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10 classic rock songs based on classical music


The world of rock and roll has never been shy about wearing influences on its sleeves. Geniuses always steal from what has come before, and plenty of artists have made a living out of playing everything they’ve torn through in their old record collections. Although those records tend to be from rock, blues, and occasionally jazz artists, some of the greatest songs of all time from The Beatles and Black Sabbath got their timeless melodies from classical music.

While these records took the melody of specific sections from Bach or Beethoven, each songwriter could twist the melody around to turn it into something that feels much more at home in rock and roll. It might be easy to catch where a concerto suite may have come from, but when it’s in the context of a song by The Beatles, for instance, it’s a little harder to spot. 

While usually copying someone else’s work would get artists in legal trouble, that’s not much of a problem in this case, with most of the classical pieces being in the public domain for years before the songwriters got their hands on them. Even if they might have been trying to be cheeky, an instance of “borrowing” is completely justified under copyright regulations.

Each reinterpretation of classical music follows the grand tradition of what classical music was all about. Although Bach and Beethoven could play their pieces better than most, it was always about sharing the music with the rest of the world. Even if there are similarities between the rock songs and the classical pieces, the audience still hears the songwriters’ unique take on the songsmiths of old. 

10 classic rock songs based on classical music:

10. ‘Exit Music (For a Film)’ – Radiohead

Radiohead have always dipped their toes into every different type of music to get what they were searching for. From The Bends onward, Thom Yorke and the band made it a habit to deconstruct every piece of their musical framework to find something that no one had ever heard. That would often involve some classical seeping through, and ‘Exit Music (For a Film)’ was the perfect nod to a certain composer.

In the main melody of the verses, Yorke’s brooding voice is quoting a melody from Chopin’s Prelude No. 4. Although Yorke takes the song in a slightly different direction in the choruses, the foundation always comes back to those few notes, drenching the song in a bitter sense of melancholy. 

Since this was written partly for Baz Luhrmann’s take on Romeo + Juliet, the tip of the hat to classical music feels more earned this time. This wasn’t just Yorke sprinkling in a bit of classical to earn some credit among the prog bands of the world. Radiohead were trying to tell the musical story of one of Shakespeare’s most operatic works, and having that refined touch makes the tune feel like a musical avalanche of emotion crashing down around the listener.

9. ‘2112’ – Rush

Prog rock music and classical tend to go hand in hand. Although the early days of prog were just about advancing the genre as far forward as possible, the elite set of musicians from Yes and Genesis were huge classical fans and would often quote different pieces in between their mile-long solos. Rush could have easily gotten away with a classical lift, but their nod to the classical age came from the arrangement more than any melodic idea.

Opening their magnum opus ‘2112’, the first few minutes of the overture give listeners a taste of all the motifs that will be reappearing, from the introduction of the priests of The Temples of Syrinx to the final push forward in the ‘Grand Finale’. Since this was an overture of sorts, the band only thought it would be fitting to give a nod to Tchaikovsky at the very end of the movement.

As the music swells and everything builds to one grand climax, Neil Peart’s drums are replaced with the sounds of cannons, just like Tchaikovsky used in his ‘1812 Overture’. Despite being one of the most intricate prog bands in the world, it seems like Rush thought that even lifting a second from anyone’s classical piece would still be considered cheating.

8. ‘Don’t Look Back In Anger’ – Oasis

Noel Gallagher is one of the last people that most would think of lifting something from classical music. If anyone were to ask him whether he listens to the likes of Rachmaninoff in his spare time, Noel would most likely tell them to piss off and throw on the likes of Slade or The Beatles. Every great melody is owned by classical titans, and Noel may have lifted one of his signature chord sequences without even realising it. 

For his vocal showcase ‘Don’t Look Back In Anger’, the chords of the verses and chorus cascade across the eardrums, with not a single note sounding out of place. While there might be a few surprises baked into Noel’s composition, the main idea of the tune is based around Pachelbel’s Canon in D, which has since been used in a variety of different pieces beyond just rock and roll.

Gallagher was far from the first one to decide on this kind of idea, as artists from Green Day to Maroon 5 to Blues Traveler were known to copy bits and pieces from this timeless melody over the years. Noel definitely likes to talk up himself as one of the ideal composers of his generation, but the amount of tunes he’s stolen isn’t just limited to his record collection.

