DOCSLIB.ORG

Waupaca County Fair Announces a Grand Celebration!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Waupaca County Fair Announces a Grand Celebration! FOR RELEASE 2/19/19 Media Contacts Samantha Williams, 615-618-7646 [email protected] Waupaca County Fair Announces A Grand Celebration! Weyauwega, WI- The Waupaca County Fair brings you a “A Grand Celebration” for 2019 and they proudly announce their live music for the Grandstand Main Stage, which is produced by AStar Promotions, a Nashville based entertainment company with offices in Wisconsin and Chicago. You may have followed his journey to the Top 2 on NBC’s The Voice, during Season 15, or heard his Top 5 Country song, “Human”, but now you can experience Chris Kroeze headlining performance live and open to ALL ages on the Grandstand Stage at The Waupaca County Fair on Wednesday, August 21st! Singer/songwriter, Kroeze is from Barron, Wisconsin, and connects with both the hearts and minds of audiences across various generations through his genuine country soul and his unique and alluring vocal delivery. He captured the hearts of millions of fans from coast to coast with his humility and small-town country boy nature. With guidance from his coach and mentor, Blake Shelton, he continued to wow audiences, week after week. Strap yourself in and hang on, there’s more! This is one of the stops on the “Three of Kind” Tour – and two other amazing Artists will be performing that night including, Walker Montgomery! Walker Montgomery is a country singer from Nicholasville, Kentucky. Walker's love of music comes naturally; he is the son of multi-platinum selling country music star, John Michael Montgomery, and the nephew of Eddie Montgomery, of Montgomery Gentry. In addition, to his family musical influences, Walker is inspired by a wide variety of musicians ranging from Randy Travis to Frank Sinatra to Luke Bryan. Walker’s new EP “Simple Town” is available now. And kicking Wednesday night off will be Nashville Recording Artist, Derek Joseph! If you like rockin’ country, southern rock or classic rock, then you will love the edgy sound and high energy performance of Derek Joseph. He’s opened for major artists like Trace Adkins and Locash, he’s performed at Milwaukee’s Summerfest and at numerous stages during CMA Fest in Nashville. He’s also a former house band for the world famous Wildhorse Saloon in Nashville. He’s currently in studio recording his new EP with producer Eddie Kilgallon (of Montgomery Gentry) which will be out this summer. He’s no stranger to the stage and he’s coming to the Waupaca County Fair to rock your country! You won’t want to miss this show! Produced by Produced by Thursday, August 22nd brings you “A Bombastic Celebration of Arena Rock” with Hairball! Back by popular demand…Hairball is back for a second year! Hairball is a Rock & Roll experience you won’t forget. A band puts on a concert – Hairball puts on an event! The lights, sound, video screens, smoke, fire, blood, bombs, confetti, spiders, snakes & monsters (oh my) and the screaming hoards of rabid Hairball fans create an event – an event that hits you so hard, it’ll take a few days to recover! Rock & Roll will NEVER die!!! Vocalists Bobby, Steve and Joe Dandy lead the band through a 2+ hour, mind-blowing, and drop-dead accurate homage to some of the biggest arena acts in the world. Van Halen, KISS, Motley Crue, Queen, Journey, and Aerosmith are but a few of the acts fans will see brought to life. The Hairball stage becomes an entirely new rock concert before your very eyes countless times throughout the night. The motor that drives the Hairball dragster consists of Freaky on the electric bass, Blake on the drums, and Happy on the lead guitar. These Rock & Roll soldiers pride themselves on nailing some of the most memorable licks and chops of all time, while adding their own style and flare that they’ve cultivated over decades of tireless performing. These guys live and breathe Rock & Roll! 2019 finds Hairball celebrating its 19th year of rocking hundreds of thousands of people across the country. Every day it adds more characters, more pyrotechnics, more lights, more sound, more props, more surprises…more everything! While Happy often tells the audience “Today is the first day is the rest of your life!” Hairball performs every show as though it could be its last. Every night is a 100% full-on, no-holds-barred, exciting, chaotic, fiery party that has to be experienced to be believed! As important to Hairball as the music are its fans. While many bands claim to have the best fans in the world, Hairball actually has! Whether they’re 8 or 85, Hairball fans bring an unparalleled enthusiasm and energy to the show that completes the Arena Rock experience. Hairball knows it wouldn’t exist without its fans, and takes every opportunity to let them know that. Whether it’s a pre-show