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The Disney musical celebrates its 25th anniversary November 13. Below, the orchestra members talks playing “Circle of Life” again (and again and again).
Disney’s The Lion King celebrates its 25th anniversary on Broadway November 13, and while Timones and Pumbaas have come and gone, some members of The Lion King company have made the Pride Lands their home for the last quarter century.
To find them, you have to look below the stage and into the orchestra pit, which includes conductor Karl Jurman; violinist Avril Brown; percussionists Rolando Morales-Matos, Tom Brett, and Junior “Gabu” Wedderburn; flautist David Weiss; and bass trombone and tuba player George Flynn. These musicians have all helped bring the musical’s Tony nominated score to life since day one—some even before that!
“We were sending stuff by cassette and faxes,” remembered Weiss of the musical’s early days in the mid-’90s, when he was assisting music producer Mark Mancina on developing the show’s complex woodwind orchestrations. “I was mailing stuff to these guys, or playing it over the phone. No email. No Zoom.”
According to this crew, those early days were heady. Before The Lion King was the ubiquitous, long-running hit that it is today, its success felt far from guaranteed. It was only Disney Theatrical’s second foray into Broadway, and the brand was not yet the ubiquitous stage presence that it is today. 
But all doubts ceased in 1997, when the musical first got in front of audiences, debuting director Julie Taymor’s groundbreaking vision that transformed the 1994 animated film into a uniquely theatrical experience. If anyone was expecting to see theme park-style characters on stage, they were shocked to see Taymor’s now-iconic puppetry mixed with dance and a score employing African instruments. The music and the visuals were like nothing else on Broadway.
“The very first preview [pre-Broadway] in Minneapolis, I remember starting ‘Circle of Life,’ that iconic opening. [The animals] start coming down the aisles, and the commotion in the house was something I had never heard before,” shared Weiss. “People were gasping — it was audible. I have a solo in the middle of the song when Simba is revealed, and there was so much noise coming from the audience that I was just thinking, ‘What is going on?’ And then the blackout hits at the end and the audience goes berserk. It works! It was incredible.”

Jurman began on The Lion King as an associate to Joseph Church, and is now the production’s lead conductor. “No one knew it was going to be iconic, a landmark musical that defined the era we’re in. You can’t predict that, but it sure was exciting,” he remembered.
But what does a 25-year gig playing one musical actually look like? You might think that playing the same score thousands of times would be maddening, but this group balked at that notion.
“Music is never the same. Music is alive,” said Morales-Matos. “The energy of the show, the speed of the show, the attitude of the show is always different.”
Jurman explained that the audience also helps keeps the musicians on their toes. “We give and take from the audience, so every day really is different. It may feel the same and the repetition gets tiresome, but the show doesn’t get tiresome because there’s new energy every day,” he shared. “That’s the beauty of the theatre.”
Said Wedderburn, who is one of the show’s percussionists that are perched to the side of the stage, in full view of the entire audience for the entire performance: “I have never been bored in 25 years. I’m up there watching the audience, which is a privilege. You see the reaction from the audience — you see people crying. To see that and to witness that, and the music is such beautiful music. As a percussionist, where would I go?”
In short, audiences and audience reactions have been the most rewarding parts of playing The Lion King for many of these OGs.
“My best audience is always when they do a special sensory-friendly show [for people with autism]. To have them in a theatre and letting them just be the way they are — you see these kids dancing. It’s the most beautiful thing,” reflected Morales-Matos. 
Said Flynn with a laugh: “I remember once outside the theatre there was a school group, and someone in the band told their teacher that I did the wart hog’s flatulence on my tuba. Suddenly I had like 30 kids running around me. I felt like Elvis Presley.” 
The group is also acutely aware that they have ostensibly won the New York musician lottery, landing a steady gig in a career that, for most, can be quite tumultuous. “Most people aren’t so lucky as us to have something that runs for a long time,” said Brown. “Unless you have something that’s going to replace it, it’s a gift. How could you not like that?”
The Lion King’s unique instrumentation has also set it apart from other shows, in the ’90s and now. And it keeps things interesting for the musicians. “Shows have so many tracks now and synths and pop sounds, we’re still from another era of acoustically getting this done,” said Jurman. “What show has five drummers? There’s probably never going to be another show with five drummers.”
Added Brett: “We’re playing dozens of instruments that in any other context would just be bells and whistles. When I was in university studying music, a guy came by and saw me practicing marimba late one night and said, ‘Why are you wasting your time? There’s no gigs playing that instrument.’ Irony of all ironies, that’s what I’ve been doing for 25 years.”

And do they still need their sheet music? “I haven’t read the charts for decades,” Brett confessed, though the topic did not reach consensus amongst all seven players. 
“I don’t always look at it. But I have a lot of solos and if I get really off the rails, I don’t know where I am,” said Weiss. “I have to have it there.”
Like any job, playing in The Lion King does feel like work some days. The Broadway musicians’ contract helps there by allowing players to have a suite of subs ready to step in temporarily if the primary player gets another gig; this group said they tend to play about 62 percent of the total performances. 
According to Jurman, he draws a hard line for players who might not be in the mood to play the show that night: “Stay home! You’re not helping. If I’m not totally present for ‘Hakuna Matata’ because I’m bummed out or sad, I can’t do The Lion King that day. You have to be in the proper spirit.”
Luckily, those moments seem to be few and far between, and The Lion King shows no signs of even slowing down — the musical is still consistently ranked in the top five highest-grossing shows on Broadway every week, according to box office data released by The Broadway League.
“I remember talking to this girl once who had seen the show 20 times,” said Wedderburn. “I said, ‘Why are you still coming?’ And she said, ‘Every time I come, I learn something new.’ She had plans of continuing to come. This show gives so much.”

Brandon A. McCall as Simba and Pearl Khwezi as Nala in The Lion King
Brandon A. McCall as Simba in The Lion King
A scene from The Lion King
Jayden Theophile as Young Simba, L. Steven Taylor as Mufasa, and company of in The Lion King
L. Steven Taylor as Mufasa in The Lion King
Pearl Khwezi as Nala in The Lion King
Brandon A. McCall as Simba in The Lion King
Brandon A. McCall as Simba and company of The Lion King
Tshidi Manye (center) as Rafiki and company of The Lion King
Tshidi Manye as Rafiki in The Lion King
Sam Scalamoni directs the production based on the 2003 film.
White is the first female-identifying actor to play Hermes, the herald of the gods, in Hadestown.
Mohegan theatre artist Sayet presents the New York premiere of her autobiographical solo show.
The ticket initiative is open to those working on select holidays.
James Lapine, Chip Zien, Joanna Gleason, and Paul Gemignani explain how Into the Woods changed up until opening night on Broadway, November 5, 1987.

The musical’s original Main Stem cast members Brittney Mack, Andrea Macasaet, and Samantha Pauly along with replacements Bre Jackson, Keri René Fuller, and Brennyn Lark are departing.
Jeb Kreager, Ken Leung, Quincy Tyler Bernstine, and Rachel Sachnoff star in the New York premiere at The Pershing Square Signature Center
The non-replica production will be directed by Newfoundlander Jillian Keiley.
The national tour of the long-running Broadway musical is currently playing Philadelphia’s Academy of Music on the Kimmel Cultural Campus.
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Rick Rubin didn't feel beholden to Bret Easton Ellis' 1985 novel Less Than Zero when he signed on as music supervisor for a movie adaptation. So he decided to do something completely different.
"The music [in the book] had a particular sensibility for its time and I don't know what the equivalent of that is today," Rubin told the Los Angeles Times in 1988. "But it [didn't bother me] because I don't think the film had very much to do with the book either. I didn't really care what the film was going to be like. I wanted to make a good album that was going to stand alone."
He started by using a slew of artists from his Def Jam label, but the Less Than Zero soundtrack ended up as more than a promotional tie-in. Under Rubin's watchful eye, it came to deftly reflect a moment of generational change. Acts like Elvis Costello and X from Ellis' novel were swapped out for more contemporary hair metal, R&B and hip-hop.
There'd be no easy nostalgia. Instead of including rote classic recordings, Rubin inverted expectations: Newer bands (Poison, the Bangles, Slayer) tackled older songs, while legacy acts (Roy Orbison, Aerosmith) were put in unexpected musical positions.
Jon Avnet, the film's co-producer, immediately bought into Rubin's ideas. "I like his music, and I thought it had the right kind of edge for it," Avnet told Hits magazine in 1988. "His ideas and my ideas had a lot of convergence. There was not a fear of good ol' rock 'n' roll, and doing stuff both in the music and in the film that was all over the place."
Rubin didn't produce all of the tracks; Def Jam colleagues handled duties in Public Enemy's "Bring the Noise," and R&B turns by Oran "Juice" Jones and the Black Flames. But the album is nevertheless a product of a steadfast musical vision based on two core beliefs: Soundtracks are usually awful, and the source material for this particular film just wasn't that great. (Legend has it that Rubin never got past the 30th page or so when reading Ellis' tale of jaded, dope-sick Los Angeles jerks.)
As for movie soundtracks, "I don't even own one," he bluntly admitted. "The problem is, there isn't usually a thread that runs through the whole album that makes it [work] – just a selection of songs, and I don’t know anybody who is going to pick 10 songs I am going to like at a record company."
Watch the Bangles' 'Hazy Shade of Winter' Video
The Less Than Zero record, if not the movie, tried for something more egalitarian. Rubin intended to focus on the musical interests of a typical late-'80s record buyer.
"When I read the script, I saw that there was these dressed up, rich Beverly Hills kids going to a party in an art gallery," Rubin noted. "And to me, that's a foreign image that [someone in middle America] probably wouldn't like. But if you play Aerosmith at that party, hey, that's a party he might be at. I wanted there to be a connection, where he could say, 'Well, if they listen to that, maybe we are the same kind of people – even though we are dressed differently and he's got money and I don't."
Released on Nov. 6, 1987, Less Than Zero arrived as newer, more aggressive sounds were pushing aside so-called classic rock, and Rubin was standing at the nexus of it all. He'd already worked with Run-DMC and Slayer, Beastie Boys and the Cult. (Rubin was the one who first suggested Run-DMC cover Aerosmith's "Walk This Way.") Less Than Zero echoed that rangy sensibility, as the track listing moved from Poison directly into LL Cool J. Jones finds a home between Joan Jett and the Bangles.
Former Misfits singer Glenn Danzig, a newly signed Def Jam artist at the time, handled the Elvis Presley-inspired title track; he also wrote "Life Fades Away" for Orbison, extending an unbroken line of impossibly heartsick ballads for the '60s hitmaker. Aerosmith kept up the early-rock era vibe with "Rockin' Pneumonia and the Boogie Woogie Flu." But Slayer's fleet and fearless run-through of Iron Butterfly's typically turgid "In-A-Gadda-Da-Vida," in particular, felt like a bell tolling for the old guard.
Not everything works – are we to believe that Poison's paint-by-numbers cover of the 1975 Kiss single "Rock and Roll All Nite" caused a brownout during the big Christmas coke party? – but it's all very much of its time. "I tried to give the music a real accessible, aggressive teenage feeling because the movie was supposed to be aggressive and teenage," Rubin told Hits. "The idea was to make the characters more accessible through the music they were listening to."
Still, convincing 20th Century Fox to go along with the then-24-year-old's tough juxtapositions would be a more difficult sell.
Listen to Slayer's 'In-A-Gadda-Da-Vida'
"Quite frankly, we all huddled on it," studio vice president Elliot Lurie told Hits. "We evaluated the situation, and there were certain reservations we had. All of us decided that, on balance, this would be a great thing to do. It was an interesting concept because, on the one hand, I believed very much in Rick's talent as a producer but, on the other hand, he had never really done this kind of thing before."
The movie bombed, but the soundtrack roared into the Top 40. Poison's cover became the soundtrack's first single but was quickly surpassed by the Bangles' propulsive take on "Hazy Shade of Winter." They'd been performing the Simon & Garfunkel song since their early days, and that helped shape the band's vision for this No. 2 smash.
Rubin did not agree. "We recorded the song and I was really happy with it," Rubin told the Los Angeles Times. "We had an energetic, exciting, youthful record, a naive energy. I don't know exactly what happened. They decided they wanted to go in and try different things, but I didn't like the changes they made. I thought the drums had a much more rock 'n' roll sound on my version than this one. This one is much more processed."
They were pressed for time, however, and Rubin said continuing these discussions would have "meant the album wouldn't have been able to come out any time near the movie." Besides, by then, 20th Century Fox had taken a high-profile interest in the track. "We felt that the Bangles were especially important," Lurie told Hits. "Because, of all the groups, they seemed the best base for Top 40 radio – and very high acceptability at MTV."
Rubin ultimately removed his production credit when "Hazy Shade of Winter" arrived as a single. LL Cool J's platinum-selling "Going Back to Cali" was released next, then returned as part of his 1989 million-selling Walking with a Panther LP. "Bring the Noise" likewise made its debut on this record before appearing on Public Enemy's platinum-certified It Takes a Nation of Millions to Hold Us Back.
Public Enemy would soon be found advancing Less Than Zero's mix-and-match aesthetic, rerecording "Bring the Noise" with Anthrax.
Was Aerosmith’s ‘Night in the Ruts’ Doomed to Fail?