7. ‘The Greatest Discovery’ – Elton John

For a brief moment, there was a good chance that Elton John was never going to be a part of rock and roll at all. Prior to becoming a solo star or before his turn in his former band Bluesology, young Reginald Dwight was enrolled in a school for piano, where he would pour over different pieces from various eras of the classical period. When John went to write songs of his own, though, some of those inventions stuck long past the days of homework.

After trying his hand at psychedelic leaning songs on his debut Empty Sky, John’s eponymous album featured some gorgeous piano pieces like ‘The Greatest Discovery’, tied together with Bernie Taupin’s first brilliant turns of phrase. If John were asked where he got it from, though, even he would tell the public that it dates back to years of classical music practice.

Since most of his training was going over sonatas by Bach or Brahms, John noted that the first handful of releases saw him taking on a bit of an Elizabethan tone to his songs before launching into rock-leaning cuts on his later records. This version of Elton John was still figuring out what he wanted to be, but this song is a short glimpse of what he could have been had he hit it big in 1674 instead of 1974.

6. ‘Light My Fire’ – The Doors

The Doors were some of the most unlikely members to start a group together. After not having a bass player for the longest time, Ray Manzarek eventually relented to playing the bass himself on another keyboard he had, playing different melodic ideas with his different limbs. No one gets to that point without some practice, and some of the greatest composers of all time led to Manzarek creating the iconic keyboard line to ‘Light My Fire’.

Though Robbie Krieger got credit for writing the core tune for the song, Manzarek had originally chalked the piano intro as coming from the better angels of his brain. When dissecting the music theory behind it, Manzarek related the sequence to Bach’s ‘Circle of Fifths’, where musicians dance around the chord changes before finally ending in the key they want for the main song. 

Even though Manzarek can take credit for the intro if he wanted to, he never saw his strange invention at the beginning to have much of an impact, chalking it up to basic music theory and practice rather than anything planned out. Then again, any prospective rock and roll piano player will have major homework trying to decipher what got Manzarek from classical music to this psychedelic head trip.

5. ‘Damage, Inc.’ – Metallica

Thrash metal, on the surface, seems like one of the furthest things from classical, but both have more in common than meets the eye. Both genres rely heavily on intricate passages of notes and often use the sheer power of the music as the main focus, looking to shake the walls of their venues with their volume. So it wouldn’t be that out of the question to find a classical nerd at the heart of a band like Metallica. 

When the group were first starting, bassist Cliff Burton was notoriously a classical freak and would often mention composers like Bach in the same breath as his idols like Black Sabbath. Although songs like ‘Orion’ definitely fall into the category of classical metal, the intro to ‘Damage, Inc.’ was admittedly based on a Bach chorale.

Burton had admitted to lifting the melody from the tune ‘Come Sweet Death’ and even had to play his original piece to the rest of the band to make sure they didn’t notice any glaring similarities to the classical piece. Burton puts his spin on Bach’s original, though, moving block chords together, whereas Bach would use contrary motion. Burton might have had an ear for classical music, but since his tragic death in 1986 left Metallica looking for a new bass player, this was one of the only pieces fans could hear of his classical brain.

4. ‘A Whiter Shade of Pale’ – Procul Harum

The early stages of psychedelia never had a clear starting point. Although most would argue that the main starting point had to do with certain cosmic drugs, most bands popping up out of England were usually indebted to hard rock and blues to get them through their early shows. While Procul Harum could play those songs just fine, Gary Brooker found something more interesting when fooling around with a classical piece.

When going through his piano runs, Brooker started to play the beginnings of Bach’s ‘Air on a G String’, only to flub the line once he got everything started. Rather than start over from the top, Brooker decided to let the music guide him somewhere else before coming up with the breathtaking intro to ‘A Whiter Shade of Pale’.

Although the 1960s were about to enter the Summer of Love with bold new musicians appearing by the minute, ‘A Whiter Shade of Pale’ still fits snuggly in that company, almost giving an heir of refinement for the next generation of musicians. Parents might not have understood the need for Flower Power, but Procul Harum reminded listeners what made hearts flutter before rock and roll came to pass.

