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Peter Nero, A Grammy-Winning Pianist Of The Philly Pops, Dies At 89

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THE PHILADELPHIA TIMES — Peter Nero, a Grammy-winning pianist who interpreted pop tunes in classical and jazz styles and conducted the Philadelphia Pops for over three decades, has died. Nero was 89 years old.

According to his daughter, Beverly Nero, Nero died Thursday at Home Care Assisted Living Facility in Eustis, Fla., according to The Philadelphia Inquirer. Private services will be provided.

Nero infused classical, swing, Broadway, blues, and jazz themes into his versions of popular songs ranging from Cole Porter and George Gershwin to the Beatles and Bob Dylan. He frequently referred to his sound as “undefinable” and was not offended when others referred to it as “middle of the road.” (He previously told a newspaper that he was “middle of the road and doing great business.”)

Nero founded the Philly Pops orchestra in 1979, the year Arthur Fiedler died, after being recruited by Philadelphia concert promoter Moe September. Fiedler is credited with practically establishing the modern pops orchestra in Boston, and Nero sought to compete in popularity.

“I’d like to beat the pants off them,” Nero declared.

Nero’s orchestra was less well-known than Boston’s, but it often sold out in Philadelphia, which was undoubtedly aided by Nero’s vibrant playing style and pleasant stage persona.

In his career as both performer and conductor, Nero frequently returned to Broadway tunes, Hollywood themes, and Gershwin, the subject of the Philly Pops’ first concert. He also delved into Motown’s back catalog and further afield to bands like Procol Harum and an album devoted to disco and ’70s love songs.

“I find it impossible to use a lot of the new material that’s coming out,” he lamented to The Washington Post in 1975. My repertoire includes some rock tunes… but many rock bands sell a sound rather than music. When you take the tune apart, there’s nothing to work with.”

He headed the Philadelphia Pops until 2013 when the orchestra said it could no longer afford him.

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Peter Nero, a Grammy-winning pianist who interpreted pop tunes in classical and jazz styles and conducted the Philadelphia Pops for over three decades, has died.

According to Nero, he battled early in his career — under the alias Bernie Nerow — in New York and Las Vegas. However, he found his stride in his late twenties while playing on New York’s club circuit.

Stan Greeson, who regarded him as a potential star, signed him to RCA and had him change his name to Peter Nero. Over a decade, a constant stream of early 1960s club gigs led to frequent radio and TV appearances and two dozen RCA LPs.

Nero won Grammy Awards for best new artist in 1961 and best performance by an Orchestra or Instrumentalist in 1962 for his album “The Colourful Peter Nero.”

“Hail the Conquering Nero,” a 1963 album, peaked at No. 5 on the Billboard pop album list. It featured covers of “My Bonnie Lies Over the Ocean” and “Mack the Knife.”

He also peaked with a cover of “Theme from ‘The Summer of ’42,'” by Michel Legrand for the 1971 film. Nero’s rendition peaked at No. 21 on the Billboard Hot 100.

Nero also wrote the score for Jane Fonda’s 1963 film “Sunday in New York” and appeared in it.

Nero was born Bernard Nierow in 1934 and raised in Brooklyn. He began taking piano lessons at the age of seven, and by the age of eleven, he was believed to be able to play Haydn’s Piano Concerto in D Major from memory. He later received a Juilliard scholarship, won various talent contests, and graduated from Brooklyn College.

Nero loathed having a set list when he was the headliner and would choose songs on the spot. The Philly Pops adopted the concept of blending styles and genres.

“My programmes for the Philly Pops may open with ‘Die Meistersinger,’ then ‘Chariots of Fire,’ then Enesco’s Rumanian Rhapsodies,’ then a television theme,” Nero told The New York Times in 1982. “I keep going back and forth, and the audience has bought it from the beginning.”

SOURCE – (AP)

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Tim Burton’s ‘Beetlejuice Beetlejuice’ a Box Office Success Gets 4.5 Stars

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Beetlejuice is 41% ahead of the norm for the action comedy sci-fi genre - Netflix Image

Beetlejuice Beetlejuice preview reportedly made $13 million for Warner Bros. Fans gave it 4.5 stars on Comscore/Screen Engine’s PostTrak, while both parents and children under the age of 12 gave it 5 stars.