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Here are the can't-miss releases and massive new albums dropping in November 2022 from BTS' RM, Run The Jewels, Honey Dijon, Wizkid, and many others.
Although November might bring cooler weather, the month's releases are hot enough to keep you toasty. From psychedelic folk and ambitious rap, to gleaming pop and future bass, November's release calendar boasts a variety of bold returns.
This month sees Drake and 21 Savage pull up with their surprise collaborative album Her Loss, as well as Roddy Ricch's highly anticipated Feed Tha Streets III. Brockhampton will reunite one last time to release The Family, and Weyes Blood will blend soft rock and folk on And In The Darkness, Hearts Aglow. Gryffin will start the month off right with his futuristic record, Alive, while Dolly Parton fans can turn back the clock with her greatest hits collection.
Below, check out a guide to the must-hear albums dropping in November 2022, from big names you know to newcomers you'll want to add to your playlist. — Taila Lee
Tennessee native Russell Dickerson is no stranger to country music chart domination, having clocked No. 1 four times, beginning with 2017's "Yours." This month, he returns with his self-titled third album, featuring 15 songs that hit all the hallmarks that fans love.
Like 2017's Yours and 2020's Southern Symphony, Russell Dickerson covers heartstring-plucking love songs ("God Gave Me A Girl"), wistful reflections on the past and regret ("Blame It On Being Young" and "I Wonder") and foot-stomping party-starters ("All the Same Friends" and "Beers to the Summer"). Then there's the gleefully goofy "Big Wheels," an ode to country life with a music video that sees Dickerson rolling on the back of a big wheel tractor.
Dickerson was a co-writer and co-producer on all 15 tracks, working with veterans like Dann Huff, Zach Crowell and Josh Kerr to shape the album's pop-country sound. "No matter how far we get into this, I want people to know it's still me," Dickerson said in a statement. "I'm still the hyper, outgoing, fun-loving, crazy dude on stage. But also these songs are so meaningful to me." — Jack Tregoning
Related: Country & Western's New Generation Is Defiantly Of The Moment: Meet Charley Crockett, Colter Wall, Sierra Ferrell, Bella White & Others
One of the most intriguing new talents straddling the worlds of rap and R&B, Hawa has been steadily building to her debut album. Now based in Brooklyn, Hawa was born in Berlin and grew up in Conakry, Guinea, and this intersection of cultures is ever-present in her music.
In 2020, the classically trained musician released an eight-song EP, The One, which featured her idiosyncratic vocals weaving through delicate, trap-influenced electronic production. Its Cadenza-produced single, "My Love," appeared in Michaela Coel's breakout HBO series, "I May Destroy You." Hawa then followed The One last year with "Wake Up," a gleaming single that paired a clean, seductive beat with her hazy vocalizing.
Hawa's debut album, Hadja Bangoura, is dedicated to her great-grandmother, who passed away this year. Featuring 11 songs, including the bristling lead single "Gemini," Hadja Bangoura is executive produced by Brooklyn rap maven Tony Seltzer and comes out via 4AD, the legendary independent British label that Hawa calls home. — J.T.
Related: R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward
The release cycle for Drake and 21 Savage's collaborative album has been nothing but surprises. On Oct. 22, the duo announced their record unconventionally via a surprise message in the video for their high-energy collaboration "Jimmy Cooks" — the final track of Drake's Honestly, Nevermind. Yet, two days before the album was supposed to drop on Oct. 28, Drake disclosed on Instagram that producer Noah "40" Shebib had tested positive for COVID-19, halting the record's final production steps.
Now slated for release in early November, Her Loss might just be one of the most highly anticipated rap records of the year. If the album is anything like Drizzy and 21's most recent collaboration, fans can expect a spirited pop-rap synthesis of Drake's classic R&B melodies and 21's languid drawl. — T.L.
Related: Charting Drake's Unforgettable Path To Honestly, Nevermind
American DJ Gryffin is ready to soar to new heights with Alive, his second studio album dropping Nov. 4 — which comes just a month after his headlining set at the debut Bay Area edition of the Breakaway Music Festival.
Alive shifts from tropical house to future bass with ease, shaping his distinct electronic style with elements of pop and hip-hop. While Gryffin's sound has long been fluid — just listen to his collaborations with EDM legend Illenium, alt R&B singer Tinashe, and Carly Rae Jepsen — there's always some friction present in his multifaceted EDM. The album's brooding title track, which features friend Calle Lehmann confessing that "I'm nothing without our love alive," signals that Alive will be about beating hearts and chasing highs. — T.L.
Related: The Rise Of Underground House: How Artists Like Fisher & Acraze Have Taken Tech House, Other Electronic Genres From Indie To EDC
As vital as ever at 73, Bruce Springsteen set out to challenge himself on his 21st album, Only The Strong Survive. After baring his soul on 2020's critically acclaimed Letter to You, the Boss set aside the pen and paper to focus on singing his heart out.
Conceived during COVID lockdown, Only The Strong Survive is a collection of 15 soul music classics. "I wanted to make an album where I just sang," the rock icon said in a statement. "And what better music to work with than the great American songbook of the Sixties and Seventies?"
Recorded in his native New Jersey, the album sees Springsteen belting out classics and some lesser-known gems from the catalogs of Motown, Gamble and Huff, Stax and more, including his take on Frank Wilson's "Do I Love You (Indeed I Do)," released as the album's first single.
In a video announcing the project to fans, Springsteen called soul music "some of the most beautiful vocal music ever written and recorded", and marveled at the opportunity to stretch his voice outside his comfort zone. Who better than the Boss to try it? — J.T.
Read More: Bruce Springsteen Essentials: 15 Tracks That Show Why The Boss Is A Poetic Rock Icon
Beloved rap duo Run The Jewels enjoy defying expectations, and RTJ CU4TRO is one of their most intriguing swerves yet. Out Nov. 11, RTJ CU4TRO is a reimagining of the pair's 2020 album, RTJ4, through the lens of an all-Latin lineup.
El-P and Killer Mike were inspired to try the concept after hearing remixes of their material by two Mexican artists, Mexican Institute of Sound ("Ooh La La") and Toy Selectah ("JU$T"). To create an album's worth of interpretations from LATAM-based artists, the duo went to their longtime collaborator Nick Hook to co-produce the album and use his connections to build the guest list.
"We set out to make a remix album, but we consider the end result of RTJ CU4TRO to be more than that," El-P said in a statement. "It's a reimagining of RTJ4 through the lens of collaboration and a fusing of numerous musical cultures and influences." That melding of cultures is represented by Honduran-born producer TROOKO, Colombian band Bomba Estéreo, Mexican DJ and producer Danny Brasco, Canadian-Nicaraguan musician Mas Aya and more Latin American all-stars. — J.T.
Related: Run The Jewels Are Ready To Pierce Your Heart Again
Louis Tomlinson is tearing down walls. Two years after the success of his debut album Walls, the former One Direction member announced Faith in the Future. Out Nov. 11, the release may be his most experimental and emotional yet.
His recent single "Out Of My System" shows a new side of the English singer-songwriter. Tomlinson balances edgy playfulness and emotional gravity as he cries out, "Demons, I'm takin' all of my demons/ Putting them where I won't see them. The single's disorienting video places Tomlinson among flashing red lights, slick guitar licks and harsh drums.
Tomlinson's desperation for catharsis indicates that Faith in the Future might explore  grittier, darker pop. However, based on the album title's suggestion of stable optimism, it seems Tomlinson might not stray too far from his saccharine pop roots. — T.L.
Related: 5 Takeaways From Harry Styles' New Album 'Harry's House'
With four GRAMMY Award nominations and one win to his name, Lagos-born singer Wizkid is a true Nigerian superstar. The singer earned international acclaim with his GRAMMY-nominated 2020 album, Made In Lagos, which clocked up a billion streams and was certified Gold in the U.S.
Its single, "Essence," featuring Tems, blew up worldwide, introducing many to the Afrobeats genre. One of the song's biggest fans was none other than Justin Bieber, whose remixed version of "Essence" became the first African song to reach Top 10 on Billboard Hot 100.
Wizkid returns this month with his fifth studio album, More Love, Less Ego, which has all the signs of another mega-hit. The singer began the rollout with back-to-back singles, "Bad To Me" and "Money & Love," each produced by his longtime studio partner P2J. Both singles capture Wizkid's laidback yet hyper-confident star power — how many others could pull off the shirtless lime green suit look from the "Bad To Me" video? — J.T.
Related: Love Burna Boy & Wizkid? Listen To These 5 African Genres
Hoping to redefine the term "boy band," the seven-member group is known for their DIY, dynamic hip-hop that often blurs into pop. After canceling dozens of tour dates and announcing an indefinite hiatus in January, Brockhampton is finally back.
The band first teased The Family — out via Question Everything and RCA Records — at the end of their 2022 Coachella performance, flashing the words "Final Album. 2022." onscreen after exiting the stage. The Family's colorful album cover zigzags between graphic cartoonish elements and eye-catching magazine cutouts — visually capturing Brockhampton's genre-blending, ambitious and unpredictable music. — T.L.
Related: How Queer Rappers Are Defining The Next Generation Of Chicago Hip-Hop
The title of Weyes Blood’s upcoming album captures the duality of the singer-songwriter’s music: haunting yet heartwarming. The artist describes And In The Darkness, Hearts Aglow as a “dystopian romance novel," where  warmth and gloom mingle in her signature psychedelic folk and experimental rock landscape. Influenced by church music, And In The Darkness, Hearts Aglow is a sacred, safe space to reflect on "the sound of your soul."
The record is also the second of a trilogy, following Weyes Blood’s ethereal 2019 album, Titanic Rising. And In The Darkness, Hearts Aglow arrives just in time for her In Holy Flux tour, which will kick off in Los Angeles on Dec. 8. — T.L.
Related: For The Record: Why Lana Del Rey's 'Born To Die' Is One Of Pop's Most Influential Albums In The Past Decade
'Tis the season: on Oct. 22, Roddy Ricch posted an image of himself at a Thanksgiving feast. The on-theme scene celebrates the upcoming release of Feed Tha Streets III, the third collection in his mixtape series.
Glamour populates the video for Ricch's latest single, "Aston Martin Truck." Among swinging gold chains and popping champagne, Ricch looks rather at home as he rests on a private jet — it's clear he's confident that Feed Tha Streets III will allow him to feast from the good life buffet.
The Compton rapper, who's influenced by the likes of Lil Wayne, Future and Young Thug, is known for his Hot 100 No. 1 single "The Box." Feed Tha Streets III follows the Compton rapper's 2021 sophomore album, LIVE LIFE FAST, which thrilled with Ricch's signature unpredictable flows over bouncy beats. — T.L.
Related: 9 Revolutionary Rap Albums To Know: From Kendrick Lamar, Black Star, EarthGang & More
Honey Dijon has been doing her thing at the forefront of the Chicago house scene for decades, and now the world is quickly catching up. The DJ and producer releases her second studio album, Black Girl Magic, on Nov. 18, featuring a stacked roll call of her friends. In choosing her guests, the Chicagoan looked to a new generation of queer people and people of color, including Compton's own house sensation Channel Tres, Atlanta singer/songwriter Hadiya George, and regular vocal collaborator Ramona Renea.
In true Honey Dijon style, the songs on Black Girl Magic are brimming with dance-floor energy, heartfelt emotion and positive vibes. "This album is dedicated to love," Honey said in a statement announcing Black Girl Magic. "Love of music, community, but most of all the love of self. Being true to who you are in spite of everything else and having the courage to love fearlessly." — J.T.
Related: 5 Emerging Artists Pushing Electronic Music Forward: Moore Kismet, TSHA, Doechii & Others
Dolly Parton's next album is sure to be a treasure. Titled Dolly Parton — Diamonds & Rhinestones: The Greatest Hits Collection, the record will feature a whopping 23 tracks from Parton's star-studded discography.
Featuring music released between 1971-2020, the album highlights Parton's extensive and extraordinary career. Although the icon is also known for her bluegrass and gospel ventures, Diamonds & Rhinestones primarily showcases Parton's deep country roots. However, some EDM finds its way onto the record via "Faith," Parton's 2020 collaboration with Swedish dance pop duo Galantis and Mr. Probz.
Out Nov. 18, this greatest hits collection will prove that Parton's discography indeed shines like a gem. — T.L.
Related: 10 Songs You Didn't Know Dolly Parton Wrote: Hits By Whitney Houston, Kenny Rogers & More
UK grime trailblazer Stormzy returns this month with his third album, This Is What I Mean. The rapper has been on an incredible hot streak since 2019's celebrated Heavy Is The Head, collaborating with everyone from Ed Sheeran to Headie One and becoming the first black solo British artist to headline Glastonbury (wearing a stab-proof vest designed by Banksy, no less).
Now a household name in the UK, Stormzy got far from the spotlight to record his third album. This Is What I Mean mostly came together during a retreat on the privately-owned Osea Island in the UK county of Essex, where Stormzy surrounded himself with talented friends. The only plan was to hang out and make music when the moment took them. "We're all musicians, but we weren't always doing music," Stormzy said in a statement. “Some days we played football or walked around taking pictures. And the byproduct to that was very beautiful music."
Stormzy recently flexed his cachet in the music video for standalone single, "Mel Made Me Do It," which features cameos from Usain Bolt, Little Simz, Headie One and many more. With no featured rappers announced on This Is What I Mean, there's no distraction from Stormzy's shine. — J.T.
Related: For The Record: How Clipse’s 'Lord Willin'' Established Virginia’s Foothold In Rap
For the November issue of Rolling Stone, genre-crossing hitmaker Pharrell Williams sat down for a "musician-on-musician" chat with BTS' RM. Their chat covered many topics, from dealing with superstardom to finding purpose in a career, while also touching on some tantalizing details about RM's forthcoming solo album, rumored to be dropping on Nov. 25.
"Like 90 percent of the work is done," RM told Pharrell. "I've released some mixtapes as one of the members of the band, but it was just an experiment. I think this time it's maybe my official first solo album." Coming hot on the heels of solo releases from fellow members Jin ("The Astronaut") and j-hope (Jack In The Box), news of RM's solo album has sent the BTS ARMY into overdrive.
In the course of the Rolling Stone interview, Pharrell and RM casually made plans to work on something for RM's album — completing "that last 10 percent," as Pharrell put it. (BTS is already set to feature on Pharrell's upcoming collaborative album, Phriends.) Other rumors of possible guests on the RM album are already flying around the internet, including South Korean sensation BIBI and BTS member Jungkook.
Whoever makes the cut, RM's solo effort is feverishly anticipated by fans, and will ease the long wait for BTS to reconvene as a group "around 2025" after all members fulfill South Korea's mandatory national military service. — J.T.
Why Is BTS So Popular? 9 Questions About The K-Pop Phenoms Answered
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Arcade Fire wins Album Of The Year; Esperanza Spalding wins Best New Artist
(To view a list of 53rd Annual GRAMMY Awards winners, click here.)
The evening began with a tribute to the Queen of Soul, Aretha Franklin, but by the time the last of the 53rd Annual GRAMMY Awards was handed out on Feb. 13, several other singers and bands looked something like royalty. Foremost among them was Lady Antebellum, who walked away with three trophies while the group members earned two more each for songwriting categories.
 