3. ‘This Night’ – Billy Joel

It should come as no surprise that Billy Joel was a tiny fan of classical music. Throughout most of his album tracks, Joel took his listeners through different sonic passages that most other classic rockers would never touch, including pieces of jazz and his own interpretation of ‘The Entertainer’ on one of his early albums. After refining his songwriting approach to a tee, ‘This Night’ was a way for him to reverse his entire process.

Since An Innocent Man was meant to be a tribute to all of the music Joel had loved as a kid, ‘This Night’ was his way of paying respects to Beethoven. While Joel could have easily just made a classical interpretation of a standard pop song, ‘This Night’ lifts the melody wholesale from Bach’s work, quoting the Pathetique sonata and putting a swing rhythm behind it.

That wasn’t even the last time that Joel tried to copy the giants either, even writing an entire classical album before letting someone else record it because of his inability to play what he had written. While fans could see this tactic as cheating by re-using one of Beethoven’s melodies, it takes a true artist to make blatant plagiarism of a classical composer sound this effortless.

2. ‘Black Sabbath’ – Black Sabbath

No classical piece has ever sounded more foreboding than Gustav Holtz’s Mars: Bringer of War. The massive intensity of the horns and the staccato breaks in between the different movements provided the perfect backdrop of terror and would go on to inspire John Williams to create his famous Stars Wars themes. Before Williams got his hands on it, Geezer Butler accidentally created heavy metal by trying to play the tune on his bass guitar.

In between sessions for Black Sabbath’s first album, Butler would be heard playing this classical tune until Tony Iommi had a different idea. Deciding to elongate the notes and leave lots of space in the arrangement, the band’s namesake track quickly came together, which drummer Bill Ward recalled could send shivers down one’s back.

With the demented guitar figure in place, Ozzy Osbourne sculpted graphic lyrics about a menacing figure in black pointing at him and pulling him down towards the bowels of hell. While classical music may have been the starting point for ‘Black Sabbath’, the choice to make the song one of the most apocalyptic tunes of all time is something that belongs to Tony Iommi.

1. ‘Blackbird’ – The Beatles

In their salad days in Liverpool, The Beatles were drawing from every piece of music they could get their hands on. When they were playing marathon sessions in Hamburg, both Paul McCartney and George Harrison took to making different trips across England to find the kind of chords and tunes they were looking for. Since rock and roll usually relied on three chords, McCartney’s attempt at learning Bach’s Bouree in E Minor drew into something a bit more interesting,

Using the open voicing that he had been taught when he was a kid, McCartney started moving the shapes around until he came out with the tune for ‘Blackbird’. While there might not be too many sonic similarities between both pieces of music, McCartney captured the spirit of what goes into making a Bach piece, using different pieces of counterpoint and trying to have a single droning note to tie all of the chords together.

John Lennon wasn’t shy about his classical influences, either, matching McCartney one album later by turning Moonlight Sonata into the chords for ‘Because’ off of Abbey Road. The Beatles may have been the world’s most popular band amongst teenagers, but there were four refined musical minds hidden underneath those mop-top hairdos.

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Commemorative cakes at the Biscuiteers company in London, where orders have been rolling in ahead of the event.

Mugs, flags, biscuit tins: coronation generates a princely sum for UK business | King Charles coronation


In Stoke-on-Trent, the potters are working seven days a week, while in Knaresborough strings of bunting are whizzing through machines. In London, icing “artists” are painstakingly decorating Westminster Abbey-shaped biscuits.

It’s a race against time to fill customer orders as the clock ticks down to King Charles III’s coronation. Buoyed up by the public’s enthusiasm for last year’s platinum jubilee, businesses are cranking out memorabilia, decorations and party food ahead of the blockbuster royal event.

Pamela Harper is chief executive of Halcyon Days, where staff are working round the clock in Stoke-on-Trent, Staffordshire, to produce fine bone china products for the coronation. She said: “Watching the factory floor is just a miracle at the moment. We are running seven days a week.”

“It’s definitely a bigger deal than a [royal] wedding,” she continued. “We felt going into it that it would be equal to a jubilee but I feel it’s going to outstrip it. Our business is very strong.”

