Orange and Blue game takeaways: Florida's first-team offense shines, injuries appear to be low
Graham Hall
In Florida head coach Billy Napier’s first Orange and Blue game, the format was ultimately more competitive than the contest.
Led by quarterback Anthony Richardson and the first-team Florida offense, the Blue team jumped all over the Orange team in Thursday’s Orange and Blue game at Ben Hill Griffin Stadium, securing a 34-0 victory in the intrasquad scrimmage.
Richardson finished 15-for-20 passing for 191 yards and a pair of passing touchdowns while, most importantly, looking like the clear-cut starter at signal-caller. The redshirt sophomore consistently looked confident in the pocket, showing little sign of the hesitance he displayed at times during his injury-riddled 2021 campaign.
He flashed his speed in the open field, too; adding a rushing touchdown from 12 yards out that further extended the Blue team’s commanding lead.
Recap:A look back at Billy Napier's first Orange and Blue game at Florida
Star of the game:Quarterback Anthony Richardson gives Florida Gators fans reasons for hope | David Whitley
Gator Nation:Florida football fans excited to get first look at Napier-led Gators at spring game
Going dark? Are the Florida Gators going to wear black uniforms? Reports say they're in the works
The Jack Miller-led Orange team struggled to string together consistent drives against the defense’s second unit, though the Ohio State transfer did complete 13-of-23 passes for 121 yards before Jalen Kitna entered in relief of Miller in the final minute of the third quarter.
The Orange team struggled when it came to taking care of the football, including a pair of fumbles, as well as an interception by safety Donovan McMillon on an underthrown pass from Kitna.
Walk-on linebacker-turned-tight end Noah Keeter, a Gainesville native, led the Blue team in receiving with three receptions for 53 yards and a touchdown. Keeter, who transferred from UCLA to UF, hauled in the longest reception of the night, a 29-yard grab down the sideline in the second quarter.
“I can't compliment the players’ work ethic enough, their competitive spirit," Napier said. "One thing about this group now, when you put the ball down, they're gonna compete. And I think tonight you can see them competing."
Here are takeaways from Thursday’s Orange and Blue game.
Special teams don’t initially live up to name
During pre-game warm-ups with the Orange team, redshirt sophomore running back Demarkcus Bowman was seen fielding punts — an enticing sign for a unit that as of late has lacked explosive plays in the return game.
Bowman was deep nearly half an hour later to receive the open kickoff, though it didn’t go nearly according to plan. After catching the kick low at the 12-yard line, Bowman made it 13 yards upfield before fumbling the ball away, and Derek Wingo on the Blue team appeared to come up with the football. Being a scrimmage, the Orange team retained possession, but it was hardly a convincing start, especially for a group designated as “gamechangers” by Napier.
It didn’t get much better for the special teams unit as kicker Chris Howard missed a 32-yard field-goal attempt that would have opened the scoring.
Less than four minutes into the second half, Bowman fumbled again, and defensive tackle Jalen Lee proceeded to recover the football at the 12-yard line, setting up a touchdown run by Richardson that pushed the Blue team’s lead to 28-0 following the successful extra point attempt.
"The Blue team took care of the ball and played with poise and discipline. We're going to look at this tape and it's going to be a microcosm of every football game we play next Fall. So you've got to take care of the ball and you've got to play the situations really well," Napier said. "Fundamentally, you've got to be sound in what you do. Blue team made some explosive plays. They were aggressive, and they finished possessions, which the Orange team didn't. We missed a field goal, and then a turnover in the red area. So, that game's different if the Orange team executes and scores touchdowns in the red area, doesn't turn the ball over. These are simple things, but they're hard to do consistently."
A bright spot in the kicking game would come, however.
With 1:29 remaining in the third quarter, the Blue team extended its lead to 31-0 on a 52-yard field goal that just narrowly cleared the crossbar by walk-on kicker Adam Mihalek. The Tampa native’s kick tied the longest successful field-goal in Orange and Blue game history. Chris Hetland and Eddy Pineiro each notched 52-yarders in previous spring contests, in 2006 and 2016, respectively. He wasn’t done either. Mihalek would add a 47-yarder on the ensuing possession to continue his impressive performance at a position of need.