During a show memorable for its range of fully fueled performances, the country superstars sang a pitch-perfect medley of tunes that ended with a quiet rendition of the song that launched them, “Need You Now,” and shortly afterward collected the Song Of The Year GRAMMY for it (along with co-writer Josh Kear, with whom they also took Best Country Song). But there was plenty more to come for the trio. They also took home the GRAMMY for Best Country Album for Need You Now. Accepting that award, lead singer Charles Kelley said, “This song has completely flipped our world upside down.” By the time Lady Antebellum stood up to collect a trophy for Record Of The Year for “Need You Now,” they were in disbelief, and possibly discombobulated: “Oh my gosh, we’re so stunned we started walking the wrong direction,” said singer Hillary Scott breathlessly.
Also racking up awards was Lady Gaga, who claimed three: Best Pop Vocal Album for The Fame Monster, and Best Female Pop Vocal Performance and Best Short Form Music Video for “Bad Romance.” Never one to miss the chance to make an entrance, she hatched herself onstage from a giant opaque egg. That was a riff on her new single, “Born This Way,” and perhaps her bared shoulders, which sprouted a pair of pointy elbows, were too. Her dancers and outfit gave off a Cleopatra vibe, but Gaga can’t be stopped from seeming ultra-modern, and her performance of “Born This Way” reflected that; it was a warp-speed whirlwind.

 
In keeping with that same modernist — or maybe futurist — spirit, she accepted her award for Best Pop Vocal Album in black body armor. But Gaga also proved she can be an old-fashioned girl with a soft side. In an emotional acceptance speech for that award, she surprised the audience by thanking Whitney Houston: “I imagined she was singing…because I wasn’t secure enough in myself to imagine I was a superstar. Whitney, I imagined you.”
Leading the nominees with 10 nods revolving around Recovery, an album that detailed his struggles with addiction but also reestablished him as a rap force to be reckoned with, Eminem took home trophies for Best Rap Album — a triumph over rivals including Jay-Z, Drake and B.o.B — and Best Rap Solo Performance for “Not Afraid.” Onstage, his swagger proved undiminished.
A flame-haired Rihanna opened Eminem’s performance with a searching rendition of their duet “Love The Way You Lie,” but it was Slim Shady who came out blazing, spitting the lyrics to that song before raging into “I Need A Doctor” with Dr. Dre and singer Skylar Grey; Adam Levine from Maroon 5 handled piano duty.
Closing the show and likely lifting the Sunday-night spirits of indie kids everywhere was the Canadian collective Arcade Fire, who won the Album Of The Year GRAMMY for The Suburbs and, before the night’s final performance, turned in a frothy and fierce rendition of the rocking “Month Of May.”
 