The sequel has a current budget of $90 million, with room to grow.

The sequel starring Michael Keaton, Jenna Ortega, and Winona Ryder had 59% female attendees, with 73% of those attendees being 25 and older. In terms of gender, 62% of the children were girls and 38% were boys. Last night, the Latino and Hispanic community had an impressive showing at 36% of the total audience.

According to Yahoo Entertainment, Beetlejuice Beetlejuice social media reach With 508.6 million followers across TikTok, Facebook, X, YouTube, and Instagram combined, Beetlejuice is 41% ahead of the norm for the action comedy sci-fi genre.

“Jenna Ortega has stunned her 38.2 million Instagram followers with 103.1 million views, while Michael Keaton has 1.58 million and Willem Dafoe has 155 thousand,” the social media analytics company adds.

Beetlejuice Beetlejuice a Remarkable Sequel

Additionally, they mention, “Convo for Beetlejuice Beetlejuice A remarkable feat for a sequel, Beetlejuice has received mostly good reviews from audiences who have praised the film for its originality and sense of purpose. ‘At first, I thought this was another Scream movie, then I thought it was the Wednesday Season 2!’ A number of fans, including new viewers, are ecstatic to see Jenna Ortega in a horror film.

According to fans of the 1988 original, “My inner child from the 80’s is screaming!” when asked about the style of Jenna Ortega’s flicks. I’m more pumped up for this movie than any other! “I admire the practical effects and the attempts to make it look like the old movie!!” is one commenter’s praise for the show’s expert production values and impressive use of special effects.

You can count on seeing a plethora of costumed fans at the movies this weekend.

A large number of collectible concessions are also available. Beetlejuice jack-in-the-box popcorn buckets are available at Cinemark, competing with Sandworm and Wolverine

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For Nicolas Cage, Making A Serial Killer Horror Movie Was A Healing Experience

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Trump film ‘The Apprentice’ finds distributor and will open before the election

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NEW YORK — Trump Film | After failing to generate interest following its Cannes Film Festival screening, “The Apprentice,” starring Sebastian Stan as a teenage Donald Trump, has found a distributor who intends to release the film right before the election in November.

Briarcliff Entertainment will release “The Apprentice” in theatres across the United States and Canada on October 11, just weeks before the November 5 election.

Director Ali Abbasi, a Danish-Iranian filmmaker, had prioritized releasing “The Apprentice” in theatres before electors voted. After major studios and film distributors declined to bid on the project, Abbasi complained on X in early June that “for some reason certain power people in your country don’t want you to see it!!!”

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Trump film ‘The Apprentice’ finds distributor and will open before the election

In a statement issued Friday, Steven Cheung, the Trump campaign’s communications director, described the film’s release as “election interference by Hollywood elites right before November.”

“This ‘film’ is pure malicious defamation, should never see the light of day, and doesn’t even deserve a place in the straight-to-DVD section of a bargain bin at a soon-to-be-closed discount movie store, it belongs in a skip fire,” Cheung tweeted.

The prospect of legal action was one factor that decreased interest in “The Apprentice”. After the film’s Cannes premiere in May, Cheung labeled it “pure fiction” and stated that the Trump team would pursue a lawsuit “to address the blatantly false assertions from these pretend filmmakers.”

“The Apprentice” follows Trump’s rise to dominance in New York real estate, guided by defense attorney Roy Cohn (Jeremy Strong). Late in the film, Trump is seen raping his wife, Ivana Trump (portrayed by Maria Bakalova). In her 1990 divorce deposition, Ivana Trump alleged Donald Trump raped her. Trump rejected the claim, and Ivana Trump later clarified that she did not mean it literally but rather that she felt violated.

Abbasi has stated that Trump might not despise the film.

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Trump film ‘The Apprentice’ finds distributor and will open before the election

“I would offer to go and meet him wherever he wants and talk about the context of the movie, have a screening and have a chat afterwards, if that’s interesting to anyone at the Trump campaign,” Abbasi stated during the May election.

Briarcliff Entertainment has published several films, including the 2022 documentary “Gabby Giffords Won’t Back Down” and the Liam Neeson thriller “Memory.” The indie distributor is led by Tom Ortenberg, who helped Lionsgate distribute Michael Moore’s “Fahrenheit 9/11” and, as CEO of Open Road, supported the best picture Oscar winner “Spotlight.”

