Music contents – Lotus And Rose http://lotusandrose.com/ Thu, 23 Jun 2022 01:49:31 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://lotusandrose.com/wp-content/uploads/2021/08/lotus.png Music contents – Lotus And Rose http://lotusandrose.com/ 32 32 Meet SOULstice | Sound stories and interviews | Fold | The Weekly Source https://lotusandrose.com/meet-soulstice-sound-stories-and-interviews-fold-the-weekly-source/ Wed, 22 Jun 2022 20:03:52 +0000 https://lotusandrose.com/meet-soulstice-sound-stories-and-interviews-fold-the-weekly-source/ youTypically this weekend many of you are gearing up for another part of the always amazing 4Peaks Music Festival. However, as most of you know, this year the festival will not take place. Thankfully, those disappointed by this shouldn’t worry, as the flagship festival is set to resume in 2023. And as always, 4Peaks Presents […]]]>

youTypically this weekend many of you are gearing up for another part of the always amazing 4Peaks Music Festival. However, as most of you know, this year the festival will not take place. Thankfully, those disappointed by this shouldn’t worry, as the flagship festival is set to resume in 2023. And as always, 4Peaks Presents has kept busy finding other ways to bring music into the center of Oregon in 2022.

This Saturday, music lovers can head to Silver Moon Brewing to hear live tunes from Boombox, The Hip Abduction, The Ben Larsen Band, Oregon Fryer and DJ iLko for a one-night musical extravaganza dubbed SOULstice.

Click to enlarge

  • Jenise Jensen
  • This is what a Boombox set usually looks like. Don’t miss the opportunity to experience these vibes in person.

“Because we don’t have the festival, I still wanted to do something. It’s not in place festival and there is no camping and none of the additional festival events, but I wanted to bring bands who wanted to play the festival and have a 4Peaks night at Silver Moon. It was a really cool opportunity to bring these bands to Bend,” said Stacy Koff, owner of 4Peaks.

In classic 4Peaks fashion, the range is impressive and showcases a great mix of styles, which Koff is very proud of.

“When 4Peaks puts on a lineup, whether it’s two or 22 bands, it’s eclectic but it usually flows together. Boombox is a band that I’ve wanted to play late night at the festival for a while. They’re really, really energetic and fun. The Hip Abduction is such a cool California reggae band that also dabbles in the jam scene. For them to be here on a sunny Saturday at SOULstice, they’re going to be awesome,” she says.

Portland’s Ben Larsen has previously played 4Peaks with Crow & The Canyon, but not with his latest band. They’ll be bringing a funkier folk-rock side to SOULstice, and Bend’s own Oregon Fryer, who is a local American favorite, always knows how to get the crowd moving. Then, to keep the party going, it’s another Bend local, DJ iLko, who brings positive energy to every set he takes on.

It would have been year 15 of the 4Peaks festival, and while Koff knows events like SOULstice can’t quite replace it, she still brings plenty of music to town with their Campfire Unplugged series held every Thursday night at Campfire. Hotel, with a variety of other occasional shows. Koff remains driven and enthusiastic about bringing talented musicians to central Oregon, even though she misses the madness of hosting such a big festival.

“It’s a bit bittersweet. People ask me if that’s a relief, but it’s not. It’s mixed. Having a multi-day camping festival here is so relevant to the community. , and it’s so funny. To bring that kind of quality music to the area, to get people like Billy Strings and The Wood Brothers to come play here. I’m a bit saddened, but excited to bring other bands to the area,” says Koff. “It’s almost like my body in June took on a life of its own. My brain and my physical self don’t know what to do [without the festival]. It’s weird not being completely out of my head with 5,000 moving parts. I love it and thrive on it. People always tell me it’s the start of their summer.”

Without the festival, Koff expresses hope that SOULstice will still be a great night. For fans of the festival and the music that 4Peaks brings to the community, purchasing tickets to SOULstice or one of their one-time shows can go a long way in ensuring the festival is able to do all it can. wants in 2023 after returning from his hiatus. What is brought only reinforces the types of musicians they can bring to the High Desert.

“Everyone loves coming to Bend. And we’re proud to take care of the artist,” adds Koff.

Soulstice
Sat. June 25, 5 p.m.-midnight
Silver Moon Brewing
24 NW Greenwood Ave.
$39, no extra charge

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Beyoncé: Break My Soul review – the house anthem doesn’t break the mold | Beyonce https://lotusandrose.com/beyonce-break-my-soul-review-the-house-anthem-doesnt-break-the-mold-beyonce/ Tue, 21 Jun 2022 11:22:00 +0000 https://lotusandrose.com/beyonce-break-my-soul-review-the-house-anthem-doesnt-break-the-mold-beyonce/ JThe last major musical statements the world heard from Beyoncé were Black Parade, an electronic rumble of anger against police brutality and racism that slowly morphed into a euphoric celebration of African American and African culture, and Be Alive. , his Oscar-nominated contribution to the soundtrack. of King Richard: a ballad set to a relentless, […]]]>

JThe last major musical statements the world heard from Beyoncé were Black Parade, an electronic rumble of anger against police brutality and racism that slowly morphed into a euphoric celebration of African American and African culture, and Be Alive. , his Oscar-nominated contribution to the soundtrack. of King Richard: a ballad set to a relentless, pounding beat that hammered home its message of black empowerment. They were, at least spiritually, one piece with the albums that preceded them in 2019, the Beyoncé-produced soundtrack for The Lion King, which thrust the sound of Afrobeats into the limelight, and the live recording of his extraordinary performance Coachella Retrouvailles: proof of an artist committed to taking musical risks, constantly moving forward and trying something different.