Other multiple winners for the evening included classical music producer David Frost, legendary rock guitarist Jeff Beck and R&B artist John Legend, who each earned three awards. Among those who won two each were alternative rock band the Black Keys, jazz giant Herbie Hancock, Jay-Z, Alicia Keys, urban/alternative group the Roots, Keith Urban, and gospel singer BeBe Winans.
And in a bit of surprise, jazz bassist Esperanza Spalding won Best New Artist over teen phenom Justin Bieber, as well Canadian rapper Drake, and adventurist rock outfits Florence & The Machine and Mumford & Sons.
 
The show also featured a few firsts, including a first-time ever GRAMMY performance by Rolling Stone frontman Mick Jagger, who helped pay tribute to fallen R&B singer Solomon Burke.
But if there was also a constant, it was the annual, high-profile celebration of music that the GRAMMYs represent, and the 53rd GRAMMYs fit the bill once again, with performances, pairings and awards presentations that were full of pleasant musical surprises.
 
Click below for more GRAMMY content:

GRAMMY  liveblog
GRAMMY quotebook
GRAMMY Week photos
GRAMMY Week videos
 
El-P
Photo: Richard Bord/Getty Images
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The rapper/producer will bring his sonic sensibilities to the table for the new gangster film
El-P, rapper/producer and one half of the tag-team alternative hip-hop duo Run The Jewels, announced today on Twitter that he has officially been tapped to create the score for a new biopic about the later life of infamous Chicago mobster Al Capone.

Fonzo will be directed by Josh Trank, best known for his work on Chronicle and Fantastic Four. Trank shared some heavy praise for El-P (real name Jaime Meline) in a press release announcing his involvement on the project, saying, “Since I was 14 years old, El-P’s music has been one of the most important creative influences in my life.”
For his own part, Meline said he was “a huge fan of everyone involved,” with the cast including such names as Tom Hardy, Linda Cardellini, Jack Lowden, Matt Dillon, Neal Brennan, and Kyle MacLachlan.

cats out the bag. i’m scoring FONZO.   psyched to get the chance to do this shit. in celebration, here’s the only picture i can possibly say i arguably look more handsome than tom hardy in. thanks to everyone involved for giving me this opportunity to get weird. pic.twitter.com/wSKZD32KD5

— el-p (@therealelp) April 18, 2018

cats out the bag. i’m scoring FONZO.   psyched to get the chance to do this shit. in celebration, here’s the only picture i can possibly say i arguably look more handsome than tom hardy in. thanks to everyone involved for giving me this opportunity to get weird. pic.twitter.com/wSKZD32KD5

Fonzo started principal photography on April 2. Information regarding an official release date remains forthcoming.
Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? “Talk To GRAMMYs”
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Celebrate the 50th Anniversary of the March on Washington with a song
On Aug. 28, 1963, Dr. Martin Luther King Jr. stood on the steps of the Lincoln Memorial in Washington, D.C., and declared in his landmark “I Have A Dream” speech, “Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood.”
In 2012 The Recording Academy recognized King’s speech for its historical significance by inducting the recording into the GRAMMY Hall Of Fame. Delivered before 250,000 people, “I Have A Dream” culminated the March on Washington for Jobs and Freedom, a rally organized by a coalition of civil rights organizations that called for the passage of meaningful civil rights legislation and a program to provide jobs, among other demands.
Several artists have used music to call for a solid rock of brotherhood and sisterly love over the years. GRAMMY winners Bob Dylan; Peter, Paul & Mary; and Mahalia Jackson were among the performers who stood beside King at the March on Washington and dared to dream of a better America. On Aug. 28 President Barack Obama — joined by fellow GRAMMY winners such as LeAnn Rimes and BeBe Winans and former Presidents Jimmy Carter and Bill Clinton — will deliver his own speech at the Let Freedom Ring Commemoration and Call to Action bell-ringing ceremony at the Lincoln Memorial, commemorating the 50th anniversary of the March on Washington.
As bells toll throughout the country, we encourage you to let freedom ring by marching to the beat of our March on Washington 50th anniversary GRAMMY playlist.
“Blowin’ In The Wind”
Peter, Paul & Mary, Best Performance By A Vocal Group, Best Folk Recording, 1963; GRAMMY Hall Of Fame, inducted 2003
Peter, Paul & Mary’s cover of Bob Dylan’s popular protest song was one of two songs performed by the trio at the March on Washington. The two-time GRAMMY-winning track fittingly asked marchers, “How many roads must a man walk down/Before you call him a man?” The answer, of course, was blowin’ in the wind.
“A Change Is Gonna Come”
Sam Cooke, GRAMMY Hall Of Fame, inducted 2000
Considered one of the defining anthems of the civil rights movement, “A Change Is Gonna Come” was released in 1964 by R&B singer Cooke as a response to Dylan’s “Blowin’ In The Wind.” Cooke’s harrowing track was voted No. 12 on Rolling Stone‘s 500 Greatest Songs of All Time list and epitomizes the hope and change King called for 50 years ago.                   
“Ohio”
Crosby, Stills, Nash & Young, GRAMMY Hall Of Fame, inducted 2009
Although written by Canadian Neil Young, “Ohio” spoke to the outrage many felt over the Kent State shootings in Kent, Ohio, in 1970. The song openly questioned the deaths of four unarmed students who were killed by the Ohio National Guard during a campus Vietnam War protest.   
“Get Up, Stand Up”
Bob Marley & The Wailers, GRAMMY Hall Of Fame, inducted 1999
Written by Bob Marley and Peter Tosh, this classic reggae tune was featured on the Wailers’ 1973 album Burnin‘. The group’s signature call to action demanded people “get up, stand up/Stand up for your rights.” In 1999 the track was the first reggae song to be inducted into the GRAMMY Hall Of Fame.

“Born In The U.S.A.”
Bruce Springsteen, Record Of The Year nominee, 1985
Though often misinterpreted as a patriotic anthem, “Born In The U.S.A.” actually speaks to the desperate flip side of the American dream encountered by some Vietnam War veterans. Still, the album of the same name garnered a GRAMMY nomination for Album Of The Year, spawned no less than seven Top 10 hits and was inducted into the GRAMMY Hall Of Fame in 2012.
“Fight The Power”
Public Enemy, Best Rap Performance nominee, 1989  
It might take a nation of millions to hold back listeners of Public Enemy’s confrontational and controversial hit “Fight The Power.” Chosen by director Spike Lee as the musical theme for his 1989 film Do The Right Thing, the track calls out everyone from Elvis to the American government, imploring people to “fight the powers that be.”                         
“Guerrilla Radio”
Rage Against The Machine, Best Hard Rock Performance, 2000
Featured on Rage Against The Machine’s 1999 GRAMMY-nominated album The Battle Of Los Angeles, “Guerrilla Radio” is the band’s call to cut off the lights, turn up the radio and tune out those they describe as “vultures who thirst for blood and oil.”
“Revolution 1”
The Beatles, The Beatles, GRAMMY Hall Of Fame, inducted 2000
A year before John Lennon and Yoko Ono famously held a two-week bed-in for peace in 1969, the Beatles released this Lennon/McCartney penned tune featured on The Beatles (“The White Album”). The song spoke to Lennon’s skepticism about some of the radical tactics used to protest the Vietnam War, offering the tongue-in-cheek guarantee that everything was “gonna be alright.”
“War”
Edwin Starr, Best R&B Vocal Performance, Male nominee, 1970
Written by Barrett Strong and Norman Whitfield in protest of the Vietnam War, “War” was originally recorded by the Temptations. Starr’s version of this classic track helped him achieve legendary status on the soul circuit. His cover was intense and direct, simply stating: “I said, war, good gawd ya’ll/What is it good for?/Absolutely nothing!”  
“The Times They Are A-Changin'”      
Bob Dylan, GRAMMY Hall Of Fame, inducted 2013
After the release of “Blowin’ In The Wind,” Dylan provided another anthemic protest song with “The Times They Are A-Changin’.” Since its release in 1964, the song has been covered by artists such as the Beach Boys, Joan Baez, Phil Collins, Billy Joel, and Nina Simone, among others, during both challenging and ever-changing times.
“What The World Needs Now Is Love”
Jackie DeShannon, GRAMMY Hall Of Fame, inducted 2008
After all the protests, marches and calls for change have quieted down, arguably no song should be cranked up as loud as DeShannon’s 1965 hit “What The World Needs Now Is Love.” Per DeShannon: All we need “is love, sweet love/No, not just for some, but for everyone.”
Know a song that changed the world? Let us know in the comments.
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Alicia Keys, Paul McCartney among performers for Sandy benefit; Bieber gets ticketed in L.A.
(In an effort to keep you fully informed, and fully entertained, below we present today’s FYI and TMI — news you need and news that’s, well, sometimes needless….)
FYI …
More Stars Come Together For Hurricane Sandy
GRAMMY winners Jon Bon Jovi, Billy Joel, Alicia Keys, Paul McCartney, Bruce Springsteen, and Kanye West, and legendary rockers Roger Waters and the Who will perform at a benefit concert for Hurricane Sandy on Dec. 12 in New York. Proceeds from the concert will benefit the Robin Hood Relief Fund to aid hurricane victims.
SoundExchange Reports 3Q Royalty Payments
Performance rights organization SoundExchange distributed $122.5 million in royalty payments during the third quarter of 2012, marking the organization’s largest quarterly payout since its founding in 2000, according to Billboard.biz. SoundExchange has distributed $326.9 million in performance royalties for the year to date, bringing the organization’s grand payout total to $1.2 billion since 2000.
TMI …
Bieber Breaks The Law
As if Justin Bieber‘s recent trouble in love wasn’t hard enough for the 18-year-old, the teen pop sensation has now run into some trouble with law enforcement. Bieber was ticketed by Los Angeles police on Nov. 13 after he was pulled over in his Ferrari in West Hollywood, Calif., for making an unsafe left turn. On top of that, cops found his registration was expired. Hopefully now there’s one less unsafe driver on the road.
 
