, landing in a crumpled heap on the curb. “Positively Dionysian,” I manage to slur. The world is a crazed kaleidoscope. Colors fight for space, desperate to steal each other’s names. “They’re just labels!” I yell at the untidy bundle of shades and bones near my foot. “Are you talking to me?” Patterns birthed by multiple reflections coalesce into Poppy’s face. “Maybe. I think other people’s musical chi has saturated my cells.” Myriad venues and tonal flavors are scattered through my memory, like broken harmonies. “Why did I feed on so many tunes?” “You wanted filtered sounds to rain down and seep clean through, beyond blood, to the soul.” A lone streetlight flickers behind her and for a few alienating seconds she shimmers in and out of existence. “Too much.” My stomach turns over, but I manage to keep everything down. If I throw up now, nothing will come out but music. “Tonight’s orgy of sound has left us in a pure, concentrated haze of other people’s emotions,” Poppy announces proudly, unperturbed by the fact I’m squatting in a gutter. She holds out her arms to me, palms turned up. “Look, I’m full of music.” I stare at the small woman, posed like a crazed Messiah. The cat mask is still caught in her hair. A cracking sound fills the air and her face starts to fracture into pieces, like shards of a broken mirror. Closing my eyes, I take deep breaths till my head calms down. When I open them again, Poppy is gone.

Outside of the musical knowledge and exposure, Coltrane also apprenticed in the daily struggles of black musicians on the road. Segregation was a dominant factor in the majority of performance venues, as well as the surrounding geographical area. This determined where one could eat, use the bathroom, get gasoline, rent a hotel room, or even get a drink of water. And there was always the threat of racist police encounters. These cultural experiences were a part of his mentoring on the road and influenced the evolution of his conscious intent to use music as a force for goodness.

Opera halls, ballets, and large art museums receive more funding--and not all from the government--than do popular art and what might be considered popular music venues...But there are plenty of innovative musicians...who have had as much trouble surviving as symphony orchestras and ballet companies...Why not invest in the future of music, instead of building fortresses to preserve its past?...The 2011 annual operating budget for the New York Metropolitan Opera is $325 million; a big chunk of that, $182 million, came from donations from wealthy patrons.

CONCERT CHECKLIST 1. Secure a date on the calendar. Be sure it is listed on the official school calendar to protect it. 2. Reserve a performance venue for the concert and for final rehearsals. 3. Have tickets printed if they are to be used. 4. Plan the printed program and get it to the printer by the deadline date. 5. Plan the publicity. The following types of publicity can be utilized to draw a sizable concert audience: Radio releases Television releases Newspaper releases Online listings School announcements Notices to other schools and/or organizations in the area Posters for public placement 6. Send complimentary tickets to: Civic leaders Board of Education Superintendent People who have helped in some way Key supporters Key people to stimulate their interest 7. Have the president of the choir send personal letters of invitation to people that are special to the music program (newspaper editor, Board of Education, Superintendent, civic club presidents, supporters etc.). 8. Appoint a stage manager. He should be someone who can control the stage lighting, pull curtains, shut off air circulation fans that are noisy, and see that the stage is ready for the concert. 9. Arrange for ushers. 10. Check wearing apparel. Be sure that all singers have the correct accessories (same type and color of shoes, no gaudy jewelry for girls, etc.). 11. Post on bulletin board and tell students the time they will meet for a pre-concert warm-up. High school students will perform best if they meet together at least forty-five minutes before the concert.

Music, in all of its variations and venues, is the world's oldest social network.

In those days, private houses were the primary venue where secular music was heard. Public concerts in large halls were less common, largely reserved for orchestral and large choral works.40 From childhood on, Beethoven made his reputation as a performer mainly in the setting of house music, and that situation hardly changed through his career. Solo pieces and chamber music, in other words, were played in chambers, much of the time by amateur musicians for audiences of family and friends. Programs were a mélange of genres and media; a concerto might be followed by a solo piece, followed by an aria, the musicians alternately playing and listening. The audience typically wandered in and out of the room, sometimes chatted and played cards.

The phonograph box in the parlor became a new venue; for many people, it replaced the concert hall or the club.