This makes the release of the first single from his upcoming album Renaissance all the more surprising. Rather than presenting its audience with something startlingly different, Break My Soul feels oddly familiar. It’s a mid-tempo house track around a keyboard bass sound that – without wanting to get too technical – closely resembles setting number 17 on the Korg M1 synthesizer. Even if you’ve never heard of a Korg M1 synthesizer, you’ve heard this sound: it’s the basis of the 1993 Stonebridge remix of Robin S’s Show Me Love and the 1992 remix of MK – or “Dub of Doom” from Nightcrawlers’ Push the Feeling On, two of the most influential house tracks in recent pop history.

Beyoncé: Break My Soul – vidéo

In Britain at least, we’ve heard plenty of pop singles that sound like one or both over the past decade. The vogue for reviving Robin S’s Show Me Love peaked in the mid-2010s, during the era of Kiesza’s Hideaway, Disclosure’s White Noise and covers of the track by Clean Bandit and Sam Feldt. Push the Feeling On was revived around the same time – you could hear its influence on Tinie Tempah and Jess Glynne’s Not Letting Go – and proved to be even more enduring. In 2020 it was sampled on both AJ Tracey’s Dinner Guest and Mist and Fredo’s House Party, and last year formed the basis of Riton x Nightcrawlers’ Friday, a European hit.

It’s worth pointing out that neither the original ’90s tracks, nor their latter-day successors, had the same impact in the United States as they had elsewhere. And Break My Soul is an extremely classy example of this type. It’s decorated with a bouncy piano line, raw-voiced interjections sampled by rapper Big Freedia, and a hook that irrevocably worms its way into your brain and features an impressive and unexpected 3-way pitch shift: 14. It offers an ever-changing chorus of harmony voices. and a generally fantastic lead performance: among the lyrics about quitting your job, letting go, and finding a new engine is the line “Bey’s back and I sleep really well at night”, which seems destined to join “Becky with the Good Hair” and “I Woke Up Like This” in Beyoncé’s pantheon of tirelessly quoted and swaggering lyrics.

It’s obviously going to be a huge hit, but it’s not a Single Ladies or Run the World or Crazy in Love either, the kind of Beyoncé single that stops you dead in your tracks: it feels like you’re following a musical trend rather than fix one. That said, one need only look at the kaleidoscopic content of his latest solo studio album Lemonade to realize that Break My Soul is probably not representative of the Renaissance as a whole: his albums tend to teem with ideas, whose 90s of Break My Soul house revivalism is arguably just one.

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Ukraine to restrict Russian books and music in latest Moscow culture break https://lotusandrose.com/ukraine-to-restrict-russian-books-and-music-in-latest-moscow-culture-break/ Sun, 19 Jun 2022 19:06:17 +0000 https://lotusandrose.com/ukraine-to-restrict-russian-books-and-music-in-latest-moscow-culture-break/ Misha, 5, who lost her mother weeks ago and was injured in a Russian strike, reads a book while staying in a basement of a hospital on March 26, 2022 in Mykolaiv. Bulent Kilic | AFP | Getty Images Ukraine’s parliament passed two laws on Sunday that will impose severe restrictions on Russian books and […]]]>

Misha, 5, who lost her mother weeks ago and was injured in a Russian strike, reads a book while staying in a basement of a hospital on March 26, 2022 in Mykolaiv.

Bulent Kilic | AFP | Getty Images

Ukraine’s parliament passed two laws on Sunday that will impose severe restrictions on Russian books and music as Kyiv seeks to sever many cultural ties between the two countries after Moscow invaded.

A law will prohibit the printing of books for Russian citizens, unless they give up their Russian passport and take Ukrainian citizenship. The ban will only apply to those who held Russian citizenship after the collapse of the Soviet regime in 1991.

It will also prohibit the commercial import of books printed in Russia, Belarus and occupied Ukrainian territory, while requiring special permission for the import of books in Russian from any other country.

Another law will ban the broadcasting of music by post-1991 Russian citizens in the media and public transport, while increasing quotas on voice and music content in Ukrainian on TV and radio broadcasts.

The laws must be signed by President Volodymyr Zelensky to come into force, and there is no indication that he opposes them either. Both received broad support from across the chamber, including lawmakers traditionally seen as pro-Kremlin by most Ukrainian media and civil society.

Ukrainian Culture Minister Oleksandr Tkachenko said he was “happy to welcome” the new restrictions.

“The laws are designed to help Ukrainian authors share quality content with the widest possible audience, which after the Russian invasion does not accept any physical Russian creative products,” he said on the website of the Ukrainian cabinet.

Derussification

The new rules are the latest chapter in Ukraine’s long road to shed the legacy of hundreds of years of Moscow rule.

Ukraine says this process, previously called “decommunization” but now more often called “derussification,” is necessary to undo centuries of policies aimed at crushing Ukrainian identity.

Moscow disagrees, saying Kyiv’s policy of entrenching the Ukrainian language in daily life oppresses Ukraine’s large number of Russian speakers, whose rights it claims to be defending in what it calls its “operation special military”.

This process gained momentum after Russia’s 2014 invasion of Crimea and support for separatist proxies in Ukraine’s Donbass, but took on new dimensions after the full-scale invasion began on February 24. .

Hundreds of places in Ukraine’s capital, Kyiv, have already been slated to be renamed to shed their associations with Russia, and a Soviet-era monument celebrating the friendship of the Ukrainian and Russian peoples has been torn down in April, drawing cheers from the assembled crowd.