Late scratches for the Gators
As expected, tight ends Nick Elksnis and Jonathan Odom missed the Orange and Blue game due to injuries suffered in spring camp, as did safety Jadarrius Perkins.
But Florida’s list of sidelined players grew in the build-up to the contest with the additions of Avery Helm, Dakota Mitchell, Antwaun Powell-Ryland Jr. and Tre’Vez Johnson.
Powell-Ryland Jr. was seen practicing Tuesday in an orange non-contact jersey, and the redshirt sophomore appeared to be moving gingerly while trying to battle through whatever ailment he’d suffered.
Unexpected returns to the field
Bowman and Montrell Johnson spent the final two weeks of spring camp in orange non-contact jerseys, putting their availability in doubt for the spring camp. Ultimately, both players competed Thursday without issue. Bowman rushed 17 times for 61 yards, while Johnson had 13 carries for 55 yards and a touchdown.
"Montrell’s extremely bright, picks things up quickly. He certainly was a very productive back for us last year. I think rushed for 800 or 900 yards and was the conference player the year. He belongs out there," Napier said of Johnson, who transferred from Louisiana to Florida. "He’s got a big lower half. He’s got contact balance. He can protect. He can catch."
Johnson's play also served as a reminder of just how beneficial the transfer portal has been for the Florida program.
"At a point right there at the end, we had two running backs get injured. (Lorenzo) Lingard had a hamstring, (Gabriel) Ortiz had a knee, and we’re sitting out there. What if we didn't have Montrell Johnson out there, right?" Napier said. "I think that's where we were able to take advantage of the portal: bring in a player that allowed us to practice. We’ll be excited to get Nay’Quan (Wright) back. He’s certainly going to bring something to our team, but Montrell is what the doctor ordered. He’s certainly going to provide depth and production for our team.”
In a bit of a surprise, Jalen Kimber and Jaydon Hill, a pair of cornerbacks working their way back from injuries sustained in the fall, each participated in Thursday’s scrimmage after going through camp in non-contact jerseys.
Kimber, who missed most of the 2021 season with a shoulder injury that required surgery, saw the field quite a bit for the Blue team and finished with six tackles, including a game-high four solo tackles, to go along with a pair of pass break-ups of which were solo. Kimber capped his active night by intercepting Kitna on a deep throw as the fourth quarter waned, one of two interceptions by the Blue team defense. Competing in the Orange’s defensive backfield, Hill recorded one solo tackle.
"Kimber’s really good, he’s going to be a really good player for us," Miller said of his fellow transfer. "I see it everyday. All these guys you saw play tonight, how they did, you see it everyday in practice.”
Gators appear to come out without major injuries
With 3:09 remaining in the second quarter, junior defensive tackle Gervon Dexter came up limping following a four-yard run by Richardson. Dexter walked to the nearby sideline and, in a promising sign, proceeded to stand with his teammates rather than get examined in the medical tent by UF’s training staff.
Dexter returned to the game with 33 seconds remaining in the first half, alleviating any concerns the standout defensive lineman had picked up anything severe.
Amari Burney, who led all players in tackles with 11, appeared to injure his shoulder late in the fourth quarter, though it’s unclear how significant the injury was, as Burney didn’t have a chance to return to the game due to the result.
Aside from the initial concern for Dexter and the uncertainty surrounding Burney’s shoulder, the Gators appeared to come out of Thursday’s scrimmage relatively healthy as no other UF players appeared to suffer any noticeable injuries.


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Edward Pearson Warner (United States)
FIRST PRESIDENT OF THE PICAO AND ICAO COUNCIL
TERM OF OFFICE: 1947-1957
Edward Pearson Warner was born in Pittsburgh, Pennsylvania on 9 November 1894. He grew up in Boston, Massachusetts, where he attended the Volkmann School. He entered Harvard University in 1916 and specialized in mathematics. After graduating he went on to the Massachusetts Institute of Technology (MIT) and graduated in 1917 in mechanical engineering with additional credits in naval architecture.