In the northernmost block, located next to a public square and close to the main thoroughfare, various non-residential uses have flourished alongside a range of dwelling types, including a student residence. The active ground floors include small shops, offices, and services, a “bodega” pub, a cellar restaurant and music venue, and a nursery school with big front windows. There is a co-op supermarket that has progressively expanded into neighboring buildings, including a former cinema and a bank, creating an important local shopping hub. The courtyard includes a nursery for the smallest children and a shared laundry for the student housing.

I met a woman around the corner from the hotel who owns a bar on Essex. We talked for awhile. She used to see Johnny Thunders play whenever she could. She said that sometimes he was too messed up to do the show and the venue would kick him out. She and her friends would sit with him outside and he would play for them. Can you imagine?! That’s a quintessential NYC experience. It’s what makes this city so great.

We formalized our group as the Vantastix and sang at dinner parties and charity events. My favorite venue though, was the City of Hope, where we went room to room singing for kids battling cancer. In 50 plus years of show business, I never had a better audience. Most of those little kids were bald; a fair number could barely sit up in bed and there was a sad handful who could not even do that. We stopped at the bed of a very sick 15-year-old boy. We tiptoed into his room and quietly sang a song; he did not react. Thinking he was asleep, we began to file out but suddenly we hear a thin voice ask, "Could I hear another one, please?" We turned around and sang a whole bunch of songs. He barely opened his eyes. But after we finished Supercalifragilisticexpialidocious, I saw his mouth curl into a faint smile. As far as I'm concerned, applause does not get any louder.

I had been to Jeddah on my previous trip, so I knew it well enough. There was only one thing to recommend it: say, you wanted to commit suicide and couldn’t quite find the courage, two days in Jeddah would do the trick. With no movie houses, music venues, bars, mixed-sex coffee shops or parties, there was little to do at night, and we drove down a highway that was almost deserted.

an underground music network was starting up: record stores that championed independent labels were beginning to appear in major cities and college towns, college radio was noticing the music, fanzines were flourishing, and an underground railroad of venues was assembling.

Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.

In those venues, where her characters were made to sing and dance by creative figures such as Oscar Hammerstein, the implications of Ferber’s story of a white girl with a black voice would take Show Boat in unexpected directions.

Joan Joyce is the real deal, a fierce competitor and one of the greatest athletes and coaches in sports history. Tony Renzoni’s moving tribute to Joan shows us why she is a champion in sports and in life. —Billie Jean King, sports icon and equality pioneer The story is all true. Joan Joyce was a tremendous pitcher, as talented as anyone who ever played. [responding to a newspaper account of his early 1960s match-ups against Joan Joyce] —Ted Williams, Hall of Famer and Boston Red Sox great, December 30, 1999 Joan Joyce is truly the greatest female athlete in sports history. And a great coach as well. Tony Renzoni’s well-researched book is a touching tribute to this phenomenal athlete. I highly recommend this book! —Bobby Valentine, former MLB player and manager Quotes for Historic Connecticut Music Venues: From the Coliseum to the Shaboo: I would like to thank Tony Renzoni for giving me the opportunity to write the foreword to his wonderful book. I highly recommend Connecticut Music Venues: From the Coliseum to Shaboo to music lovers everywhere! —Felix Cavaliere, Legendary Hall of Famer (Young Rascals/Rascals, Solo) As the promoter of the concerts in many of the music venues in this book, I hope you enjoy living the special memories this book will give you. —Jim Koplik, Live Nation president, Connecticut and Upstate New York Tony Renzoni has captured the soul and spirit of decades of the Connecticut live music scene, from the wild and wooly perspective of the music venues that housed it. A great read! —Christine Ohlman, the “Beehive Queen,” recording artist/songwriter Tony Renzoni has written a very thoughtful and well-researched tribute to the artists of Connecticut, and we are proud to have Gene included among them. —Lynne Pitney, wife of Gene Pitney Our Alice Cooper band recorded the Billion Dollars Babies album in a mansion in Greenwich. Over the years, there have been many great musicians from Connecticut, and the local scene is rich with good music. Tony Renzoni’s book captures all of that and more. Sit back and enjoy the ride. —Dennis Dunaway, hall of famer and co-founder of the Alice Cooper band. Rock ’n’ Roll music fans from coast to coast will connect to events in this book. Strongly recommended! —Judith Fisher Freed, estate of Alan Freed