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Pusha T could rap forever, but only on his terms https://lotusandrose.com/pusha-t-could-rap-forever-but-only-on-his-terms/ Fri, 17 Jun 2022 13:32:45 +0000 https://lotusandrose.com/pusha-t-could-rap-forever-but-only-on-his-terms/ Placeholder while loading article actions Pusha T considers himself a hip-hop loner, surveying the landscape with skepticism from a distance. Where some of his peers might benefit from the cumulative power of alliances, he prides himself on being alone. He is put off by the smoke and mirrors of the music industry, which he sees […]]]>
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Pusha T considers himself a hip-hop loner, surveying the landscape with skepticism from a distance. Where some of his peers might benefit from the cumulative power of alliances, he prides himself on being alone. He is put off by the smoke and mirrors of the music industry, which he sees through with piercing clarity. “Really, a lot of these guys are supposed to embody and champion the same s— that I represent,” he says. “But I see they don’t.” The isolation can be felt throughout “It’s Almost Dry,” the rapper’s latest album, which was his first to top the charts, and on which he often finds joy in the persona of the ruthless drug dealer who he embodied throughout his career.

The Virginia Beach native shot to fame with his brother as the brash half of hip-hop duo Clipse, and over the past two decades the self-proclaimed “Robb Report of the Snort” has honed his craft, finding a niche in the overlap between coke and luxury rap. Clipse’s run included two of the most acclaimed albums of the 2000s of any genre – 2002’s ‘Lord Willin’ and 2006’s ‘Hell Hath No Fury’ – and the Pusha T star continued to soar as he signed to Kanye West’s GOOD Music. label as a solo artist in 2010 as he reclaimed the aesthetic veneer of the notoriously peculiar rapper and producer.

At 45, Pusha T knows the trends of contemporary hip-hop well but doesn’t care. As Gen Xer fell in love with hip-hop in its early heyday, he has a particular affinity for lyricism. “I don’t think being lyrically good is outdated,” Pusha T said via Zoom call during a break from touring in support of “It’s Almost Dry.” His vision isn’t rooted solely in rigid pedantry either: it’s based on his tastes, but it’s also tied to what he’s achieved through a very specific approach.

Even with supreme confidence in his resume (“I don’t think anything is better than ‘It’s Almost Dry’ — at all,” he says with conviction), Pusha isn’t content to rest on his laurels. He is thinking about the future and wholeheartedly believes he can rap at a high level. Legacy is paramount to Pusha T, so every move he makes is in service of being remembered not only with respect, but also in accordance with his principles. “I want everyone to be able to look at my discography and be like, ‘This guy knew exactly who he was,'” he says.

Although he feels like a lone wolf, Pusha T has the good faith to work with whoever he wants. Jay-Z makes an appearance on “Neck & Wrist,” a haunting track from “It’s Almost Dry” on which the billionaire stands on top of his massive net worth to scorn peons with substandard jewelry. The album’s sonic backdrop was crafted almost exclusively by West and Pharrell Williams, two of music’s most esteemed producers who can bring out the best in Pusha T in different ways. He credits Williams – who, along with his Neptunes producing partner Chad Hugo, has blessed Clipse with many of their best and most abstract compositions – for encouraging him to resist boundaries. “There’s no ceiling to Pharrell’s creativity, and he pushes you to have no ceiling with what you want to do, musically,” he explains.

Meanwhile, Pusha T describes working with West as a “humiliating” experience at times because West pushes him to edit himself. That’s no surprise, given West’s history of sticking to deadlines and updating his work last minute, even after it’s been released. “Kanye could hear a verse from me and say, ‘Oh my god, that was so awesome,'” he says. “Then he’ll live with the verse for two days and say, ‘Hey man, I think you could change like three things. And I’ll say, ‘But you were just happy the other day,’ and he’ll say, ‘Yeah, but I’ve lived with it and I think it could be better.’

Yet it is Williams who demands more from Pusha T, constantly pushing him out of his comfort zone. “Me and Kanye are very similar in our love for hot 16, rap mixtape, hard verse and things like that,” he says. “Pharrell loves all those things, but he wants them in a hit record.” This led to debates between Pusha T and Williams during the making of “It’s Almost Dry”, but the clashes were productive as they challenged Pusha T to do his best – in terms of lyrics, flow and of delivery – to convince Williams. “And that’s where the arm wrestling comes in, and we make a record like ‘Call My Bluff’ and you get to that point where we’re all extremely happy,” he says.

“I think he hits with karma and loves to deliver it with a heartless expression in any way,” says Williams, who has known Pusha T since the latter was in high school. “So when you look at the music from that particular album, we allowed people into the other sections of the library of his mind.”

Pusha T believes that enlisting the two greatest figures in his artistic development is essential to staying sharp as long as possible. He’s at a point in his career where traditionally the popularity of many rappers has waned. “I feel like everyone who was great before me – and I’m talking about the golden age, which I was a fan of as a kid – you realize it was just three or four albums,” he says. “The albums are amazing, but when you realize how short the window was, it’s crazy.”

This changed during Pusha T’s career. He points to Jay-Z as an artist who continued to have great success while maintaining his skills in his 50s, but also considers Jay-Z to be part of an era. hip-hop that precedes it. Pusha T believes his particular generation of rappers can be the first to show that they can be excellent, in a technical sense, throughout their careers. “I actually want to be competitive in the space and match what I’m doing to what’s most popular at the time and see how it rises,” he says. And naturally, he absolutely believes in the enduring presence of his music over what’s popular: “You can have the A’s and B’s – put them side by side – and mine stands the test of time.”