 
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Plus, a new Napa wine bar from a French Laundry alum and more food news
Things are looking more and more bizarre for San Francisco tea drink chain Boba Guys since the late October news that the business was allegedly union-busting at its Mission District location. Now, SFGATE reports the business could be recording audio of both Boba Guys employees and customers at its store. The reason why is unclear, but the outlet spoke with four current and former employees who all said they had no idea they were being recorded. And California is a “two-party consent state,” meaning a $2,500 fine can be levied against those recording others without everyone involved having prior knowledge.
To make matters worse, nowhere in the Boba Guys employee handbook does it mention audio recording in stores. Owners Andrew Chau and Bin Chen did not respond to SFGATE’s request to interview, but the two sent an email to their employees that same afternoon. “A part of our security measures include audio/video recording within our retail stores,” the email reads. “This is a well-established and commonplace practice within the retail and hospitality industries.” SFGATE spoke to Jim Wagstaffe, an attorney who specializes in the First Amendment, who said while cameras are commonplace, audio recording is not. “Do you expect that someone’s going to use a surveillance camera not just to see you walk in, but actually listen to your conversations?” Wagstaffe said.
Aubrey Bailey, who already runs Cadet Wine & Beer Bar in downtown Napa, is starting a new project in a major development at 1500 First Street. The San Francisco Business Times reports Bailey applied for a Type 48 liquor license under Manager Water LLC, which she formed in May. Details are sparse on what the project will look like or when it will debut.
Koolfi Creamery & Cafe, an “Indian-inspired and California fresh” ice cream pop-up, opened its doors at 599 MacArthur Boulevard in San Leandro on October 20. Berkeleyside reports the married owners, Priti Narayanan and Madhuri “Mads” Angi, have been in the ice cream scene for awhile, dishing up dairy- and coconut-based treats at events for a few years.
No, it’s not a new location from Oakland’s Yonsei Handrolls, and no, it’s not an expansion of the Mission District’s Handroll Project. Tablehopper reports the former Saru Sushi Bar’s location in Russian Hill is converting into Saru Handroll Bar and looking at a mid-November opening. Menu details are still incoming, and the original Saru in Noe Valley will remain intact.
The Xocolate Bar, a longtime Mexican American outfit with decadent truffles and bonbons, is finally reopening its store after closing due to COVID — and it’s doing so with a big party. Partially celebrating Dia de Los Muertos, too, Malena Lopez-Maggi’s business will offer free sipping chocolate, arts and crafts, and a chance to win raffle prizes. The festivities commence on October 30 from 2 p.m. to 6 p.m. at 1709 Solano Avenue in Berkeley.
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ACRES Commercial Real Estate Services held a ribbon-cutting ceremony in October to celebrate the opening of its office in Concord. ACRES is designed as a one-stop real estate services shop offering appraisal, title and closing work for commercial deals. Luke Kraus is ACRES’ general counsel and team leader of Title and Closing Services and John Prieto is team leader of valuation and appraisal services.
Rents in Manchester decreased 1.6 percent in September from the previous month, a greater decrease than the average a 0.7 percent recorded nationally, according to the website Apartment List.
Year-over-year, rent growth in Manchester currently stands at 2.3 percent, one-tenth the 24.9 percent increase recorded at this time last year. Nevertheless, Apartment List said, rents in Manchester are up by 36.5 percent since the start of the pandemic in March 2020. Currently, median rents in Manchester stand at $1,303 for a one-bedroom apartment and $1,738 for a two-bedroom.
Melville, N.Y.-based A&G Real Estate Partners is marketing for either lease or sublease 81 storefronts next to Pep Boys Service Centers across the United States, including several in New Hampshire.
Ranging in size from 6,400 to 15,700 square feet, the shuttered storefronts previously were home to Pep Boys’ aftermarket parts business. The 101-year-old retailer has discontinued retail parts sales in these spaces to focus on its co-located Pep Boys Service Centers. Besides New Hampshire, the subdivided storefronts are located in 23 other states: Arizona, Connecticut, Florida, Georgia, Illinois, Indiana, Louisiana, Massachusetts, Maryland, Maine, North Carolina, New Jersey, New Mexico, Nevada, New York, Ohio, Oklahoma, Pennsylvania, South Carolina, Tennessee, Texas, Utah, and Virginia.
The H.L. Turner Group Inc., Concord, has hired Douglas Brodeur as a senior civil engineer. He has over 20 years of experience, with an emphasis on land development and permitting, municipal projects and stormwater infrastructure design.
Lebanon-based Mascoma Community Development has been awarded $55 million in New Markets Tax Credit authority by the U.S. Treasury’s Community Development Financial Institution (CDFI) Fund. The tax credit authority allows MCD to direct capital to under-served communities through financing projects nationwide, with a primary focus on New Hampshire, Vermont, Maine, New York, and Massachusetts. The latest New Markets Tax Credit award represents MCD’s fifth allocation, providing a total of $285 million since its first award in 2014. MCD is a Community Development Entity established by Mascoma Bank to deploy tax credits into projects that benefit severely distressed, low-income persons and/or communities, and which promote job retention and creation, downtown revitalization, business development and expansion and additional catalytic development.
The town of Swanzey has hired Julius Peel of Washington, NH, as its land use and zoning coordinator. He previously interned with the town in 2020 and after that served as land use assistant for the town of Milton and town administrator in Deering.
The 16th annual Keller Williams charity auction at Manchester’s Derryfield Country Club raised some $105,000 through live and silent auctions, raffles, door prizes and event sponsorships. The funds will be distributed to local nonprofits that work to improve the lives of children and families, including the Boys & Girls Club of Manchester, the Mental Health Center of Greater Manchester and NeighborWorks Southern New Hampshire, among others. Organized annually by Keller Williams Realty Metropolitan, with offices in Bedford, Concord, Keene, and Londonderry, the event has raised over $1 million in direct donations since its inception.
Its design of the Center School in Greenfield, Mass., earned Banwell Architects, Lebanon, a Fall 2022 Award for Outstanding Projects from Learning By Design Magazine. The school serves 130 students from Pre-K -8th grade.
Denise Hubbard, mortgage loan program specialist at Meredith Village Savings Bank, was recently honored as the top 2022 Platinum Level Loan Originator by the NH Housing Finance Authority. In addition, MVSB was recognized as the No. 3 2022 Gold Level Top Lender.
The Workforce Housing Coalition of the Greater Seacoast’s 2022 Seacoast Housing Summit, “Economic Crossroads: Housing Our Workforce,” will be held from 8 a.m. to 10 a.m. Thursday, Nov. 3, at the Governor’s Inn & Restaurant, 78 Wakefield St., Rochester. Keynote speaker will be Mike Skelton, president and CEO of the Business and Industry Association, followed by a panel discussion moderated by Sarah Wrightsman, community engagement coordinator at New Hampshire Housing, and featuring
Rochester Mayor Paul Callaghan, Assistant Portsmouth Mayor Joanna Kelley and Marty Chapman, executive director of The Housing Partnership.
Nashua-based Granite Commercial Real Estate has announced the sale of 256 Daniel Webster Highway, Merrimack, a 4,766-square-foot industrial building on 2.2 acres. James Prieto, director of real estate at the firm, represented the seller in the transaction.
Portsmouth-based Position Imaging Inc., a maker of package logistics and asset tracking systems, has unveiled In-Room Scanning, a new feature for its Smart Package Room platform. The feature, which leverages the same hand-held scanning process couriers are familiar with to automatically assign packages to residents in multifamily communities, improves accuracy and compliance and streamlines their work by 50 percent, Position Imaging said.
The Manchester Board of Mayor and Aldermen has voted to approve $3 million in federal funds aimed at significantly increasing the number of affordable housing units in Manchester through three projects. With the funding, Lincoln Avenue Capital of Santa Monica, Calif., will construct two buildings with affordable housing, one at 351 Chestnut Street, site of the former police station, and a second replacing a parking lot across the street at the corner of Chestnut Street and Merrimack Street. Together, the projects will create approximately 142 studio, one- and two-bedroom units, affordable for individuals at or below 60 percent of area median income. The third project will create three new units of emergency housing for families experiencing homelessness at the Families in Transition Family Place Shelter at 167 Lake Ave.
Sullivan County has been awarded $25.2 million by the Governor’s Office for Emergency Relief and Recovery’s County Nursing Home Infrastructure Program, to help fund the planned renovation of the county nursing home, which is expected to cost up to $63 million. In August, the county delegation unanimously approved a $20 million bond for the project with a provision that county commissioners could bond an additional $6 million if the project’s total cost warrants it. The rest of the funding will come from $2 million the county has received in federal funds, $7 million from the county’s share of the American Rescue Plan Act and up to $5 million from the county’s capital reserve fund.
Condor Capital is proposing a 128-unit apartment building in downtown Somersworth The four-story building would house mostly one-bedroom apartments, each about 750- to 850-square feet. The project is still in its preliminary stages, and has been under review by the city’s Historic District Commission, Foster’s Daily Democrat reported.
Colby-Sawyer College in New London has received $1.5 million in federal funding to support construction a new 20500-square-foot building for its School of Nursing & Health Sciences. The funds bring the total amount raised for the $15.7 million project to $9.5 million. Construction of the facility, slated to begin this spring and be completed by fall 2024, will also allow the college to integrate state-of-the-art technology into its classrooms and laboratories.
 
© 2022 NH Business Review.