Get ready to be swept away by the enchanting melodies and energetic rhythms at Gasa Gasa, the premier live music destination in New Orleans. From local legends to international sensations, this venue promises an extraordinary and immersive musical journey. Phone: (+1) 504-571-5522 Address: 4920 Freret St, New Orleans, LA Website: gasa-gasa.com

The overriding aim of club design, whatever its manifestation, is to create a sense of entering a new world. The magical realms that arise as a result tend to heighten this effect by turning their backs on the 'outside'.... What remains when the sun has risen and the line of people queuing to get in has melted away. It's not the stamp on your hand, seldom the new lover in your arms, and hopefully not the ringing in your ears. What remains is the feeling of a wonderful night out. You've danced, sweated, laughed, defied sleep, and the pressures of daily life, much like the spectacular venues that allow music and people to melt into one.

Like alcohol and coffee, song had been cast as the faithful servant of political opposition when Louis-Napoleon came to power. Singing in cafés was consequently one of the first forms of expression outlawed under his regime. However, when a series of decrees in the 1860s had lifted many of the restrictions imposed on entertainment venues (notably by permitting the use of props, costumes and music), café-concerts had begun to flourish. By the 1880s, there were over 200 such venues belting out hearty songs about working-class life across Paris. Along with the usual facilities of a café, café-concerts also offered a small indoor stage or a covered pavilion outside where singers, and sometimes acrobats and comedians, performed for an often raucous audience. Patrons paid more than they would in a standard café, either in the form of an entrance fee or through elevated drinks prices. But many judged the supplement worthwhile; the atmosphere was relaxed, the singers, though not first rate, were undeniably ‘of the people’, and unlike theatre-goers, audience members could also smoke. And as one guidebook writer exclaimed with surprise, ‘sometimes, one can actually hear quite good music.

Also, when girls have an opinion, and the manager is a man, sexual politics rears its ugly head. They don’t hear, 'We don’t want to play those kinds of venues, we’re trying to create a whole new experience, so even the venues we play have to be thought about carefully.' They hear, 'I don’t want to fuck you.' They try and treat us like malleable objects to mould or fuck or make money out of.

Carnival Cruise Lines has its own successful way of doing things, which in this case involved creating a musical group called “The Hot Shots!” The word “Fantastic” comes to mind when thinking of this musical group! Each member auditioned separately at the Carnival rehearsal facility in Miami and then rehearsed as a group until they were ready for the big leagues aboard ship. Fortunately for me and my team, which includes Jorge Fernandez, a former guitar player from Cuba and now a top flight structural engineer in the Tampa Bay area, who helps me with much of my technical work; Lucy Shaw, Chief Copy Editor; Ursula Bracker, Proofer, and lucky me Captain Hank Bracker, award winning author (including multiple gold medals), were aboard the Carnival Legend and were privileged to listen to and enjoy, quite by chance, music that covered everything from Classical Rock, to Disco, to Mo Town and the years in between. Talented Judith Mullally, Carnival’s Entertainment Director, was on hand to encourage and partake in the music with her outstanding voice and, not to be left out, were members of the ship’s repertory cast, as well as the ship’s Cruise Director. The popular Red Frog lounge on the Carnival Legend was packed to the point that one of the performances had to be held on the expansive Lido deck. However, for the rest of the nights, the lounge was packed with young and old, singing and dancing to “The Hot Shots!” - a musical group that would totally pack any venue in Florida. Pheona Baranda, from the Philippines, is cute as a button and is the lead female singer, with a pitch-perfect soprano voice. Lucas Pedreira, from Argentina, is the lead male singer and guitar player who displayed endless energy and the ability to keep the audience hopping! Paulo Baranda, Pheona’s younger brother, plays the lead guitar to perfection and behind the scenes is the band’s musical director and of course is also from the Philippines. Ygor, from Israel, is the “on the money” drummer who puts so much into what he is doing, that at one point he hurt his hand, but refused to slow down. Nick is the bass guitar player, from down under New Zealand, and Marina, the piano and keyboard player, hails from the Ukraine. As a disclaimer I admit that I hold shares in Carnival stock but there is nothing in it for me other than the pleasure of listening to this ultra-talented group which cannot and should not be denied. They were and still are the very best! However, I am sorry that just as a “Super Nova” they unfortunately can’t last. Their bright shining light is presently flaring, but this will only be for a fleeting moment and then will permanently go to black next year on January 2, 2020. That’s just the way it is, but my crew and I, as well as the many guests aboard the Carnival Legend, experienced music seldom heard anywhere, any longer…. It was a treat we will remember for years to come and we hope to see them again, as individual musical artists, or as perhaps with a new group sometime in the near future!