The Pusha T who is angered by French fashion house Lanvin’s poor pronunciation on the “C’est almost sec” cut “Dreamin of the Past” is far removed from the cheeky young artist who announced: “Playas, we are not not the same – I’m into ‘caine and guns’ in the intro of Clipse’s debut album However, Pusha T’s biggest criticism is that he is one-dimensional and his cocky drug dealer shtick has become obsolete A Variety review of the new album spoke of disappointment that Pusha T, who is now a married father, remains so devoted to coke rap when he has the ability to tap into other subjects and show growth. To call its supposed development arrested overlooks the evolution that has unfolded in broad daylight.

Street rap is Pusha T’s genre, and coke rap the specific subgenre he is a supporter of. He frequently talks about selling drugs, but he’s able to do it with some depth and variation under the umbrella of street rap. “Nightmares”, from “Hell Hath No Fury”, is heavy with paranoia. “SNITCH,” from Pusha T’s debut solo album, “My Name Is My Name,” is an ode to betrayal. “Brambleton,” the hypnotic opener to “It’s Almost Dry,” strikes a similar chord, but finds Pusha T getting deeply personal and addressing former Clipse executive Anthony “Geezy” Gonzalez, who spent time in a federal prison for running a major drug operation, with cutting beards (though clearly injured).

“It’s Almost Dry” also finds Pusha T experimenting with different flows and pockets, such as on the quirky “Neck & Wrist”, the demonic rush of “Let the Smokers Shine the Coupes” and the icy “Brambleton”. “The way he delivers it, that’s where we kind of shook the tree this time,” Williams says.

“Lyrically, his rhymes have become more eidetic,” says music journalist and broadcaster Brian “B. Point” Miller. “Sonically, he’s ready to experiment with new sounds like on ‘Numbers on the Board’. and “Infrared”, songs from 2013 and 2018, respectively.

In any case, the criticism of stagnation carries little weight with Pusha T, who is more focused on specific tasks that are directly in front of him at the moment.

The Something in the Water festival, which Williams launched in her hometown of Virginia Beach in 2019, will take over the National Mall when she returns this weekend. Williams chose to move the festival following his disapproval with the response of city officials after police shot and killed his cousin Donovon Lynch in 2021. “I just don’t think the powers that be were respectful of this that Pharrell brought to Virginia Beach, so he called for a relocation,” says Pusha T. “DC has always been near and dear to the hearts of Pharrell and me.”

Pusha T was already on the massive roster of performers, but he says he received a special request from Williams’ team just over a week before the event. According to Pusha T, they wanted him to ask his brother, No Malice, to join him for a Clipse meeting. No Malice agreed, confirming the third iteration of a Clipse reunion this year after the brothers reconnected with Japanese streetwear icon and Clipse enthusiast Nigo “I Know Nigo!” compilation album and the culmination of “It’s Almost Dry”. “Even though it’s small, one-off things, it’s just a reminder — especially those verses — that the Clipse might actually make an album tomorrow and people would love it,” says Pusha T.

Having served as president of GOOD Music since 2015, he says he can see himself as a label boss opening doors for other Virginia artists down the line. “I think there’s so much talent coming out of Virginia, but just because of the history and the landscape and the way things happened, I feel like we were really big artists, but we never really built the infrastructure,” he says. “So that’s something I’d like to see and something I’m undertaking.”

But first, he wants to release additional music with Williams and West as masters. “I don’t really try to exploit new frontiers if we don’t create them together,” he says. “I don’t run after the sound of the moment.” He also wants to release music more often because he thinks it would make it easier to have a conversation about how his work compares to the sound of the moment.

Pusha T’s combination of assertiveness and rigor could convince most that he would at least be try rap until he can’t anymore. But he recognizes that he can see his end in hip-hop. It would come on his terms, of course: he’ll quit if he can’t create what he wants, how he wants, with whom he wants.

“I only want to do this one way,” he says. “I’m just thinking about discography now, and I want mine to have a certain feel. If I can’t do that, then yes, I can be done.

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Turn photos into video slideshows Instagram, TikTok https://lotusandrose.com/turn-photos-into-video-slideshows-instagram-tiktok/ Wed, 15 Jun 2022 17:46:46 +0000 https://lotusandrose.com/turn-photos-into-video-slideshows-instagram-tiktok/ AARP Instagram will suggest music you can use for your Reel soundtrack (left), and you can use one of the suggested tracks or search for one; you can also change the reel to change the display length of each photo (center); Finally, you can add a title to your reel and tags to help it […]]]>


Make Instagram Reels

Reels are short videos up to 90 seconds long that you can create on Instagram. They appear in your content feed.

To create a coil, click the + button at the top right, next to the hearts and notifications tab, and select Reel. If this is your first time doing this, you will need to allow Instagram to access your camera and microphone.

You can record a new reel on the spot by clicking the white record button and recording the live video. But for our purposes, we want to create a reel from your photo library, so select the bottom left thumbnail, the one with a circled + inside. This will take you to your photo library.

Click it top right icon, which looks like a square with a border. This allows you to select multiple photos. Choose the photos you want to use, starting with the one you want to see first. When you’re done, click Next.

Instagram will suggest music for a soundtrack with a list of songs that the algorithm has decided to match your photos. Instagram will automatically sync music with your photos.