meet and greet, hanging out at the merch booth, or chatting online, Hairball has a lot in common with its fans and it’s always a good time when they get together. Don’t confuse Hairball with the countless “’80s Tribute” bands across the country. Hairball is an event; an attitude and expression of music and showmanship that isn’t a retro-flashback. It’s a way of life…and it’s not going away! Hairball has sold out shows across the country. You’ll want to get your tickets early! Produced by Produced by And to Double Your Rock Experience on Thursday night, Artists, Hollywood Blvd with special guest Kid Kentucky will start your motor and get you rockin’ with their live performances! Hollywood Blvd comes direct from Music City USA, they are a premiere 80s rock band who have been opening up for major rock acts across the country. Making a special guest appearance will be Kid Kentucky, the southeast’s #1 Kid Rock tribute performer. He’s also just been cast for a major motion-picture film playing Burt Reynold’s part as “The Bandit” – The first 100 tickets sold for this Thursday’s night show will receive meet and greets with photo opportunities for these rockin’ openers! Get your tickets early and let’s ROCK the fair! You’ll find that the Waupaca County fair is A Grand Celebration in 2019! It’s a family friendly experience which is value packed with great music, thrilling Grandstand events (more info coming soon!) and unique attractions and activities. There’s something for everyone! Mark your calendar to get your tickets for the Grandstand Concerts and thrilling events. Tickets are scheduled to go on-sale March 15th 2019. There will be a limited amount of VIP packages, reserved track seating, and reserved grandstand seating. Some general admission tickets will be offered. Be sure to watch for more info on the Grand Entertainment Ticket Package which will be on sale for one month only or while supplies last. Advanced ticket sales include your gate admission, saving you $7. With covered seating, the ability to select your seats, meet and greet opportunities and gate admission included, fans will want to buy early. Be sure to visit us and get your tickets at: WaupacaCountyFair.Org starting March 15th 2019 and follow us on Facebook for the latest information. And don’t keep all the excitement to yourself – tell a friend! Anyone interested in becoming a sponsor, supporting the event, making a donation to this 501C3 organization, or volunteering, should contact: [email protected] And get social with us on: Facebook, Twitter and Instagram for the latest and greatest information on your Waupaca County Fair. Waupaca County Fair Socials: WaupacaFair @WaupacaFair Produced by Waupaca County Fair https://www.facebook.com/WaupacaCountyFair/ Waupaca Fair Main Stage https://www.facebook.com/Waupacafairmainstage/ Artist Info: https://www.chriskroezemusic.com/ https://www.walkermontgomery.com/ http://www.derekjoseph.net/ http://www.hairballonline.com https://www.facebook.com/HollywoodBlvd80s/ https://www.facebook.com/kidkentucky/ Produced by .
Load more

Recommended publications
  • B2 Woodstock – the Greatest Music Event in History LIU030
    B2 Woodstock – The Greatest Music Event in History LIU030 Choose the best option for each blank. The Woodstock Festival was a three-day pop and rock concert that turned out to be the most popular music (1) _________________ in history. It became a symbol of the hippie (2) _________________ of the 1960s. Four young men organized the festival. The (3) _________________ idea was to stage a concert that would (4) _________________ enough money to build a recording studio for young musicians at Woodstock, New York. Young visitors on their way to Woodstock At first many things went wrong. People didn't want Image: Ric Manning / CC BY (https://creativecommons.org/licenses/by/3.0) any hippies and drug (5) _________________ coming to the original location. About 2 months before the concert a new (6) _________________ had to be found. Luckily, the organizers found a 600-acre large dairy farm in Bethel, New York, where the concert could (7) _________________ place. Because the venue had to be changed not everything was finished in time. The organizers (8) _________________ about 50,000 people, but as the (9) _________________ came nearer it became clear that far more people wanted to be at the event. A few days before the festival began hundreds of thousands of pop and rock fans were on their (10) _________________ to Woodstock. There were not enough gates where tickets were checked and fans made (11) _________________ in the fences, so lots of people just walked in. About 300,000 to 500,000 people were at the concert. The event caused a giant (12) _________________ jam.
    [Show full text]
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
    Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism.