I’m sort of nervous you’ll find out Even though I want you to I’m sort of nervous you’ll be angry Even though I know that’s not you We’ve been through this all before And you never made me feel unsure But still A hush had fallen over the crowd as soon as she began to sing and Julie marveled at how different this atmosphere was from the raucous one the boys had described to her from their visit to the club. She wondered if Caleb would be satisfied with her slow and emotional song choice but if he was dissatisfied with her he didn’t show it on his face. He merely glanced around at the rapt expressions of the lifers and smirked. Julie allowed her eyes to slide over to her friends who were both watching her with knowing looks. She knew that the sadness in her lyrics was reflected in their eyes, that they felt sorry for her and that they ached for Luke too. She forced her gaze away from them, needing to focus on getting through the song and finding it almost impossible in the face of their pity. I’m sort of hopeful you’ll find out Even though that’s not fair I’m sort of hopeful you'll guess Even though I’m so scared I don’t know what the right choice is And part of me wants you to insist But still Despite all of the circumstances that made singing this particular song in this particular venue absolutely loaded down with baggage she found herself slipping into the zone she always occupied when performing. She could feel the heady rush of doing what she was meant to do in front of people hanging on her every word. She wished Luke was there to sing with her but she had also never been so glad that he wasn’t. She gripped the mic stand and raised her voice to new heights as she began the chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye She could hear emotion breaking through into her voice but she didn’t care. The ghost band once again seemed to sense what she had heard in her head and the music built and built before suddenly dropping to next to nothing. A few chords on the piano were all that accompanied the final verse as she gave it her all. I’m sort of happy we happened Even though I know the memories Will hurt I’m sort of happy we met here Even if it took a curse I know that I’ve made mistakes And some of them are hard to shake But still Julie allowed herself to truly see the audience for the first time. They were still watching her with awed expressions but something about the lighting in the club seemed different. There was a soft golden glow settling over the whole room. Julie blinked and the glow was gone. She barely had time to wonder if she had imagined it before the band came back in full force for the final chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye The band fell away again and Julie’s voice echoed through the ballroom alone on the final lines. How do I tell you? Goodbye

The performing musician was now expected to write and create for two very different spaces: the live venue, and the device that could play a recording or receive a transmission. Socially and acoustically, these spaces were worlds apart. But the compositions were expected to be the same! An audience who heard and loved a song on the radio naturally wanted to hear that same song at the club or the concert hall. These two demands seem unfair to me. The performing skills, not to mention the writing needs, the instrumentation, and the acoustic properties for each venue are completely different.