You can also search for different songs to add. Meta has licensing agreements with many major labels, allowing short use of the songs in Reels. But you won’t be able to use more than 30-60 seconds of a song. If your video is longer, you will have to accept the preselected royalty-free song, which will be longer.

You can publish the slideshow as is or tweak it.

Instagram asks you if you want to edit the clips. You can make the photos appear on the screen longer or shorter by dragging a slider outside the clip. You can also add a clip or two or rearrange the photos. Enjoy.

When you’re done, create a title for the video, add tags to make it easier to find, and click To share.

You can also click on a tab to share it directly to Facebook from the Share menu.

Pro tip: You can create a Reel directly on Facebook from your mobile phone, but only with video clips. The creation process is the same, starting with selecting multiple clips, choosing an order for them, and choosing the music. However, on Facebook, the delay is 90 seconds.

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JOIN OUR TEAM: TMO Hires Marketing Specialist | Texas Music Bureau | Texas Governor’s Office https://lotusandrose.com/join-our-team-tmo-hires-marketing-specialist-texas-music-bureau-texas-governors-office/ Mon, 13 Jun 2022 18:52:35 +0000 https://lotusandrose.com/join-our-team-tmo-hires-marketing-specialist-texas-music-bureau-texas-governors-office/ June 13, 2022 | News | Newsletter | Sensitization The Texas Music Office is a small but mighty team. We are very grateful for the wonderful work done by our friend, Marc Fort, during his 16 year tenure at TMO. His contributions and hard work have been invaluable to the Texas Music Office and so […]]]>

June 13, 2022 | News | Newsletter | Sensitization

The Texas Music Office is a small but mighty team. We are very grateful for the wonderful work done by our friend, Marc Fort, during his 16 year tenure at TMO. His contributions and hard work have been invaluable to the Texas Music Office and so many of its members. We hate to see him go, but we wish him well as he moves on to his next opportunity at the Health Alliance for Austin Musicians. We know he will bring the same initiative and care that he brought every day during his time at TMO. Thank you for your service, Mark!
-Brendon Anthony, Director
Texas Music Bureau

The Texas Music Bureau looking to hire a marketing specialist. The TMO Marketing Specialist is assigned to the Office of the Governor of the Texas Music Office (TMO) within the Office of Economic Development and Tourism (EDT) and reports to the Director of the Texas Music Office. Job duties include: performing complex marketing work (at the journey level), coordinating and conducting general office operations, managing TMO’s social media, coordinating media requests with the OOG press office and special projects, as assigned.

Job number: 2022-103

  • TWC job number: 15332313
  • Opening date : 02/6/2022
  • Travel required: 5%
  • Monthly pay: $4,150.00 – $4,828.30 /month
  • Job location: Austin, TX
  • Group stage: B19
  • To classify: 1824

Veterans, reservists, or members of the Guard can compare this position to Military Occupations (MOS) at the Texas State Auditor’s Office.

Omission of data on the state application is grounds for disqualification of the application.

Only interviewed candidates will receive notice of the final decision of the selection process.

OOG employees applying for a position in the same compensation group, if selected, will be transferred laterally with a maximum salary increase of 3.4%.

Advantages

  • Defined benefit pension plan.
  • 401(k) and 457 accounts optional.
  • Medical Insurance – The state pays 100% of the health plan premium for eligible full-time employees and 50% of the premium for their eligible dependents. The state pays 50% of the premium for eligible part-time employees and 25% for eligible dependents.
  • Optional benefits such as dental, vision and life insurance.
  • 8 hours of sick leave per month and 8 hours of vacation per month with the possibility of earning more with longevity. The hours of the part-time employee are proportional without longevity.
  • Telecommuting program – telecommuting opportunities are available upon request. Reliable internet is required. Alternative working hours and telecommuting can be discussed with the hiring manager during the interview process.

General description

The TMO Marketing Specialist is assigned to the Office of the Governor of the Texas Music Office (TMO) within the Office of Economic Development and Tourism (EDT) and reports to the Director of the Texas Music Office. Performs complex marketing work (at the journey level). Coordinates and directs general office operations, TMO social media management, coordination of media requests with OOG press office and special projects as assigned. Demonstrates efficiency, superior customer focus and strong interpersonal effectiveness whether communicating with others over the phone, electronically or in person. Researches and responds to marketing questions from constituents, collaborates with other OOG marketing staff and various internal and external TMO/EDT business partners and stakeholders. Works under general supervision, with moderate latitude to exercise initiative and independent judgment.

Core Tasks

  • Monitors incoming communications to TMO general email, TMO social media accounts and telephones during normal business hours, ensuring they are covered at all times and assigns communication accordingly.
  • Responds to a high volume of complex and routine information requests – written and oral.
  • Performs general office duties such as ordering supplies, keeping books and managing mail as needed.
  • Prepares and corrects advertising, communications and marketing reports as required.
  • Participates in the coordination and verification of Internet and interactive advertisements and promotions on social media.
  • Assist in writing, editing and/or distributing the division’s advertising plan and information and marketing materials as directed.
  • Handles sensitive documents/information and maintains data confidentiality at all times.
  • Represents the TMO at events, conferences, trade shows or other music industry events as required.
  • May represent the Tourism Division at meetings and events.
  • Provides administrative and technical assistance as directed, including managing files, contacts, and calendars as directed.
  • May assist in the development of policies and procedures.
  • Train others as needed.
  • Remains knowledgeable of division and OOG initiatives, operations, new releases, web content, programs, statewide trends, OOG policies and procedures.
  • Contributes to various TMO initiatives, as directed, and helps maintain databases.
  • Compiles, writes and/or edits reports and briefing materials, as requested.
  • Maintains a regular work schedule. May work extended hours as required.
  • Performs any other related duties assigned.