The nation is expected to spend nearly £250m on souvenirs and memorabilia, with crockery, coins, flags, books and stationery the big sellers, according to the Centre for Retail Research (CRR). However, this is just the tip of the iceberg, as the CRR thinks the overall figure could top £1.4bn if cash spent on hosting parties and going out, as well as by tourists, is totted up.

Emma Bridgewater, founder of the eponymous pottery brand, said: “This mysterious thing happens around a royal event. People are very inclined to put aside what their actual politics might be in favour of a bunting-swathed event because it’s so nice.”

Bridgewater’s distinctive cream earthenware is made in Stoke-on-Trent and “royal events have always meant jobs” for the city, she said. Sadly, there is no “coronation quiche” dish. “If we could we would, but we can’t make earthenware cookware at the moment,”said Bridgewater.

The company has already sold more than £1m worth of its commemorative ware, which urges “three cheers for King Charles”, despite the fact that “normal sales are a struggle at the moment”.

“The cost of living is bearing down hard on all of us and our customers are real people,” said Bridgewater. “We put a lot of heart and soul into the designing and it works when we read the mood of our customers right.”

Commemorative cakes at the Biscuiteers company in London, where orders have been rolling in ahead of the event.
Commemorative cakes at the Biscuiteers company in London, where orders have been rolling in ahead of the event. Photograph: Carl Court/Getty Images

The royal souvenir trade is a broad church. For every £2,250 enamel music box playing Handel’s Zadok the Priest produced with great skill by Halcyon Days, there are a million union jack T-shirts and tea towels. The high street is currently awash with patriotic cushions, tote bags and throws rushed into production after the date was confirmed last autumn.

Much of the merchandise riffs on the country’s love of tea and biscuits, with stores expected to sell 3.8m cups, mugs and plates as well as 10,000 teapots and millions of collectible biscuit tins.

Marks & Spencer said that more than 200,000 customers had searched its website for coronation gifts and biscuits this year. It rapidly assembled its dedicated product range – which includes a £25 light-up cushion and special coronation Colin the Caterpillar cake – after the date was confirmed in October.

M&S’s food development director, Kathryn Turner, said its customers “love a keepsake”, and the retailer expects to sell more than 1m of its collectible tea and shortbread tins. Indeed, its classy-looking £6 all butter shortbread tin is hard to find in store and is already popping up on eBay.

The London-based firm Biscuiteers said orders are rolling in for its coronation biscuits which come in different shapes, including a crown and Westminster Abbey, and include a keepsake tin (with a kingly price tag of £58).

Its managing director and co-founder, Harriet Hastings, expects to sell 100,000 royal biscuits. She said: “We’re overwhelmed by demand. We’re down to the wire now really because it is a handmade product. There is a question of just how many we can make over the next couple of weeks.”

Party hosts are also expected to spend £20m on flags, bunting and table decorations. At Flying Colours Flagmakers, a family business in Knaresborough, North Yorkshire, owner Andy Ormrod has received some big orders. Its small team of machinists sewed hundreds of flags over the winter to ensure it had enough stock and they’ve just finished an order for 22,500 metres of bunting.

Ormrod said: “That was a hard, hard job but we have put that to bed now … we are flat out. People are buying the specialist coronation bunting with the design on it that has been authorised by the palace … and lots of hand-sewn union jacks.”

Britons are expected to spend a total of £250m on coronation souvenirs, including mugs, T-shirts and tea towels.
Britons are expected to spend a total of £250m on coronation souvenirs, including mugs, T-shirts and tea towels. Photograph: Leon Neal/Getty Images

He said that the coronation was generating “healthy” sales for the company, which makes flags for the royal household as well as for TV shows including The Crown, but business had “not gone mad”. Ormrod put this down to “bloomin’ awful April weather”, which was making people nervous about outdoor events.

But while some Britons are content to head to the high street or online to buy souvenirs and special party food, sales trends elsewhere suggest that an army of DIY crafters and bakers is quietly mobilising.

Hobbycraft, the UK’s biggest arts and crafts retailer, said 40,000 people had visited the coronation hub on its website and its coronation cake recipe has been downloaded thousands of times. Customers are buying bunting kits and scrapbooks for kids, while others are sharing images on social media of things they made themselves, including crochet crowns and Charles dolls.