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The Russo Brothers Assemble: Inside AGBO, Their $1 Billion Studio, and When They Might Return to Marvel  Variety
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The Ohio University Board of Trustees approved the 2022 Housing Master Plan as well as a new research facility for the Heritage College of Osteopathic Medicine during its meetings on Oct. 20-21 at Ohio University’s Athens campus.
The Board also approved the expansion of several academic programs to regional campuses and received an update on the presidential search process, including the results of surveys, interviews and forums conducted over the past several weeks.
Items on the Board agenda included:
Housing Master Plan update
The Board approved the 2022 Housing Master Plan that has been under discussion during recent meetings. The plan focuses on right-sizing the housing inventory, improving the residential experience through remediation of deferred maintenance and modernization across the system and includes programmatic changes through improved amenities such as additional engagement and study space.
The plan includes building-by-building recommendations, identification of a site being recommended for new construction and financial analysis to ensure affordability and value to the students. The plan calls for significant investment into renovations of existing residence halls, as well as identifying buildings that are not economic viable for renovation, which will be considered for future demolition to mitigate deferred maintenance costs. Additionally, the plan includes a projected phasing of projects for Fiscal Years 2023 and 2024, as well as the six-year capital improvement plan for FY25-30.
The plan was developed with student and parent survey feedback and campus stakeholder input, as well as reviews of peer comparisons and review of the off-campus market.
Capital budget
The Board approved several new capital project additions, as well as new construction of the Heritage College of Osteopathic Medicine Translational Research Facility on Union Street Green, across Factory Street from Heritage Hall.
The building represents the second phase of the Heritage College’s efforts to reimagine its curriculum and research. A portion of the transformational $105 million Vision 2020 Award that the college received in 2011 from the Osteopathic Heritage Foundation will be used toward the Translational Research Facility. The space will enable students, faculty and staff to conduct forefront research, ranging from biological basis of health and disease to interventions that improve the health of individuals and the public. The project is estimated to cost $66.9 million.
Other approved projects include:
Program expansion to regional campuses
The Board approved the expansion of three programs to all of Ohio University’s regional campuses. They are:
The goal is to increase enrollment at the regional campuses by making these degree programs available. All expansions require the approval of the Ohio Department of Higher Education.
Enrollment Planning Update
Vice President for Enrollment Management Candace Boeninger shared an enrollment update, including preliminary census results that showed a record for first-year Athens enrollment of 4,441 students. The update included information about the freshman application cycle, highlights within the class, and information on the University’s overall headcount. It also included information about FY23 priorities for the Division of Enrollment Management.
OMNI Center creation
The Board established two new centers within the Heritage College of Osteopathic Medicine’s Ohio Musculoskeletal and Neurological Institute (OMNI). The OMNI Center for Healthy Aging seeks to understand biologic mechanisms behind reductions in neuromuscular and musculoskeletal form and function in seniors, while the OMNI Injury and Pain Research Center will focus on the physiological mechanisms, biomechanical effects, and neuro-psychological aspects of pain and injury.
In other business, the Board:
The full Board of Trustees agenda is available at https://www.ohio.edu/trustees.
© 2022 Ohio University. All rights reserved.

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The new one-year Master of Science in Translational Research and Applied Medicine (M-TRAM) prepares emerging academic and industry leaders to successfully translate scientific discoveries and clinical applications into practical solutions that improve and save lives. Drawing on Stanford Medicine’s world-class expertise in medicine, technology, and business, M-TRAM is the only early translational program of its kind on the West Coast and one of only a few such one-year programs offered by a top-ranked U.S. university.
Applications are now closed for the M-TRAM’s inaugural program, which starts in September 2022. 
The application portal for those applying for the next cycle, academic year 2023-24, will open on Sept. 15 (2022).
M-TRAM is designed for individuals seeking to develop, implement, and / or lead the translation of research discoveries and clinical applications into biomedical innovations:  
» Physicians and medical students
» Recent college graduates
» Graduate students
» Academic research assistants
» Biotechnology professionals
» Business, legal, and medical professionals
M-TRAM’s rigorous interdisciplinary curriculum covers the translational landscape and the strategies to develop, test, and implement novel biomedical solutions in academic and industry settings. Faculty are based in Medicine, Pediatrics, Radiology, Engineering, and other Stanford schools and departments. The curriculum is comprised of: 
» 48 units of core science, technology, and business courses spanning four consecutive quarters 
» Flexibly structured coursework, which allows students who are employed to work part time during the program’s duration
» Clinical and research rotations with a biotechnology company and a research laboratory
» A summer industry internship designed to gain hands-on drug development experienceA faculty-mentored capstone research project in industry or academia
» A faculty-mentored capstone research project in industry or academia
M-TRAM is a professional degree program that trains students to advance promising biomedical solutions from early-stage research through to full regulatory approval. Technology areas of focus include immunotherapy, gene therapy, vaccines, biomarkers, single-cell omics, and medical devices. M-TRAM combines flexible classroom learning with hands-on, team-based medical research, one-on-one mentoring by renowned Stanford faculty and investigators, and on-site biotechnology training.
By the end of the one-year program, students will have gained the problem-solving skills, competencies, and strategies:
» Apply clinical specimens to emerging technologies
» Expand professional networks and career opportunities
» Develop a full product development plan encompassing pre-clinical, clinical, manufacturing, and regulatory modules
Candidates are invited to apply to join the next year’s 2023-2024 cohort; classes will start in September 2023. 
M-TRAM will accept candidates from outside Stanford, including international students.
The application portal for those applying for the next cycle, academic year 2023-24, opens on Sept. 15 (2022). MTRAM will be listed in the application as a choice and on the following page of the admissions website, along with all the other programs:
https://gradadmissions.stanford.edu/explore-programs
To apply now, click on the following link:
https://gradadmissions.stanford.edu/apply/apply-now
 
Application requirements include:
» Minimum of a Bachelor’s (BSc) degree from a recognized university
» CV/resume outlining previous clinical and/or basic research experience
» Undergraduate and graduate transcripts
» Three letters of reference 

» Statement of intent
M-TRAM is a self-funded graduate program. For current Stanford tuition rates, please see Stanford graduate admissions.
The program does not typically offer a financial aid package. However, there is limited funding for exceptional circumstances, which the M-TRAM Committee will evaluate on a case-by-case basis.  If admitted, students can contact faculty in whose research they have interest, and see if they or their department have research funds to support M-TRAM studies.
Applicants are very strongly advised to apply for external fellowship support early in the application process so that the funding decision is known before the admissions process is complete.
https://gradadmissions.stanford.edu/explore-programs
Students will be mentored by M-TRAM’s directors, who have exemplary medical and clinical research backgrounds and extensive industry experience.
Dean W. Felsher, MD, PhD M-TRAM Program Director
Dean Felsher is professor of oncology and pathology in the Department of Medicine and director of the Translational Research and Applied Medicine (TRAM) Center, which promotes the translation of novel research discoveries from the laboratory to the clinic. Dr. Felsher is internationally regarded for his basic and translational medical research in oncology, therapeutics, and diagnostics.
George F. Tidmarsh, MD, PhD M-TRAM Co-Director
George Tidmarsh is adjunct professor of pediatrics and board member of the Lucille Packard Foundation for Children’s Health. Involved with the department of pediatrics in various capacities since 1988, he has successfully pioneered the development of multiple therapeutic agents from discovery through to full regulatory approval, including DOXIL for the treatment of solid tumors, BEXXAR for non-Hodgkin’s lymphoma and GIAPREZA for refractory shock, among others.
Gary M. Shaw, DrPH M-TRAM Co-Director
Gary M. Shaw, DrPH, is the NICU Nurses Endowed Professor of Pediatrics, Associate Department Chair (for clinical research) in Pediatrics and (by courtesy) also Professor of Epidemiology, and Professor of Obstetrics & Gynecology at Stanford University. He has 35 years of experience leading and directing research programs, in collaboration with myriad scientists, that have investigated sociodemographic and biologic factors for the etiologies of various reproductive and pediatric outcomes such as human birth defects, and preterm birth. His efforts have led to the publication of more than 550 scientific papers. He has been the principal investigator or co-investigator on >60 government (R01s, U01s, P01s) or foundation grants. His scientific discoveries of most significance have targeted nutritional etiologies of specific birth defects and focused on genetic susceptibilities to exogenous exposures as risks of health outcomes. In these scientific efforts he has collected and utilized big data sets, built large biologic repositories, pioneered the research use of newborn bloodspots, and developed and coordinated interdisciplinary/transdisciplinary teams. He considers teaching and mentoring trainees to be one of his greatest privileges. Over the years, he has mentored the research trajectories of dozens of individuals at varying places in their research training. He serves on several scientific editorial boards and is an elected member of numerous professional societies. He also serves as the faculty lead for the Stanford Maternal & Child Health Research Institute’s Drug and Device Development (D3) Training Program, where he established the educational structure necessary to formalize a collaborative effort with pharmaceutical and medical device companies to train residents, clinical fellows, and early career faculty in industry’s approach to medical product development. He currently serves as Co-PI of the March of Dimes Prematurity Research Center at Stanford University and the PI of the California Center (U01) that investigates the risk and preventive factors for human birth defects.
Joanna Liliental, PhD M-TRAM Executive Director
Dr. Joanna Liliental joined Stanford in 2003 and is currently the Executive Director of the M-TRAM graduate program. Dr. Liliental completed her Ph.D. at UCLA and postdoctoral training at Stanford University in the laboratory of Dr. Stanley Cohen. In addition to directing M-TRAM, Dr. Liliental is a senior research scientist and associate director of the TRAM, a program she built together with Dr. Felsher, and has mentored and trained over 500 students, fellows, and faculty. She is also the founding director of the Translational Applications Service Center (TASC), a Stanford Medicine resource center that provides shared access to clinical research technologies, and trains and mentors investigators in translational medicine projects. 
Laura Remillard Program Manager
Laura has worked in higher education for 12 years, the majority of that time at Stanford University, where she managed the process of creating and the renewal of degree programs at the registrar’s office, and in the Graduate Admissions office, as an Associate Director and interim Director. In addition to ensuring compliance of academic policies related to program review, she also advised on the exceptions to graduate and undergraduate policies, as well and managed several subcommittees. She has spearheaded the successful roll-out of online process for major non-matriculated programs, has updated policy on transcript submissions, led review of exceptions to admissions policies, vetted international and domestic credentials for admissions, and successfully updated online archiving processes.  
Laura was former Vice President of Professional Development for PACRAO, and was chair of AACRAO’s Women’s Caucus. She has written and presented on several topics related to women’s issues, such as bias, women inequity during the pandemic, diversity, and leadership. Laura is also an official facilitator for the Google initiative #IamRemarkable, which supports the promoting of achievements of underrepresented communities.  
Before her involvement in higher education, Laura worked in publishing as an arts/photo editor, specializing in rights and permissions. She has worked with authors, photographers, art directors and museums all over the world.  
In addition to being mentored by M-TRAM’s program directors, students will have the opportunity to work with other world-class Stanford faculty mentors and to interact with leaders in industry serving on M-TRAM’s Advisory Board.
Check back soon to view a full list of M-TRAM’s Stanford Faculty Mentors and Advisory Board Members.
Do you have more questions about the program? Please contact Joanna Liliental, M-TRAM’s Executive Director:  [email protected]
You may also send your questions to the MTRAM directors committee: [email protected]
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eQ Plc Investor news
18 October 2022, at 10:00 a.m
eQ Plc will publish its Q3 2022 interim report on Tuesday 25 October 2022 at around 8:00 a.m. eQ will present the result to press, investors and analysts in a press conference to be held on 25 October 2022 at 11:00 a.m. The press conference will held at eQ’s head office in Helsinki, address Aleksanterinkatu 19, 5th floor, 00100 Helsinki and it is also possible to participate via webcast. The webcast participation requires a registration.
The press conference will be held in Finnish. The presentation material can be viewed at eQ’s website after the press conference has begun. To join the press conference, please register with [email protected].
eQ Plc
Additional information: Mikko Koskimies, CEO, tel. +358 9 6817 8799
Distribution: Nasdaq Helsinki, www.eQ.fi, media
eQ Group is a Finnish group of companies specialising in asset management and corporate finance business. eQ Asset Management offers a wide range of asset management services (including private equity funds and real estate asset management) for institutions and individuals. The assets managed by the Group total approximately EUR 12.0 billion. Advium Corporate Finance, which is part of the Group, offers services related to mergers and acquisitions, real estate transactions and equity capital markets.
More information about the Group is available on our website at www.eQ.fi.