Minimum qualifications

  • Degree from an accredited four-year college or university; and
  • Three (3) years of experience in marketing and/or communications, office work, program support or a customer service related position.

Note: Experience and education can be substituted from year to year.

Preferred qualifications

  • Bilingual in Spanish.
  • Experience in the music industry.

Knowledge, Skills and Abilities Requirements

  • Knowledge of local, state and federal laws and regulations pertaining to the music industry, economic development and/or tourism.
  • Knowledge of training techniques and current marketing practices.
  • Competence in customer service.
  • Ability to gather and analyze accurate and relevant information.
  • Ability in written and verbal communication.
  • Competence in the use of standard office equipment, personal computers and software applications including the Microsoft Office suite.
  • Ability to provide exceptional customer service to internal and external customers.
  • Competence in inventory management, planning and general organization.
  • Organizational, record keeping and maintenance skills.
  • Ability to maintain professionalism and confidence under stress.
  • Ability to implement administrative procedures and interpret rules, regulations, policies and procedures.
  • Ability to establish goals and objectives, devise solutions to administrative problems.
  • Ability to work in a team environment.
  • Ability to communicate effectively and train others as needed.
  • Ability to identify problems, evaluate alternatives and implement effective solutions.
  • Ability to maintain confidentiality.
  • Ability to maintain effective working relationships with diverse groups of people inside and outside the agency.
  • Ability to show initiative and creativity.
  • Ability to exercise discretion and good judgment in making critical decisions.

Registration, certification or license

Valid Texas driver’s license.

Physical requirements and/or working conditions

This classification works in a standard office environment. Ability to move up to 20 lbs. Ability to drive and travel as required. Will need to move around the office to access filing cabinets, office machines, set up conference rooms for meetings, etc. Must be able to communicate and exchange accurate information by phone, computer and in person. Must be able to observe and evaluate data in a variety of formats including paper, electronic and multimedia formats. Repetitive use of a keyboard at a workstation. Work with overlapping projects and deadlines. Work as a team member. Have direct contact with the customer. Must be able to work hours during a legislative session that include holidays and as needed.


How to register

Applications are received only through Work In Texas. The OOG requires that all sections of the state application be completed. Omission of data on the state application is grounds for disqualification of the application. Requests for accommodations should be made to the Human Resources office as early as possible in the application/employment process.

Apply online for work in Texas

Equal Opportunity Employer

The Office of the Governor is an equal opportunity employer. The Immigration Reform and Control Act of 1986 requires all new employees to submit proof of eligibility to work in the United States within three (3) days of hire. The Governor’s Office participates in E-Verify and will provide the Social Security Administration (SSA) and, if necessary, the Department of Homeland Security (DHS) with each new employee’s Form I-9 information to confirm the work permit. Male applicants between the ages of 18 and 25 must show proof of Selective Service registration (or exemption) before a job offer is extended. It is not necessary to file such proof with an application, but must be provided upon request by the Human Resources office. For more information regarding Selective Service registration, you can visit www.sss.gov. View a copy of the Agency’s Equal Employment Opportunity Utilization Report.

Notice to applicants who may require reasonable accommodations during the interview process

Applicants with disabilities who may need to discuss special accommodations during the interview process should email the OOG Reasonable Accommodations Program Manager or call the Human Resources Department at 512-463-5873. If reasonably possible, please call at least 48 hours in advance to allow our representative and the hiring division sufficient time to properly review and coordinate your request.

Contact Human Resources

(512) 463-5873

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Friendship and Classical Music: Carson High grad to perform at the Brewery Arts Center | Carson City Nevada News https://lotusandrose.com/friendship-and-classical-music-carson-high-grad-to-perform-at-the-brewery-arts-center-carson-city-nevada-news/ Sat, 11 Jun 2022 17:17:47 +0000 https://lotusandrose.com/friendship-and-classical-music-carson-high-grad-to-perform-at-the-brewery-arts-center-carson-city-nevada-news/ Event date: June 27, 2022 – 7:00 p.m. Monday, June 27 at 7 p.m., Chyornii & Dorado will present a program of classical chamber music at the Brewery Arts Center in Carson City. Admission will not be charged, but virtual and cash gratuities will be available and encouraged. Chyornii & Dorado has been selected to […]]]>

Event date:

June 27, 2022 – 7:00 p.m.

Monday, June 27 at 7 p.m., Chyornii & Dorado will present a program of classical chamber music at the Brewery Arts Center in Carson City. Admission will not be charged, but virtual and cash gratuities will be available and encouraged.

Chyornii & Dorado has been selected to perform at the International Clarinet Association conference in Reno. Although this conference is closed to the public, we wanted to make sure we had the opportunity to share this music with the community – especially since this is the very community that I am from. The program will feature music from Mozart to emerging composers like Isaac Smith. Smith, a Sacramento native, wrote this piece for our album and said “working with (C&D) has been one of the most fruitful and rewarding experiences of (his) life.”

Chyornii & Dorado was founded when Carson-born saxophonist Jessica Dodge met clarinetist Anthony Aguayo while in graduate school at the University of Oregon.

While the saxophone and clarinet aren’t a common ensemble, C&D has created music to play by commissioning new works from composers and transcribing (stealing!) music from other ensembles. They released their debut album Black & Gold in November 2019 and patiently waited for the end of the pandemic to perform the music from this project in front of a live audience.