SOURCE | AP

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Hanumankind: The Indian Rapper Who Overtook Kendrick Lamar on Global Music Charts

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In a remarkably short span, Indian rapper Hanumankind has made a significant mark on the country’s emerging hip-hop scene.

His track “Big Dawgs” has not only topped global charts but also briefly overshadowed Kendrick Lamar’s diss track “Not Like Us.” The BBC delves into the extraordinary ascent of Hanumankind, whose real name is Sooraj Cherukat.

At 31, Cherukat, also known as Hanumankind, radiates an electrifying presence in the “Big Dawgs” music video.

Filmed in a maut ka kuan—a dramatic performance space where drivers execute gravity-defying stunts inside a colossal wooden barrel—Cherukat commands the scene with an intense energy, surrounded by daring drivers zipping past him.

The track, a collaboration with producer Kalmi Reddy and director Bijoy Shetty, has amassed over 132 million streams on Spotify and 83 million views on YouTube since its release in July, propelling Cherukat to international fame.

On the surface, Cherukat’s music follows the hip-hop tradition of portraying gritty street narratives through raw, explicit lyrics. However, a deeper look reveals a rapper navigating his multifaceted identity through his art.

The Roots of Hanumankind’s Sound

Born in Kerala, Cherukat’s childhood was a global journey due to his father’s work with a major oil company, leading him to live in France, Nigeria, Egypt, and Dubai. His formative years in Houston, Texas, were crucial in shaping his musical career.

Houston’s hip-hop scene is unique, known for its distinctive “screwed-up” remix style influenced by the local use of cough syrup. Cherukat has often cited Texas hip-hop legends like DJ Screw, UGK, Big Bunny, and Project Pat as major influences.

Although his style reflects this heritage, it has evolved since his return to India in 2021 after dropping out of college.

Having earned a business degree and worked with firms like Goldman Sachs, Cherukat left the corporate world to pursue rap full-time, a passion he had previously juggled alongside other commitments.

Cherukat’s music reflects his attempt to reconcile his cosmopolitan experiences with his Indian roots. His tracks often highlight the struggles of southern Indian street life, combining intense vocal delivery with engaging rhythms.

His song “Genghis,” filmed in Bengaluru, critiques national issues through a gritty lens.

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Challenging Rap Norms and Navigating Criticism: Hanumankind’s Unique Path

In “Big Dawgs,” Cherukat diverges from the typical rap glorification of wealth, focusing instead on small-town stunt performers from impoverished backgrounds. “These are the people that are the real risk-takers…Those are the big dogs, for real,” he told Complex.

Despite his innovative approach, Cherukat faces criticism. Some argue that his English lyrics may limit his appeal to non-English-speaking Indian audiences and that his style too closely mirrors Western artists.

Abid Haque, a PhD student, believes that while Cherukat’s inclusion of South Asians in the Western rap scene is notable, his music sometimes feels disconnected from Indian reality.

Cherukat himself navigates this duality. He views his return to India as a way to explore his sense of belonging. “I think it really moulded me as someone who never really had a place to call home… and that kind of shaped the way I perceive music, people, and culture,” he explained.

Yet, he also embraces a broader perspective: “I’m not an Indian rapper, but I’m a rapper from India,” indicating his position outside the traditional Indian hip-hop scene.

Hanumankind’s unique style has attracted both admiration and criticism, often encountering resistance from listeners who struggle to categorize him. His distinct approach and refusal to conform to expectations have, however, resonated with many fans.

“He isn’t trying to cater to an Indian audience, which shows in his music, and he is unapologetic about it,” said Arnab Ghosh, a Delhi-based psychiatrist.

Cherukat’s journey, marked by his adaptability and dedication to authenticity, represents both a triumph and a challenge. As he continues to break boundaries and redefine expectations, Hanumankind remains a compelling figure in the global hip-hop landscape.

“You keep certain things as your roots, but it’s up to you to adapt to the environment and go with the flow, as long as you don’t compromise on integrity,” he once said, capturing the essence of his remarkable career.

Source: BBC

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