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B-Reel Films‘ director Tomas Jonsgården gives an impassioned account of the making of Save The Survivors, which drew on tragic real-life stories of women and children fleeing conflict. 
We live in turbulent times, and the ones who are paying the price are too often the ones who have no responsibility for it; or control over their circumstances – children. 

They are left to find a way through a kind of living hell, in which the only impulse can be to survive – to make it through one nightmare and wait for the next to begin. 
We thought it was essential to portray the children as strong, no matter the situation. Because they are. We also decided from early on that we are not able to imagine the stories of children in crises, we needed to hear real stories and then build the script based on that.
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By empowering children – showing how resourceful, ingenious and courageous they are in the most appalling circumstances – we will give them back their agency.

These are not poor faceless refugees. They are heroes who have come through more, and accomplished more in their short lives than most of us who live in comfort and security will ever do. 
All we have to do is hold out a hand to them when they most need it. 
So, I see the film as a story of resilience and courage. At every turn, our characters face new and greater threats. No sooner have they escaped one trap or disaster than the next one appears, and they face them all down. Until the last one.
To me, the tragic ending is a call to action. We get to decide what happens next. These children have come all this way, through all this – now it’s our turn.
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The most important thing about this film was to be authentic. So, to get a better understanding of what life in conflict zones is like, I spoke to an experienced fieldworker at Save the Children, Cat Carter, who has met with thousands of refugees arriving at camps and interviewed them. 
She told me stories about children being exposed to terrifying events and how they reacted and behaved.

One thing that struck me is how resilient and strong children are. How they continue with their lives despite bombs falling and people being killed around them. 
The children just want everything to be as normal and ordinary as it can be. They just want to live the life a child should live.

A sad fact I learned is that sometimes older siblings shield their younger siblings when guns are firing around them. Partly because they want to protect them, but also because many of these children actually believe that the gun shots won’t hurt them, because they have seen Hollywood movies where heroes are protecting innocent people and they always survive.

One of the most powerful stories we heard, was actually about the older women you see in the film. In real life she was a grandma who fled from Syria with her grandchildren, because the journey would have been too dangerous for the children if they went with their parents. 

Along the way they were stopped at border checkpoints and were threatened, but she demanded to be treated with respect because of her age and made the soldiers feel ashamed for how they treated an old lady and children. And so, she made it to the border. 
But the story doesn’t end there. When she first was on the other side, she thought, “that wasn’t so hard”, and decided to go back several times and rescue even more children, using respect for an old lady as her weapon.
The woman portrayed in the film is a real-life hero! 
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It is Beirut. We shot the film in Lebanon with all local cast and crew. This is probably the film I’ve worked on that has affected me the most, both professionally and emotionally. 
Everyone put all their love into the film. It was a truly great experience. And since many of the cast and crew has experienced conflicts and war before, they could add authenticity.

Casting was the key to the success of this film. I knew we had to find a truly remarkable couple of kids to lead the viewer through this terrifying journey. So we found hundreds of children by proper street casting. 
And there was one girl, 11-year-old Manal, who really stood out. She was a find. Pure and natural. Everything she expressed came from within.
It was both amazing and terrifying to watch her perform. She made me cry. I don’t think there was a single dry eye among the crew.
We found her living in the slums of Beirut. A refugee from Syria. She had never done any acting before, or gone to school for that matter, but to her it all came naturally. She just knew how to perform and how to act naturally in every scenario. 
She’s definitely the biggest talent in this whole production.
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The concept of using the Destiny’s Child song Survivor was there from the very beginning. The challenge was to incorporate the music emotionally into the story; to bring it together with the imagery without it feeling forced and laid on. We worked closely with the music producer Goran Obad at Ohlogy to make the music fit perfectly with the film.
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Jack Jacobs November 2, 2022 0
Local nonprofit agency UMFS sold the Guardian Place apartments complex next to its headquarters campus for $25.6 million. (Jack Jacobs photo)
A local nonprofit has sold off an apartment complex adjacent to its headquarters campus to fuel further expansion of its operations.
United Methodist Family Services announced this week it sold the Guardian Place senior apartments complex at 1620 N. Hamilton St. for $25.6 million.
The buyer was Fairfield, a San-Diego based multi-family properties developer and operator.
The apartment complex consists of 236 units in two buildings on 6 acres. The property and its two parcels were most recently assessed by the city at $13.6 million.
Nancy Toscano, president and CEO of UMFS, said the child and family services nonprofit decided to sell Guardian Place to generate extra cash to help it handle increased costs of its day-to-day operations and construction around its campus.
“Basically, the construction costs were sky high and the labor market was transforming before our eyes. The needs of the kids kept going up and just generally the cost of doing business was climbing,” Toscano said. “While we have a strong fundraising base, that wasn’t going to cut it. So, we began imagining what it might be like to divest ownership of Guardian Place.”
UMFS opened the Guardian Place apartments in 1994 and added the second building to the development in the early 2000s.
Toscano said it was a difficult decision to sell off the complex but that the deal ultimately served to help the nonprofit focus on its primary mission of supporting children with disabilities through services like foster care, schooling and residential treatment.
“It’s been an important part of our mission but it is a little bit different from everything else. We serve kids mostly,” she said. “You can’t be everything to everyone and this will allow us to be laser focused on our core mission.”
Guardian Place is a mixture of studio, one- and two-bedroom apartments. Guardian Place I’s rental rates average about $800 a month while Guardian Place II’s rental rates average about $930 a month, according to a UMFS spokesperson.
Toscano said UMFS conducted a search for a buyer and got nine offers for the property. It settled on Fairfield because the company seemed like a good fit to continue the nonprofit’s vision of the apartments as an affordable residential development for seniors.
“We were so impressed by them and what their business plan was and they agreed to every request we had,” Toscano said.
Fairfield didn’t respond to a request for comment.
“The community will be a strong addition to our affordable portfolio of over 16,000 units across 22 markets and allows us to grow our presence in the local Richmond market,” Fairfield Executive Vice President of Investment Management Josh Kawaii-Bogue said in a news release about the deal.
Fairfield’s other regional holdings consist of Broadwater Townhomes at 15149 Broadwater Way and Grand Oaks Apartments at 5301 Grand Oaks Forest Circle, both of which are in Chester, per the company’s website.
Toscano said the proceeds from the sale will help cover costs of new construction on campus, as well as renovations and operational costs.
UMFS broke ground in September on a 21,000-square-foot addition to its Charterhouse School, which is currently about 24,600 square feet. In the spring, the project was estimated to cost $9 million. The facility is used for the nonprofit’s K-12 education program for children with special needs.
The Charterhouse project is intended to consolidate that program in one place. Currently, it is spread throughout the campus. The addition is planned to be a separate building that will connect to the existing building via a breezeway.
The plan is to finish construction in August 2023.
The nonprofit recently completed its new $11 million Child and Family Healing Center, which is a residential treatment center for children.
UMFS is a statewide nonprofit agency headquartered at 3900 W. Broad St. It has nine offices in the state.

Jack joined BizSense in 2020, covering startups, retail, healthcare, public companies and nonprofits. He previously reported for the Virginia Gazette and Tidewater Review. He is a graduate of Christopher Newport University. Reach him at [email protected] or 804-554-6545.
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LOUISVILLE, Ky. — A new opportunity to let young people access technology in Louisville is now available. 
The Best Buy Teen Tech Center aims to provide an innovative learning environment for underserved teens. The center came together through a partnership with YMCA and the GE Appliances.
It will provide access to technology, mentorship, training opportunities and post secondary resources. It’s an effort to prepare young people for careers in tech related fields. 
What may look like a classroom is actually Kentucky’s first Best Buy Teen Tech Center. Its director, Shawn Wright, has the opportunity of assisting young people through their experiences with technology in the center.
“They’ll make a beat and then I’ll help them. Then, I’ll say let’s figure out how to export it or make it better,” said Wright.
Wright said this is exactly what young people in Louisville need. The space is located inside of the Republic Bank Foundation YMCA in the West End.
Combining tools like green screen for video production, recording studio for music podcasts, music production equipment, beat making software, graphic design software, professional DJ software, guitars, drawing tablets, coding robots, cameras, 3D printers, VR headsets and a t-shirt press. The center aims to make sure young people with different backgrounds have access to technology.
“You’d be surprised. I mean, some of them are already geniuses. Things like basketball and football and stuff get pushed throughout our communities, but that doesn’t represent all of us. Those sports and things don’t represent Black people and Brown people as a whole,” said Wright.
Currently, the center serves nearly 40 students daily. Will Woodworth is tasked with leading and opening the centers for Best Buy in North America. He says this is just the beginning. The company has a goal of building 100 centers by 2025.
“The good news is that no young person has to be an expert when they walk in. They often get a chance just by being here and working with others to learn side by side from peers from what they may be interested in. But also how they can take something that they’ve seen as a project and make something like it but make it their own or maybe make it better,” said Woodworth.
With access to creativity, Wright says there’s no limit on what this center can do. 
“They now can express themselves in a way they might not have been able to before,” said Wright.
It started by giving a chance to the young people of Louisville. The center operates Monday through Friday from 11 a.m. to 8 p.m. People using the center do not need a membership to the YMCA, but they must be 12 to 18 years of age.
Best Buy currently has 46 centers across the United States from Los Angeles, California, to Boston, Massachusetts. 