During the spring of 1918, Dr. Warner was in charge of teaching a 15-week course in aeroplane design for MIT. At the end of the War, he was appointed Chief Physicist of the National Advisory Committee for Aeronautics (NACA) in charge of aerodynamic research at the station which NACA had just established at Langley Field. In September 1920, he returned to MIT on a full-time basis as an associate professor in charge of teaching in aeronautical engineering. He continued his teaching career until 1926. From 1924 to 1925, he was a consultant to the U.S. Air Mail service in connection with the selection of equipment, the establishment of an experimental station, and the development of aids to navigation. During the winter of 1925, he was a Director of Colonial Airlines. In 1926, he was appointed Assistant Secretary of the Navy for Aeronautics. From the Navy Department, he went on to become the editor of "Aviation" for the next five years. He continued to participate in various public and organizational activities and, in particular, served from 1929 to 1945 as a member by presidential appointment of the National Advisory Committee for Aeronautics. In July 1934, President Roosevelt appointed him as a member of the Federal Air Commission and he was subsequently elected as its Vice-Chairman. He returned to "Aviation" for a few months and then resigned to open a consulting business at which he worked for the next three years. Dr. Warner received an honorary Doctor of Science degree from Norwich in 1938. He also remained active in NACA, serving for a number of years as Chairman of its Aerodynamics Committee and subsequently of the Committee on Operating Problems. In November 1938, Dr. Warner joined the staff of the Civil Aeronautics Authority as an economic and technical consultant. He remained a member of the Authority and of the Civil Aeronautics Board, its successor, for more than six years and served as its Vice-Chairman in 1941 and again from 1943 to 1945. In 1945 he received an honorary fellowship at the Institute of the Aeronautical Sciences.
Dr. Warner was a member of the United States delegation to the Chicago Conference and took an active part in its work on economic and technical problems, serving as Rapporteur of the Technical Committee. During the months following the Chicago Conference, his time was largely devoted to preparation for the new international organization that has been provided for in the Convention. In the spring, he assisted the Preparatory Committee that had been set up by the Canadian Government in anticipation of the first meeting of the Interim Council at the Organization's temporary headquarters in Montreal. He was later appointed by President Truman to be the Representative of the United States on this Organization's first executive body. On 15 August 1945, he was elected President of the Council of the Provisional International Civil Aviation Organization (PICAO). He served as President of the Council of PICAO and ICAO from 1945 to 1957 and retired on 18 April 1957. On 11 July 1958, Dr. Edward Pearson Warner died in Duxbury, Massachusetts. He was 63.


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Adler, Samuel
Marie Rolf
(Hans)
(b Mannheim, March 4, 1928). American composer and conductor of German birth. Both of his parents were musical, his father being a cantor and composer of Jewish liturgical music. The family came to the USA in 1939 and Adler attended Boston University (BM 1948) and Harvard University (MA 1950). He studied composition with Aaron Copland, Paul Fromm, Paul Hindemith, Hugo Norden, Walter Piston and Randall Thompson; musicology with Karl Geiringer, A.T. Davison and Paul A. Pisk; and conducting with Sergey Koussevitzky at the Berkshire Music Center. In 1950 he joined the US Army and organized the Seventh Army SO, which he conducted in more than 75 concerts in Germany and Austria; he was awarded the Army Medal of Honor for his musical services. Subsequently he conducted concerts and operas, and lectured extensively throughout Europe and the USA. In 1957 he was appointed professor of composition at North Texas State University, and in ...
Ahronovich, Yury
Noël Goodwin
[Georgy]
(b Leningrad [now St Petersburg], May 13, 1932; d Cologne, Oct 31, 2002). Israeli conductor of Soviet birth. He studied at the Leningrad Central School of Music and the Leningrad Conservatory, and also with Natan Rakhlin and Kurt Sanderling. In 1956 he was appointed conductor of the Saratov PO; he also taught at the conservatory there and conducted his first operas. The next year he became conductor at Yaroslav, remaining there until his appointment as chief conductor of the Moscow RSO in 1964; his guest engagements included appearances with the Bol′shoy Ballet. Ahronovich left the USSR in 1972 and became an Israeli citizen. After concerts with the Israel PO he began touring, appearing in London with the RPO and with the New York PO in the USA. He made his operatic début in the West with Otello at Cologne, where he was conductor of the Gürzenich Concerts from ...