    [Show full text]
  • Live Music Matters Scottish Music Review
    Live Music Matters Simon Frith Tovey Professor of Music, University of Edinburgh Scottish Music Review Abstract Economists and sociologists of music have long argued that the live music sector must lose out in the competition for leisure expenditure with the ever increasing variety of mediated musical goods and experiences. In the last decade, though, there is evidence that live music in the UK is one of the most buoyant parts of the music economy. In examining why this should be so this paper is divided into two parts. In the first I describe why and how live music remains an essential part of the music industry’s money making strategies. In the second I speculate about the social functions of performance by examining three examples of performance as entertainment: karaoke, tribute bands and the Pop Idol phenomenon. These are, I suggest, examples of secondary performance, which illuminate the social role of the musical performer in contemporary society. 1. The Economics of Performance Introduction It has long been an academic commonplace that the rise of mediated music (on record, radio and the film soundtrack) meant the decline of live music (in concert hall, music hall and the domestic parlour). For much of the last 50 years the UK’s live music sector, for example, has been analysed as a sector in decline. Two kinds of reason are adduced for this. On the one hand, economists, following the lead of Baumol and Bowen (1966), have assumed that live music can achieve neither the economies of scale nor the reduction of labour costs to compete with mass entertainment media.
    [Show full text]
  • Steve Waksman [email protected]
    Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i1.9en Live Recollections: Uses of the Past in U.S. Concert Life Steve Waksman [email protected] Smith College Abstract As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1910s through 1930s, when early jazz concerts referenced the past to highlight the music’s progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape. keywords: concerts, canons, jazz, rock, virtuosity, history. 1 During the nineteenth century, a conflict arose regarding whether concert repertories should dwell more on the presentation of works from the past, or should concentrate on works of a more contemporary character. The notion that works of the past rather than the present should be the focus of concert life gained hold only gradually over the course of the nineteenth century; as it did, concerts in Europe and the U.S. assumed a more curatorial function, acting almost as a living museum of musical artifacts. While this emphasis on the musical past took hold most sharply in the sphere of “high” or classical music, it has become increasingly common in the popular sphere as well, although whether it fulfills the same function in each realm of musical life remains an open question.
    [Show full text]
  • Is Rock Music in Decline? a Business Perspective
    Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse,
    [Show full text]
  • Rock Music's Crusade of Authenticity
    ROCK MUSIC’S CRUSADE OF AUTHENTICITY by DANIEL BROMFIELD A THESIS Presented to the Department of Journalism and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2016 An Abstract of the Thesis of Daniel Bromfield for the degree of Bachelor of Arts in the School of Journalism and Communications to be taken June 2016 Title: Rock Music's Crusade Of Authenticity Prof. Thomas Wheeler This thesis attempts to define rock music's standards of authenticity and explore their origins. Included are comparison of rock's standards of authenticity to those of other genres and an exploration of how authenticity has been perceived throughout the history of rock music. This study argues that rock's standards of authenticity are unusual among pop music genres in that they entail artists both writing their own songs and playing their own instruments. This is in contrast to genres like hip hop, contemporary pop, and R&B, which have their own quite different standards of authenticity. Quotes from rock fans, critics, and musicians are used to provide insight into rock's standards of authenticity and how they developed over time. ii Acknowledgements I would like to first and foremost thank my father for introducing me to music. If not for his decision to turn me on to the Beatles one sunny day in June 2006, I would surely be pursuing a far more boring career – and thesis topic. And I would like to thank my mother for giving me a great life and being endlessly supportive.
    [Show full text]
  • Wavelength (June 1983)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 6-1983 Wavelength (June 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (June 1983) 32 https://scholarworks.uno.edu/wavelength/32 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. DEVELOPING THE NEW LEADERSHIP IN NEW ORLEANS MUSIC A Symposium on New Orlea Music Business Sponsored by the University of New Orleans Music Department and the Division of Continuing Education and wavelength Magazine. Moderator John Berthelot, UNO Continuing Education Coordinator/Instructor in the non-credit music business program. PROGRAM SCHEDULE How To Get A Job In A New Orleans Music Club 2 p.m.-panel discussion on the New Orleans club scene. Panelists include: Sonny Schneidau, Talent Manager. Tipitina's, John Parsons, owner and booking manager, Maple Leaf Bar. personal manager of • James Booker. one of the prcx:lucers of the new recording by James Booker. Classified. Jason Patterson. music manager of the Snug Harbor. associate prcx:lucer/consultant for the Faubourg Jazz Club, prcx:lucer for the first public showing of One Mo· Time, active with ABBA. foundation and concerts in the Park. Toulouse Theatre and legal proceedings to allow street music in the French Quarter. Steve Monistere, independent booking and co-owner of First Take Studio.
    [Show full text]
  • Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world.