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Lil Bibby details his struggles with managing Juice WRLD’s music https://lotusandrose.com/lil-bibby-details-his-struggles-with-managing-juice-wrlds-music/ Wed, 08 Jun 2022 19:32:00 +0000 https://lotusandrose.com/lil-bibby-details-his-struggles-with-managing-juice-wrlds-music/ Lil Bibby led Juice WRLD before and after his untimely death. Two years later, the rapper-turned-manager opened up about the struggles he faced while managing Juice’s business. In a series of tweets he posted on Wednesday morning, June 8, Bibby expressed his frustration at trying to keep both the late rapper’s estate and his fans […]]]>

Lil Bibby led Juice WRLD before and after his untimely death. Two years later, the rapper-turned-manager opened up about the struggles he faced while managing Juice’s business.

In a series of tweets he posted on Wednesday morning, June 8, Bibby expressed his frustration at trying to keep both the late rapper’s estate and his fans happy. The Chicago native, who heads up Grade A Productions, spoke about the backlash he’s received from fans who continually yearn for more new music from Juice while accusing him of profiting off the tragic death. of the rapper.

“People say we don’t put out enough music but then they say we do it for the money,” Bibby tweeted. “I’ll do my best, but I’m human and I have feelings. It’s not an easy job. People make crazy allegations and say hurtful things. I want to release music because I know that it’s what Juice wanted and I know the fans want it, but sometimes I just want to quit.

Lil Bibby has overseen Juice WRLD’s music since signing the rapper to his Grade A Productions label in 2017. The label partnered with Interscope to release the rapper’s debut album. Goodbye and good riddance in 2018 followed by Death race for love one year later. After Juice passed away in December 2019, Bibby began releasing more of the late rapper’s music as her own. legends never die album in 2020 and Fight the demons in 2021.

Grade A reportedly plans to release another posthumous Juice WRLD album called The party never ends. However, Bibby threatened to cancel those plans after several songs from the album leaked earlier this year.

“These leaks are spiraling out of control,” he wrote in a Twitter DM shared on social media. “I hope all the fans are happy, the endless party could be canceled if all this leaks.”

We’ll see Bibby follow through on her plans for a new Juice WRLD album. As of now, no release date has been confirmed.

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Review of the American Symphony Orchestra — superb soloists in a mixed evening https://lotusandrose.com/review-of-the-american-symphony-orchestra-superb-soloists-in-a-mixed-evening/ Tue, 07 Jun 2022 04:00:02 +0000 https://lotusandrose.com/review-of-the-american-symphony-orchestra-superb-soloists-in-a-mixed-evening/ To paraphrase a popular quote, is arguing over music like dancing over architecture? Because an American Symphony Orchestra concert is almost invariably a dispute over the music presented by conductor and music director (and president of Bard College) Leon Botstein. And, as if to dance to architecture, some angles line up beautifully while others are […]]]>

To paraphrase a popular quote, is arguing over music like dancing over architecture? Because an American Symphony Orchestra concert is almost invariably a dispute over the music presented by conductor and music director (and president of Bard College) Leon Botstein. And, as if to dance to architecture, some angles line up beautifully while others are mismeasured.

For Sunday night’s American Masters program, the argument was strange: three works from 1986 to 1998 and a world premiere that, in Botstein’s words, reflect “how music . . . has changed in recent decades. But the concertos of Melinda Wagner and Richard Wernick, that of Shulamit Ran Symphonyand the novel by Roberto Sierra Fiction could in no way even approach this task. From one piece to academic tonal modernism, the program overlooked so much important music from the past 30 years, as if Bang on a Can had never happened.

That still left a substantial concert with some excellent soloists. For Wagner’s Concerto for Flute, Strings and Percussion, it was flautist Tara O’Connor. Matthew Lipman performed Wernick’s Viola Concerto and Sierra’s piece was written for electric violinist Tracy Silverman. Each gave superb performances, although not all were sufficiently supported by Botstein.

Tara O’Connor performs Melinda Wagner’s Concerto for Flute, Strings and Percussion

As the conductor can limit his own point of view, his technique has shortcomings. His conducting has few nuances and modest dynamism, and he seems incapable of handling the details of complex rhythms. This doesn’t necessarily mean that the ASO is playing badly, but some pieces seem better prepared than others.

That was the problem with Wagner’s concerto. As O’Connor played with great agility and expressive energy to complement her liquid gold tone, the orchestra sounded stiff behind her, lacking in spring and sensitivity, as if each were so focused on their own parts that he couldn’t get along. other. Wagner’s leaping harmonies and intriguing colors promise much more than has been heard here.

Fiction and the Viola Concerto were quite different. Silverman can be heard on John Adams The Dharma in Big Sur and masters the technical possibilities of the six-string electric violin; he can shred like a rock guitarist in front of an orchestra. Fiction was inspired by the stories of Jorge Luis Borges and, like these, the music was a combination of dazzling and mysterious, with excellent orchestral playing. Silverman actually shredded.

A male violist stands in the middle of an orchestra

Viola player Matthew Lipman plays Richard Wernick’s Viola Concerto

Wernick’s concerto is in two movements according to Dylan Thomas: “Do not go soft. . . ” and ” . . . in this good night”. It has a repeated five-note phrase above a collection of detailed and precise sound daubs. Lipman was outstanding, with a velvety sound, filling every sentence with meaning. It was a masterful performance.