Hobbycraft’s customer director, Katherine Paterson, said anything red, white and blue was selling in big quantities as people worked on their coronation projects, whether yarn for pom-poms or fabric and ribbons for bunting. “We expect it to be a really big occasion,” she said.

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‘FM’ Fails as a Film, but Succeeds as a Soundtrack


In the strange world of Hollywood, sometimes films fail when they really shouldn’t and sometimes the most famous thing about them – like the nodding-man meme from Jeremiah Johnson – don’t have much to do with what they’re really about.

Such is the case with FM, which debuted in theaters on April 28, 1978, was unjustly trashed by critics and audiences, but then went on to spawn a soundtrack that went platinum and reached the top five on the Billboard charts.

The movie itself is a quintessential ’70s affair that never quite manages to bring all of its pieces together, but is certainly far better than is suggested by its reputation – which ranges from bad to simply forgotten. FM tells a shaggy-dog story of band of anti-authoritarian DJs at a Los Angeles radio station. Jeff Dugan (Michael Brandon) manages the place and is an expert at giving their rock ‘n’ roll audiences what they want.

Also helming the turntables are characters played by a cast including Martin Mull, Alex Karas, Eileen Brennan and Cleavon Little. Mull turns in an absolutely fantastic performance as Eric Swan, a DJ who dreams of moving up in the world to become a game-show host and locks himself in the broadcast booth at one point to moan about his heartbreak to the station’s confused listeners.

For the first two-thirds of its runtime, FM feels like a mix between an ensemble piece in the Robert Altman mode and a classic ’60s and ’70s humans-against-the-corporate-machine flick in the vein of a more easygoing, comedic Network or even Easy Rider.

Watch the Trailer for ‘FM’

Each of the DJs has a story line involving an element of their personal lives, and the station is under threat by management of the owner corporation, which is trying to force Dugan to play advertisements made by the Army. (“The only time I’ve ever said no to you before is when you wanted me to come work for you,” deadpans Dugan, in an oblique Vietnam War reference.)

It’s fairly standard stuff for the time, but is elevated by the way in which it manages to capture something of the feel and importance of rock ‘n’ roll on the radio in the late ’70s.

The plot involves live performances by Jimmy Buffet and Linda Ronstadt, and in both cases it moves into concert-film mode, giving the performers plenty of screen time. Ronstadt, in particular, shines with live versions of the Rolling Stones’ “Tumbling Dice” and Warren Zevon’s “Poor Poor Pitiful Me” – both of which are included on the soundtrack. There are also appearances by REO Speedwagon (who give a record signing at Tower Records) and Tom Petty (who drops into the station for an interview).

In the film’s final reel, things move into a mock-heroic register. Dugan quits instead of giving airtime to the Army ads, and the other DJs protest by staging a sit-in at the station. They barricade the doors and play commercial-free music. Soon, the cops and corporate are outside, as is a huge crowd of fans.

The ending feels contrived, as the wealthy industrialist who owns the management company is so moved by the loyalty Dugan inspires in his fans that he decides to let him keep running the station his way. But that’s only because what came before has been handled skillfully enough that we’re expecting a touch more realism and a touch less sentimentality.

Listen to Steely Dan’s ‘FM’

Overall, FM actually works far better than many similar ones from the time that received more acclaim. Director John A. Alonzo – better known as a cinematographer who shot numerous classics, including Chinatown, Harold and Maude, Scarface and Steel Magnolias – gets strong performances out of his actors, and keeps things moving at an entertaining pace.

Anticipating things like Airheads and Boogie Nights from an entire generation later, FM touches on the seismic events that were beginning to shake the entertainment world as the ’70s rolled over and woke up as the ’80s: increasing corporate control of entertainment, and the question of the independent spirit of the music itself. The film has no way of knowing this, of course, but it also nicely serves as a kind of eulogy for the era of the dominance of radio itself, which would of course be eclipsed by the emergence of MTV a few years later.

Yet Hollywood is a mercurial place. Audiences didn’t respond to the movie, and it quickly sank beneath the surface of the cultural consciousness. The soundtrack, however, did not.