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"Consistency" is defined as…
But when the rubber meets the road, there is way more to it than that, especially in the music industry, where the path to success is neither cut and dry nor guaranteed. 
Listen To The First Episode Of Our New Podcast Here 👈
Entel is a producer who knows the value of being consistent, as he is an artist on the cusp of a breaking career that he has slowly built towards over the last decade. To those who are consistent, or at least strive to be, the word takes on a slightly different shape than the textbook definition. Entel describes the word by saying:
"Consistency doesn't always mean the best or number one. It just means showing up and getting the work done." – Entel 
And ahead of his first international tour, which he is embarking upon literally as I write these words, I wanted to share the conversation we had a few weeks back about the meaning of consistency and how it can impact and change your career in the music industry. 
Consistency is a character trait that is far too easy to talk about compared to how difficult it is. It arguably could be the most defining quality an artist can have that determines whether they can make a sustainable and meaningful career in the music industry. 
And if it were so easy to be consistent, Wouldnt the world would be filled with professional producers and musicians? 
Because more people would rather talk about their dreams than show up daily to make them happen, I feel this is more prevalent in music than in any other industry. At the end of the day, while producing tracks can be incredibly fun and rewarding, it also requires a ton of work to be put in every single day of the year to reach the level you need to be at to make your dreams a reality.  
"Slowly chipping away at it, a half hour a day, one hour a day, every single day is going to pay off way more dividends consistently throughout an artist's career and especially in the earliest stages of an artist's career." – Will Vance 
And while this concept may seem daunting at first glance, it comes with a silver lining. Because while there may seem to be an infinite supply of aspiring music producers that you are competing with, few are as consistent as this industry requires. Because you are only competing with the ones who are showing up every single day and putting in small steps and improvements. And rest assured, those types of producers are few and far between. 
Not every day has to be a massive win in the studio; it might be better if it's not. Because consistency is the kin of longevity, and small routines compound into giant steps forward over time. 
"going through the motions even if you don't want to. Even if you don't want to crate dig before a show, do the work anyways. The work doesn't always happen as quickly as you like sometimes. But it'll do its thing." – Entel
A consistent person likely has many auxiliary qualities about them that are equally beneficial to their career. The music industry moves quickly, and small teams often make big things happen behind the scenes. That is the case for Grum's Deep State label, which Entel is currently signed to and touring. 
"The last thing managers and label managers want to deal with are producers who aren't consistent or who might do one great thing one week but drop the ball the three next weeks. It's so much easier to work with when you're predictable with how you show up and present yourself that makes you so much easier to work with." – Will Vance
Being consistent with your work also allows you to be respectful of others' time, diligent in your work, and systematic with how you approach a career overall. These powerful qualities are impossible to ignore once your name gets in circulation amongst the movers and shakers of the not-so-small music industry. 
"We had an artist come through, and I was talking to his manager after the show, and we were talking about 9-5s and the consistency in showing up. At the time, it felt like a gloom and doom moment but also reaffirming. He told me, mate, you can't have a 9-5 if you're going to do this. This has to be your 9-5, especially in today's industry climate. It's that consistency that sets you apart from the rest." – Entel 
This podcast about words and music is sponsored by Point Blank Music School. Too often, people working or pursuing careers in the music industry get so caught up in the excitement, clout, and daily grind of it all that they forget this whole industry is just about communication.
Magnetic Meaning unpacks this notion and dissects the words and ideas that connect the music and resonate with those who work with it. Each episode will feature different guests from the music industry, each doing amazing things in their own right. These guests will each bring a word to the table that has impacted their life or career in one way or another.
From there, we will tackle that word from every conceivable angle to add a bit more context to the music industry.
Episodes are published on a bi-weekly basis, first thing every other Thursday.
Shoutout to the sponsors of the podcast, Point Blank Music School. At Point Blank's brand new LA campus, you can study music production and sound engineering, DJing, radio broadcasting, singing and songwriting, and music business, and also benefit from 1-2-1 expert lecturers and a range of exclusive support services, including accessing industry-standard studios all while being supported via Point Blank’s expert team of Studio Assistants, Student Services, Wellbeing, Student Engagement and Events, A&R Mentoring and Careers Advice, exclusive competitions, artist masterclasses and more.
Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager 

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LA City Council elects new president amid the fallout from leaked racist audio  CNN
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It’s easy to forget that the Netflix original film department is still rather young. Five years ago, the streaming service didn’t even really have one. But things move quickly in the competitive streaming world, especially when starting from scratch.
Now with a robust library of proprietary and commercially minded films and characters, Netlifx is leaning into another important pillar of the movie business: Sequels.
They’ve dabbled before, with romantic comedies and teen-focused fare like “The Kissing Booth” and “To All the Boys I’ve Loved Before,” but with a breakneck annual output, Netflix has now amassed enough of their own intellectual property to develop franchises in more genres, including adventure, mystery, comedy, action and thrillers, created by and starring some of the industry’s biggest names.
Kicking off with “Enola Holmes 2,” which is newly available to stream and sees Millie Bobby Brown back as the spirited young detective, Netflix has a slew of starry, high-profile follow-ups to some of their most successful films on the way. Later this year, “ Glass Onion: A Knives Out Mystery ” will bring Daniel Craig’s Benoit Blanc back to solve a new murder case on a private Greek island. In 2023 and beyond, Chris Hemsworth will reprise his role as black ops mercenary Tyler Rake in “ Extraction 2,” Jennifer Aniston and Adam Sandler will reunite for “Murder Mystery 2” and Charlize Theron and KiKi Layne will be back as immortals in “ The Old Guard 2.”
“Our goal was always to build stories and films and characters that we can return to,” said Netflix executive Kira Goldberg. “We’re finally at that moment, we’re feeling really good about it.”
Goldberg and Ori Marmur co-head the studio film team at Netflix under global film chief Scott Stuber. Both were veterans of traditional studio filmmaking, with Goldberg having come to Netflix from Fox, where she oversaw the likes of “Bohemian Rhapsody” and “The Greatest Showman,” while Marmur came from producing films like “Escape Room” and “The Green Hornet.”
“We loved the idea that we could come to a studio that was starting from scratch,” Marmur said. “That just doesn’t happen, especially not at this scale.”
In the years they’ve been at Netfix, they’ve been able to draw on relationships they’ve made over the years and also forged new ones with directors, writers and talent they wanted to work with. They also knew they had to play catchup with the legacy studios that had a century of intellectual property at their disposal.
“It’s pretty impressive that sequels are a conversation and a reality,” said Mary Parent, who produced both “Enola Holmes" movies.
The sequel was put into motion soon after it hit Netflix in September 2020, with Brown, Henry Cavill, writer Jack Thorne and director Harry Bradbeer all on board. An estimated 76 million households streamed the lively detective story in its first four weeks.
“We mobilized really quickly,” Parent said. “You try not to take it for granted. And you try to raise the bar on yourself, to up the storytelling, up the stakes with everything that you loved about the first but also something new.”
The sequel strategy is not so unlike that at traditional studios: They want to keep viewers coming back for familiar characters. And it’s an equation that has proved effective with their most popular television shows, like “Stranger Things,”“Bridgerton,”“Squid Game” and “The Witcher.”
There may not be a set formula or mandate around what gets another film, but most are among Netflix’s most-watched originals. In their first four weeks, “The Old Guard” was seen by 78 million households and “Extraction” drew in 99 million households, according to data provided by Netflix.
“(‘Extraction’) obviously benefited from the timing of its release, which was at the early days of the pandemic,” said Mike Larocca, the co-founder and vice chairman of the Russo Brothers’ AGBO Productions. “But they were very supportive of the sequel script before that. We were prepared to move quickly and they didn’t wait for the performance.”
Part of the Netflix equation is looking at genres that either aren’t getting made at the big studio level anymore or aren’t getting enough audiences at the theaters to make them worth investing in frequently, like teen rom-coms. As a classic stunt-driven action movie, “Extraction,” Larocca said, was in that “dreaded middle that was getting killed theatrically.”
“People still want to see big, practical stunts and exotic locations and a really cool hero at the center,” Larocca said. “I think given their model, they’re able to make it at a higher budget than theatrical would have would have supported because their numbers look different.”
The notable exception is “Glass Onion,” as “Knives Out” did not originate at Netflix. But the streamer saw an opportunity in Rian Johnson’s fun murder mystery, which was a hit at the box office, and potential in spinning out more stories anchored by Craig’s shrewd detective. They shelled out $450 million for two sequels. There is also a “ Luther ” film in the works, based on the hit crime series, with Cynthia Erivo, and a re-imagining of “ Spy Kids," with Robert Rodriguez on board to write and direct.
“They’ve really succeeded in creating an environment where I think people can do their best work,” Parent said. “They’re there to offer support but don’t create unnecessary obstacles. They don’t overly micromanage, which can sometimes kill creativity. They understand the balance … And the power of their platform is undeniable.”
At Netflix, Goldberg and Marmur have also found opportunities in working cross-functionally with other departments.
“When I worked at other traditional studios, I didn’t know who was in the series team. I didn’t know who worked in consumer products. There was never any communication,” Goldberg said. “Here, we get in a room together all the time. We strategize collectively.”
Case in point: When developing the graphic novel “BRZRKR” as a live-action film with Keanu Reeves, they also committed to an anime series so he could “have the best of both worlds” since the artwork was so important to him.
“We’re constantly trying to figure out how we can do things in different, innovative and cool ways,” Marmur said. “It’s not rare to have a conversation with a filmmaker about how their film can branch into other things.”
It has been a rollercoaster year for Netflix, but they’ve recovered from subscriber losses in the first half of the year and were back on top with gains made in Q3. Netflix now boasts 223 million subscribers, and is once again the world’s largest video streaming service. The Walt Disney Co. had briefly eclipsed Netflix in August when it reported its service had 221 million subscriptions, though there is some debate over how comparable the numbers are as Disney counts households that subscribe to its bundle package of Disney+, Hulu and ESPN+ as three separate subscriptions.
The company is also days away from launching its first ad-supported plan that debuts in the U.S. and 11 other markets in early November. The new option will cost $7 per month in the U.S., less than half the price for Netflix’s most popular $15.50-per-month plan without commercial interruptions.
But Goldberg and Marmur say they’re just concerned with putting their heads down and making great films.
“They’ve come so far so fast, it’s incredible,” Larocca said. "The legacy studios have tremendous advantages in terms of IP that they can draw from. It’s fun to see them start building their own franchises. They’re making big swings.”
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Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.
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