Anhalt, István
John Beckwith
(b Budapest, April 12, 1919; d Kingston, ON, February 24, 2012). Canadian composer, conductor and pianist of Hungarian birth. He studied with Kodály at the Budapest Academy (1937–41). As a young man he spent a period with other Jewish youths in a forced-labour contingent of the Hungarian Army; his later war experiences – escape, then concealment by friends during the winter of 1944–5 – are described in the memoirs of the novelist Theresa de Kerpely (Teresa Kay). After a season as assistant conductor at the Budapest Opera (1945–6), he went to Paris for further studies in piano (Soulima Stravinsky), conducting (Fourestier) and composition (Boulanger), remaining there for three years. He moved to Canada in 1949 (taking Canadian nationality in 1955), and for three years held a Lady Davis Fellowship and an appointment as assistant professor at McGill University. There he founded the electronic music studio and served for six years as chair of the department of theoretical music. He held grants for electronic music research from the Canada Council (...
Ashkenazy, Vladimir
Stephen Plaistow
(Davidovich)
(b Gor′kiy [now Nizhniy Novgorod], July 6, 1937). Russian pianist and conductor, naturalized Icelandic. He was born into a musical Jewish family and entered the Moscow Central School of Music in 1945; his teacher there for the next ten years was Anaida Sumbatyan. His first major recital, devoted entirely to Chopin, was in the Great Hall of the Moscow Conservatory in April 1955, and later that year he gained second prize at the fifth Warsaw International Chopin Competition. In 1956, now a pupil of Lev Oborin at the Moscow Conservatory, he was awarded first prize at the Queen Elisabeth Competition in Brussels. While still a student he made his first tour outside the USSR the following year, to East and West Germany. After graduating, it was inescapable that he should be groomed for the second International Tchaikovsky Competition in Moscow in 1962 (the American Van Cliburn having won the first), and he duly restored national honour by carrying off a shared first prize (with John Ogdon). His London début followed in ...
Atlas, Dalia
Michal Ben-Zur
( b Haifa, Nov 17, 1933). Israeli conductor . She studied the piano at the Rubin Academy of Music in Jerusalem, and subsequently studied conducting in Europe and the USA with Franco Ferrara, Celibidache, Hans Swarowsky and Boulez. From 1954 to 1960 she taught piano at the Rubin Academy of Music. Atlas won several international conducting awards, including the Dimitri Mitropoulos Competition (1964), the Leopold Stokowski Prize (1978) and the Eugene Ormandy Award (1980). In 1981 she was appointed associate professor and director of musical studies at the Technion in Haifa. She is the founder and principal conductor of the symphony orchestra and choir of Technion, the Israel Pro Musica Orchestra and the Atlas Camerata. She has also appeared as a guest conductor with the RPO in London, the Royal Liverpool PO and the Stockholm PO, among others. Atlas has given the first performances of works by the Israeli composers Amy Maayany and Zvi Avni, and has recorded Stravinsky's ...
Avitsur, Eitan
Eliyahu Schleifer
(b Jerusalem, Sept 15, 1941). Israeli composer and conductor. He studied at the Rubin Academy of Music (teacher's diploma 1967, BMus 1972) and at the Salzburg Mozarteum (1976). From 1968 to 1973 he served as the director of Renanot, the Institute of Jewish Music, Jerusalem. In 1971 he joined the music department at Bar-Ilan University, where he founded an electro-acoustic laboratory in 1995. He has conducted numerous concerts in Israel, as well as national television and radio broadcasts. In 1973 he helped establish the Natanya SO, with which he has performed concerts of contemporary Israeli music. An award-winning youth orchestra conductor, he became music director of the Jerusalem Youth Orchestra in 1987.
Avitsur's compositions express a deep commitment to Jewish and Israeli culture. Many of his works are large-scale vocal compositions based on scenes from recent Jewish history. Much of his music, such as the Symphony no.2 ‘Shirat Hadorot’ (‘Generations’ chanting’, ...