Easily one of the best ever assembled, the soundtrack includes a fantastic sampling of ’70s rock. In addition to the Ronstadt live tracks and Buffet doing “Livingston Saturday Night,” Steely Dan performs “FM (No Static at All)” – which was written for the film – and “Do It Again.” Also featured are Petty’s “Breakdown,” Bob Seger’s “Night Moves,” Steve Miller’s “Fly Like an Eagle,” the Eagles’ “Life in the Fast Lane,” Boston’s “More than a Feeling,” the Doobie Brothers’ “It Keeps You Runnin’,” Queen’s “We Will Rock You” and more.

Unsurprisingly, all of this added up to a hit record. It’s just a shame that the film couldn’t quite elevate itself to the level of its own soundtrack and was so quickly forgotten. Otherwise, we’d be talking about a stone-cold cult classic that captured an important aspect of the history of rock in the ’70s.

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Peter Gelb and Keri-Lynn Wilson’s Sunday Routine


Married for 19 years, Keri-Lynn Wilson and Peter Gelb spend a lot of time apart because of their high-profile careers. Ms. Wilson, 55, is a conductor with gigs all over the world. Mr. Gelb, 69, is the general manager of the Metropolitan Opera.

Even when they are together on the occasional Sunday, work has a way of interfering: While Ms. Wilson prepares for her next maestro engagement, Mr. Gelb is on call for whatever needs doing at the Met, including scrambling to find a replacement if a singer cancels just before a matinee. Sometimes they collaborate: They are currently working on a concert tour of the Ukrainian Freedom Orchestra. Ms. Wilson, who will conduct, had the idea for the performances after Russia invaded Ukraine last year.

What follows is a typical weekend for the couple when they are both at home on the Upper West Side of Manhattan, where they live in a duplex, blocks away from the Met.

SOPHISTICATED AND LUXURIOUS Mr. Gelb: I get up between 6 and 6:30. My wife is still sleeping at that point, so I pad down the stairs and start my morning off with a cappuccino with two shots of espresso and skim milk. I have a banana and a vitamin C energy drink, and then I do some early morning phone calls to European colleagues who are awake, answer some of last night’s emails and check the box office report. Ms. Wilson: I typically get up around 7:30. I try to get a good night’s rest. For 25 years, my career has meant living out of suitcases and hotels. If I’ve been on the road a bit, sometimes I confuse the hot and cold taps in the apartment.

SCORES, ON AND OFF THE COURT Mr. Gelb: I usually get an Uber to make sure I catch the 8:20 tram to Roosevelt Island in time for my 8:30-to-10 tennis match at the Roosevelt Island Racquet Club. On my way to tennis I always send Keri-Lynn messages wishing her a good morning. She’s the only person in the world I send emojis to. Ms. Wilson: I came to New York when I was 18 to go to Juilliard. New York has always been special to me. But unfortunately when I’m here I’m usually sitting at my desk with a score. I’ll have my coffee, watch BBC News, have my breakfast of fruit and cereal and yogurt, and then I’ll go right to work.

WATER IN THE BASEMENT Mr. Gelb: By the time I get back to the apartment, Keri-Lynn is doing her daily routine of 30 minutes of swimming. Ms. Wilson: Every single day I swim. We live in a very old building, and the swimming pool in the basement was a major factor in our decision to live here. As a conductor, my body is my machine. Mr. Gelb: It’s an ancient lap pool. In the early 20th century, Isadora Duncan used the area it’s in to rehearse with her dancers.

HOT AND COLD Mr. Gelb: We meet for our first communal activity of the day, a sauna and a steam. We have a sauna and a separate steam room in the apartment. Ms. Wilson: I would add that I’m part Icelandic, and there’s a great Scandinavian tradition of heat contrasted with ice-cold. We always finish with a super cold shower. Mr. Gelb: Then we have a very light lunch, sort of on the fly. Ms. Wilson: We’ll have a hard-boiled egg. We don’t even sit down. We’ll stand at our tall counter. Then I get back to my desk.

COLLABORATING Mr. Gelb: We have next to the kitchen a long, narrow office with two adjoining desks. Usually we’re both in there working. In the case of a project like the Ukrainian Freedom Orchestra, I fill in Keri-Lynn on dates that have come in from our organizers, and she’ll tell me about the repertoire she’s planning. Ms. Wilson: Putting together a project like this with Peter, who is so brilliant, it wasn’t even daunting. It doesn’t even feel like work.