    [Show full text]
  • Hard Rock Rocksino PROJECT PROFILE NORTHFIELD PARK, OHIO RETAIL
    PROJECT PROFILE RETAIL Photography: © Bob Perzel ARCHITECT GLAZING CONTRACTOR Richard L. Bowen + Associates, Carroll Glass Company Hard Rock Cleveland, Ohio, Euclid, Ohio in conjunction with FEATURED PRODUCTS Rocksino SOSH Architects, NORTHFIELD PARK, OHIO Atlantic City, New Jersey 1600 Wall System™1 Curtain Wall New York, New York 1600 Wall System™2 Curtain Wall 190 Narrow Stile Entrance GENERAL CONTRACTOR / Trifab™ VersaGlaze™ 451T Framing System CONSTRUCTION Management Gilbane Building Company Cleveland, Ohio Hard Rock Rocksino PROJECT PROFILE NORTHFIELD PARK, OHIO RETAIL As the first of its kind under the recognized Hard Rock International • Several doors were needed throughout the building – at the north brand, the Northfield Park, Ohio–based Hard Rock Rocksino features and south vestibules as well as the bus entrances – and the architect 187,000 square feet of entertainment space designed by Richard L. had certain parameters for the project and needs for the entrances. Bowen + Associates in conjunction with SOSH Architects. The Rocksino • The timeline of the project was tight, requiring quick turnaround from sits immediately adjacent to Northfield Park’s world-renowned racetrack, all involved. and between the Rock and Roll Hall of Fame in Cleveland and the Pro Football Hall of Fame in Canton, Ohio. SOLUTIONS • To create a specialized feature maximizing the nighttime effects of With a sleek “arena rock” theme and a design that loosely resembles the theatrical exterior lighting, the project’s glazing contractor, Carroll a sound stage, the animated destination provides an exciting gaming Glass Company, custom-manufactured textured glass to form a and entertainment experience for visitors to northeast Ohio. Like other glittering, crystal illusion for the curtain wall system.
    [Show full text]
  • Woodstock Festival ´69
    Woodstock Festival ´69 The Woodstock Music and Art Festival was a rock music festival at Max Yasgur´s 600 acre (2.4km2) dairy farm in town of Bethel, New York between 15 August and 18 August 1969. It might be the most famous rock concert and festival ever held. For many, it showed the counterculture of the 1960´s and the “Hippie movement”. Many of the most famous musicians at the time showed up during the weekend, as can be seen in a 1970 movie called Woodstock. Joni Mitchell´s song “Woodstock”, about the event, also became a major hit song for Crosby, Stills, and Nash & Young. In recent years, a number of attempts were made to recreate it, but the original Woodstock´69 has proven to be legendary. The Festival was Called “Woodstock”, because “Woodstock Ventures” an investment company had put money into the concert, it was supposed to be in the town of Wallkill, in Ulster County; but the town would not give a place for such a large event, because they thought that over a million people would come. A place was found in the town of Bethel, Max Yasgur let the concert happen on the family´s dairy farm. Although the show was planned for as many as 200.000 fans, over 400.000 came; most of these did not pay to get in. The roads to the concert were jammed with traffic. People left their cars and walked for miles to get the concert area. The weekend was rainy and overcrowded, and fans shared food, alcoholic drinks, and drugs.
    [Show full text]
  • • a Collection of Review Quotes • Music Connection: (9/10) “Tiles up the Ante by Giving the Listener a Double Disc with An
    Version: August 2016 • A Collection of Review Quotes • Music Connection: (9/10) “Tiles up the ante by giving the listener a double disc with an engaging storyline, meticulously arranged string and choral pieces, sweet vocal harmonies and tuneful jam-based hard rock, fusion and world beat sounds.” iO Pages: “Tiles is still at the top of the progressive rock world. ‘Pretending 2 Run’ will finish high in many year-end lists.” The Midlands Rocks (UK): (9/10) “The patient, the inquisitive and the eager will discover an abundance of Progressive Rock riches here. Every track is a pocket prog symphony… (the songs) all soon become sublimely exhilarating. Episodes in a story, compellingly and adroitly told.” Keys and Chords: “…this is by far the best album from Tiles – both the music & the story make lasting impressions…” PROG Magazine: “…the Detroiters really turn up the heat. (Pretending 2 Run) … is more imaginative, expansive, colorful, diverse and – most crucially of all – satisfying than ever.” Musicreviews.de: (14/15) “’Pretending 2 Run’ is a great double album that should properly set the progressive rock scene buzzing.” Progression Magazine: (4/5) “This album clearly sounds as if it took years to make. ‘Shelter in Place’… ranks as one of the strongest, most memorable tunes in the band’s catalog.” Headbanger’s Lifestyle: “Tiles has delivered a real masterpiece extraordinaire. Listening to ‘Pretending 2 Run” is like taking a boat ride on a wild and storming sea - you are thrown all over the place with inventive songs, big choirs, instrumental tracks and long and epic musical battles.
    [Show full text]