Best Budget Travel Destinations Ever Are you looking for a cheap flight this year? Travel + Leisure received a list of the most affordable locations this year from one of the top travel search engines in the world, Kayak. Kayak then considered the top 100 locations with the most affordable average flight prices, excluding outliers due to things like travel restrictions and security issues. To save a lot of money, go against the grain. Mexico Unsurprisingly, Mexico is at the top of the list of the cheapest places to travel in 2022. The United States has long been seen as an accessible and affordable vacation destination; low-cost direct flights are common. San José del Cabo (in Baja California Sur), Puerto Vallarta, and Cancun are the three destinations within Mexico with the least expensive flights, with January being the most economical month to visit each. Fortunately, January is a glorious month in each of these beachside locales, with warm, balmy weather and an abundance of vibrant hues, textures, and flavors to chase away the winter blues. Looking for a city vacation rather than a beach vacation? Mexico City, which boasts a diverse collection of museums and a rich Aztec heritage, is another accessible option in the country. May is the cheapest month to travel there. Chicago, Illinois Who wants to go to Chicago in the winter? Once you learn about all the things to do in this Midwest winter wonderland and the savings you can get in January, you'll be convinced. At Maggie Daley Park, spend the afternoon ice skating before warming up with some deep-dish pizza. Colombia Colombia's fascinating history, vibrant culture, and mouthwatering cuisine make it a popular travel destination. It is also inexpensive compared to what many Americans are used to paying for items like a fresh arepa and a cup of Colombian coffee. The cheapest month of the year to fly to Bogotá, the capital city, is February. The Bogota Botanical Garden, founded in 1955 and home to almost 20,000 plants, is meticulously maintained, and despite the region's chilly climate, strolling through it is not difficult. The entrance fee is just over $1 USD. In January, travel to the port city of Cartagena on the country's Caribbean coast. The majority of visitors discover that exploring the charming streets on foot is sufficient to make their stay enjoyable. Tennessee's Music City There's a reason why bachelorette parties and reunions of all kinds are so popular in Music City: it's easy to have fun without spending a fortune. There is no fee to visit a mural, hot chicken costs only a few dollars, and Honky Tonk Highway is lined with free live music venues. The cheapest month to book is January. New York City, New York Even though New York City isn't known for being a cheap vacation destination, you'll find the best deals if you go in January. Even though the city never sleeps, the cold winter months are the best time for you to visit and take advantage of the lower demand for flights and hotel rooms. In addition, New York City offers a wide variety of free activities. Canada Not only does our neighbor Mexico provide excellent deals, but the majority of Americans can easily fly to Canada for an affordable getaway. In Montréal, Quebec, you must try the steamé, which is the city's interpretation of a hot dog and is served steamed in a side-loading bun (which is also steamed). It's the perfect meal to eat in the middle of February when travel costs are at their lowest. Best of all, hot dogs are inexpensive and delicious as well as filling. The most affordable month to visit Toronto, Ontario is February. Even though the weather may make you wary, the annual Toronto Light Festival, which is completely free, is held in February in the charming and historic Distillery District. Another excellent choice at this time is the $5 Bentway Skate Trail under the Gardiner Expressway overpass.

The live music industry, the industry that I largely rely on for my living, is in terrible trouble. Industry friends of mine have lost their businesses, many have lost their jobs, venues are closing down and we are all anxious about what the future holds.

Muhammet Eksi, with the stage name 256Muhammet, is active and appointed as a music producer in 2021. Born in 2003, 256 Muhammet was born in 2018. He started making music actively. He performed at many entertainment and outdoor live music venues. 256muhammet, who has been away from music for about 3 years, started to produce active music by opening a Youtube channel in 2019. He will release his first song in 2022

One forgets that part of one’s performance is one’s history—or sometimes the lack of it. You’re playing against what an audience knows, what they expect. This seems to be true of all performers; there’s baggage that gets carried into the venue that we can’t see.

What is funny though is how, with time, people seem to have forgotten that it was this period that really made Rahman what he is. The man is Tamil and Tamil music was how he started out, and some of his best songs are in Tamil. On 8 July 2017, AR performed at Wembley Stadium in London, a concert titled Netru, Indru, Naalai (Tamil for ‘yesterday, today, tomorrow’). Soon after the concert, Twitter went berserk with a number of fans who’d attended the concert taking to social media to attack the composer, accusing him of playing ‘too many Tamil songs’. Some claimed that they’d walked out of the show in protest. AR addressed the issue politely and diplomatically. He reasoned that he had ‘tried his best’, was grateful to his fans and loved them for all they’d given him. As for the walking out bit, he said that some people always tend to leave the venue before he finishes a concert. He said there would always be pockets in the seats, here and there, by the time he got to the end of a show. His actual response though was quite brilliant. For his next set of concerts in Canada, AR cleverly released two posters for two different shows—one of which would be Tamil songs only and the other Hindi songs only. That one move said more than all his statements to the media.

You are born with around 16,000 hair cells in your cochlea. You can sustain damage to around half of these hair cells before you notice significant changes to your hearing. By then, it will be too late to do anything about it. You might have noticed that if you’ve ever been at a music concert or a sporting event, the moment you return to a quieter venue your hearing seems a bit dulled and you struggle to hear low-volume sounds. This is normal because your hair cells are like blades of grass. They bend more in response to louder noises but usually return to their usual shape after a period of time. However, prolonged exposure to a loud sound can irreversibly damage the hair cells, thus resulting in gradual hearing loss.