PIANO ESCAPE Mr. Gelb: We have a music room that has a Steinway baby concert grand, where she also studies her scores. Ms. Wilson: When Peter gets on the phone, that’s where I escape.

THE WORK Mr. Gelb: Some Sundays, there’s a matinee. If it starts at 3, I’ll get there around 2:30 to say hello to the artists and the conductor. And if there are any important patrons to say hello to, I will do that. If I’ve seen the performance several times already, I will go in and out of my office, about 50 yards away from a secret entrance to the general manager’s box. Ms. Wilson: While Peter’s at the matinee, I will still be at my desk. I have perfect pitch, so I can look at a page and hear the notes in my head without having to play them. Nevertheless, it takes a lot of time to read through a score. Just once takes several hours. And then you keep going through it. There’s so many aspects you have to understand: the structure, the dynamics, the phrasing.

SANCTUARY Ms. Wilson: I will finally get away to walk in Central Park, my sanctuary. As much as I like to think I’m relaxing, I’m still studying music. Sometimes I’m listening on my headphones, sometimes I just think about it. I adore looking at Sheep Meadow, that skyline. Many times I’ll record a video message for my cousin in Ukraine. I speak a lot of languages, but I feel very insecure that I don’t speak Ukrainian fluently yet. My best friend who taught me Russian is teaching me Ukrainian.

DINNER FOR TWO Mr. Gelb: I’m the cook. I’ll make fish and vegetables, with the fish probably from Citarella. It’s healthy, too healthy. If I’m craving pasta, I’ll make something for Keri-Lynn and I might make myself spaghetti with clam sauce. Ms. Wilson: Like I said, I treat my body like a machine. I feel like I have more energy if I avoid pasta. While Peter’s doing his dinner prep, I like to play the piano.

COCKTAIL HOUR Ms. Wilson: Once he’s prepped, I like to say, “Peter, can we sit down and have a cocktail?” Mr. Gelb: Keri-Lynn will have a glass of Champagne. I like to have iced vodka.

COMPETITION Mr. Gelb: We might play Scrabble, too. I think I have a larger English vocabulary than she does, but she’s a much more talented Scrabble player. Ms. Wilson: I’ve occasionally ended up getting a word worth 98 points. Mr. Gelb: I find that very demoralizing.

ROLL INTO BED Mr. Gelb: I’m in bed by 11:30, midnight at the latest. Ms. Wilson: I go to bed a little later, maybe 1 or so. I have a wonderful physical therapist who showed me how ballerinas use rollers to stretch out their back muscles. You can use the roller in other ways, too, for all sorts of core exercises. I like to spend 15 minutes doing that before bed. It’s like an extra little workout.

Sunday Routine readers can follow Ms. Wilson on Twitter and Instagram at @Kerilynnwilsonmaestro. Mr. Gelb is not on social media.

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What seasons did Kevin Hart appear on Shark Tank?


KEVIN Hart is not only a skilled comedian, but is also a successful businessman, and has founded three companies as of 2023.

Hart is a recurring shark on the hit ABC show Shark Tank.

Kevin O'Leary, Lori Greiner, Kevin Hart, Mark Cuban, and Barbara Corcoran


Kevin O’Leary, Lori Greiner, Kevin Hart, Mark Cuban, and Barbara CorcoranCredit: Getty

What seasons did Kevin Hart appear on Shark Tank?

Hart appeared in two episodes during season 13 of Shark Tank.

During his first appearance on the show, the actor discussed his reasons behind creating his first company HartBeat Productions.

Hart stated in his video profile: “I started HartBeat Productions because I didn’t want to be the star that was just a work for hire.”

He continued his business ventures by creating HartBeat Ventures following the success of HartBeat Productions, which Hart stated in his video profile is all about: “financial inclusion.”

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Shark Tank's Mark Cuban reveals the 'door-to-door' side hustle he started at 12

As of this publication, Hart has invested in at least 35 companies, with two notable investments going to The Transformation Factory and Snactiv.

According to Celebrity Net Worth, the actor has a net worth of $450million.

How much has Kevin Hart invested in The Transformation Factory?