ASO gigs tend to be long, and after nearly two hours, Botstein’s hammer-like rendition of Ran Symphony was overwhelming. The orchestra seemed engaged but awkward, though the final movement had real energy, with the players anticipating every note to come.

★★★☆☆

lincolncenter.org

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Met police profiling children ‘on a large scale’, documents show | Metropolitan Police https://lotusandrose.com/met-police-profiling-children-on-a-large-scale-documents-show-metropolitan-police/ Fri, 03 Jun 2022 05:00:00 +0000 https://lotusandrose.com/met-police-profiling-children-on-a-large-scale-documents-show-metropolitan-police/ Metropolitan Police documents say the force collected ‘personal data of children’ from social media sites as part of a ‘large-scale profiling’ scheme. The Met says the program, known as Project Alpha, helps tackle serious violence, collected intelligence identifying offenders and securing removal of videos glorifying stabbings and shootings on platforms such as YouTube. The unit, […]]]>

Metropolitan Police documents say the force collected ‘personal data of children’ from social media sites as part of a ‘large-scale profiling’ scheme.

The Met says the program, known as Project Alpha, helps tackle serious violence, collected intelligence identifying offenders and securing removal of videos glorifying stabbings and shootings on platforms such as YouTube.

The unit, made up of more than 30 staff and launched in 2019 with funding from the Home Office, roams social media sites watching drill music videos and other content.

A Met document, seen by the Guardian, says the project will “perform large-scale profiling”, with men aged 15 to 21 at the center of the project. After being questioned, the force said it was a mistake.

The blunders encountered on an earlier anti-gang database have helped fuel concerns about Project Alpha, children’s privacy and police focusing on young black children for signs of criminality.

Stafford Scott, a community campaign veteran, said he feared the project was part of an ongoing assault on young black people. “Young people use social media to magnify their lived experience. It’s a projection tool, you can’t rely on it for detection,” he said. “It’s racially motivated, racially motivated and involves racial stereotypes.”

The Met says it scoured the system for signs of racial bias in an equality impact assessment and found none.

Project Alpha started in June 2019 and is supported by the Home Office, which has provided nearly £5million. Although heavily redacted, the new document dated December 2020 provides new details.

It is a data protection impact assessment and includes questions examining compliance with data protection laws and principles, as well as responses from those managing the program. It was first obtained through a Freedom of Information Act request from investigative organization Point Source.

The document says men between the ages of 15 and 21 will be targeted and promises not to share information about young people without a “compelling” reason.

To the question “will there be systematic surveillance or profiling on a large scale or in a public place? the answer is “yes”, but the rest of the answer is largely masked.

To the question “will the project carry out large-scale profiling?”, the box of “yes” was checked by the Met. The response continues: “The meaning of large scale is not defined in the Data Protection Act 2018. But it may include activities such as using existing data to identify [an] person for operational or review purposes.

When asked if the project “will process personal data of children for profiling or automated decision-making purposes…or for marketing purposes…”, the police replied “yes” and added: “The project is focused on reducing serious youth violence and many of those directly or indirectly involving are under 18 years of age. A full name and gang affiliation must be registered, he says.

In its first statement to the Guardian about the document, the Met said: “The inclusion of the 15-21 year old demographic[s] former was a mistake. As we do not engage in ‘wide-scale profiling’, we cannot provide demographic data about those involved in downloading harmful content online. We do not seek to identify any personal information about those posting the videos and as such we hold limited personal data (mainly only the videos themselves).

Asked why officers had ticked ‘yes’ in a box asking if the project would ‘perform large-scale profiling’, the Met added: ‘The tick in the yes box in point 10 of this first response is incorrect. .”

The force declined to give the number or age of those Alpha is watching, or general criteria such as the need to suspect an individual.

The document says the program was designed to “combine, compare, or match data from multiple sources” and uses new technologies or the “new use of existing technologies.”

It says gangs are responsible for four in 10 non-domestic and terrorist murders, six in 10 shootings and one in five non-domestic stabbings where the victim is 25 years of age or younger.

In the document, the police justify their decision not to tell the young people that they are “subject to [the] the interest of the Alpha project because it can have an impact on their behavior and lead to more crimes”.

Trust in the Met was damaged after the Information Commissioner criticized it for its gang matrix and issued an execution notice in 2018. The Matrix, listing suspected gang members and their risk of committing violence or being victimized, was called racist by Amnesty International and after pressure the Met said they had changed it.

Emmanuelle Andrews, of human rights group Liberty, said: “This surveillance and tracking of young people and children is deeply concerning, impacting their right to express themselves and participate in friendly and community networks. This can have serious consequences for their future, such as their ability to access housing, education and work.

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“Police surveillance of the type carried out by the Met under Project Alpha and the gang matrix does not address the causes of serious violence – it only serves to criminalize and harass young people, especially young people. young black men and boys.”

In an interview with the College of Policing, Alpha Project Manager PC Michael Railton hailed its benefits. “After decoding the hyper-local context of the lyrics, hand gestures and symbolism of visual content used by aspiring rappers, we identified threats and proactively intervened to prevent the escalation of violence,” did he declare.

The Met told the Information Commissioner that Alpha had helped identify intelligence gleaned from social media about violence and people committing offences, as well as tracking down wanted offenders: “The team is collecting “open source” information which is information collected from social media accounts (both private and open), websites and mainstream media. They also collect post-event information, such as the location of incidents related to gangs have occurred and relevant online comments.

“The project to date has brought to light threats and risks that otherwise would not have been identified by other policing methods.”

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