One company Hart showed a huge interest in was The Transformation Factory, which sells edible sea moss gel that can be beneficial for one’s health.

Hart, along with fellow shark Mark Cuban, offered company founder Alexiou Gibson $600k for a 20% stake, which Gibson happily accepted.

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During negotiations, Hart told the founder: “I truly do believe that there’s a significant value in which you have here, and I do honestly believe in your growth potential, and also you as a business person.”

However, Hart admitted to already having tried the product before the show due to its growing popularity on social media.

Following the episode premiere, there was an increase in product sales, and The Palm Beach Post reported that Gibson is hoping their investment will help in bringing the product to retail stores.

How much has Kevin Hart invested in Snactiv?

Unlike The Transformation Factory, Snactiv sells products that aren’t edible but could be useful for those who like to eat.

Snactiv co-founders Kevin Choi and Edwin Cho went on to the show seeking $200k for a 10% stake in their company and had Hart laughing throughout the entire pitch.

Following their pitch, Hart said to Choi and Cho: “This is an amazing product, I love the idea, I love the fun behind it.”

The sharks battled it out when it came to offers, but the founders ultimately chose to take Hart and Lori Greiner’s deal of $200k for a 20% stake.

Kevin Hart and Lori Greiner


Kevin Hart and Lori GreinerCredit: Getty

It is unclear how much popularity the company gained after this episode, but The Daily Meal confirmed in 2023 that it still has an active presence on Facebook and Instagram.

ABC’s Shark Tank is currently airing its 14th season, and the season finale is scheduled to air on May 19, 2023.

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Prog Legends Gentle Giant’s “Interview” Steven Wilson Remix To Be Released on CD, 5.1 Blu-ray & 180g Vinyl June 16, 2023 – Music Industry Today


Prog Legends Gentle Giant’s “Interview” Steven Wilson Remix To Be Released on CD, 5.1 Blu-ray & 180g Vinyl June 16, 2023 – Music Industry Today – EIN Presswire

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DiMenna Center for Classical Music to Host World Premiere of Philippe Treuille’s LIVE FOREVER


DiMenna Center for Classical Music to Host World Premiere of Philippe Treuille's LIVE FOREVER

Award-winning, Juilliard-trained, young composer, Philippe Treuille will premiere his new work, Live Forever, on Thursday, May 25th, 2023 at the DiMenna Center for Classical Music in New York City. The premiere will feature Brazilian flute soloist Daniela Mars, and 21 performers for the First Dimension Ensemble, conducted by maestro Jean-Pierre Schmitt. Live Forever celebrates the resilience of diverse people confronting challenges together.

The concert will also feature two other compositions by the composer. Rejuvenation in Red, featuring French oboist Adam Leites, depicts the difficult and thorny journey of a mysterious figure in red. Tessellations, which will be accompanied by a commissioned video by French artist Thomas Auvin, tells the adventures of one rabbit who escapes an M.C. Escher-style tessellation of rabbits.

The concert begins at 7pm with a champagne reception to follow. Tickets are available at: Click Here


Born in 1984, Philippe Treuille is a composer whose work evokes “…power, the harnessing of music on a massive scale making profound words real and moving.” (The Millbrook Independent) He attended The Juilliard School and Northwestern University, and also studied at the Ecoles d’Art Américaines de Fontainebleau. He was selected to be composer-in-residence at the Chateau Mercier Foundation in Sierre, Switzerland. Treuille’s Requiem for choir and orchestra was premiered in 2015 by the SymphoNYChorus. His Baptismus and Nuptialis, which complete a trilogy of masses, were premiered by the Long Island Choral Society and Orchestra in 2019.

Philippe Treuille has been commissioned to compose music for film, theater, dance, guided meditations and performance art, as well as for birth, wedding and funeral ceremonies. His music has been performed in Spain, France, England, The Netherlands, and the United States, at museums, concert halls, churches, schools and universities including the Rubin Museum, MoMA PS1, the French Consulate, Lincoln Center Plaza, the Birmingham Museum of Art, the Château de Fontainebleau, the American Institute of Architects, the Dimenna Center for Classical Music, and at the Boston University Tanglewood Institute. His awards include a National Foundation for the Advancement in the Arts Music Composition Merit Award.

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