Avni, Tzvi
Miri Gerstel
(b Saarbrücken, Sept 2, 1927). Israeli composer of German origin. He studied composition with Erlich, Ben-Haim and Seter, and the piano with Pelleg, graduating from the Israel Academy of Music, Tel-Aviv, in 1958. From 1961 to 1975, Avni served intermittently as the director of the AMLI Central Music Library. Between 1962 and 1964 he continued his studies in the USA: at the Columbia–Princeton Electronic Music Center with Ussachevsky and in Tanglewood with Copland and Foss. Avni later taught composition and served as director of the electronic music laboratories at the Jerusalem Rubin Academy of Music and Dance (1971–95); he was appointed head of the department of theory and composition there in 1976. From 1968 to 1982 he also served as editor of Guitite, the bi-monthly publication of the Israeli Jeunesses Musicales, and from 1978 to 1980 he was chairman of the Israeli League of Composers. Avni was appointed chairman of the jury of the Arthur Rubinstein International Piano Master Competition in ...
Bar-Am, Benjamin
Ronit Seter
[Berman, Bernhardt]
(b Wiesbaden, July 20, 1923). Israeli critic, composer and musicologist. He moved to Mandatory Palestine in 1936. After studying composition with Paul Ben-Haim, his most influential teacher, Bar-Am attended the Ecole Normale de Paris (1949–51). He studied musicology at Tel-Aviv University (BA 1977), where he became the principal lecturer for courses on Jewish music and Israeli contemporary music (1973–96) and the first director of the Archive of Israeli Music. The secretary general of the Israeli League of Composers (1960–76, 1976–8), he became chair of the organizing committee of the ISCM in Israel in 1980. Though most influential as the music critic of the Jerusalem Post between 1958 and 1995, Bar-Am also wrote many essays on Israeli music in Hebrew, English and German, notably ‘A Musical Gateway between East and West’ (Jerusalem Post, 20 April 1988). He ceased composing in the early 1970s but resumed in ...
Bardanashvili, Ioseb
Ketevan Bolashvili
(b Batumi, Nov 23, 1948). Georgian composer. He studied composition with A. Shaverzashvili at the Tbilisi State Conservatory (1968–76) and taught at the College of Batumi Music (1973–95). In 1987 he was awarded the Z. Paliashvili State Prize and in 1995 he emigrated to Israel.
Bardanashvili came to notice in the 1970s when, in his first serious experiments in composition dating from his student years, he set himself complex creative tasks and constantly endeavoured to find uncommon ways of solving them. His creative thinking was formed by a synthesis of national traditions – Georgian and Jewish – and contemporary methods such as dodecaphony, in addition to aleatory and sonoristic techniques, all applied in a non-dogmatic manner.
He seeks to reveal the complex, multi-faceted aspects of the human soul, and the rich spectrum of its emotional world; the varied literary sources of his inspiration include, in particular, Jewish medieval poetry and the work of Marcus Aurelius and Michelangelo. His Symphony (...
Alan Blyth
(b Buenos Aires, Nov 15, 1942). Israeli pianist and conductor. He was first taught by his parents and made his début as a pianist in Buenos Aires when he was seven. In 1951 the family moved to Europe where he played at the Salzburg Mozarteum, and thence to Israel. Back in Salzburg in 1954, he met Edwin Fischer and Furtwängler, both major influences on his future career. Studies at the Accademia di S Cecilia in Rome and with Boulanger completed his education.
Barenboim made his British début as a soloist in 1955 and his American début two years later, and first conducted, in Israel, in 1962. From 1964 he worked for some years with the English Chamber Orchestra as conductor and pianist, recording with them symphonies by Mozart and Haydn, and a series of Mozart piano concertos. Meanwhile he began an international career as a conductor. He directed the South Bank Summer Festival in London (...
Ben-Shabetai, Ari
(b Jerusalem, Jan 22, 1954). Israeli composer. He studied composition at the Guildhall School in London (1978–9), with Mark Kopytman at the Rubin Academy in Jerusalem (graduated 1983), and with George Crumb and Richard Wernick at the University of Pennsylvania (PhD, 1987). Since 1987 he has been teaching at the Rubin Academy. He was the chairman of the Israeli Composers' League (1994–5).
His compositions tend to amalgamate different styles, for example aleatory means and proportional notation in Rubaiyat (1982) and atonal, extreme chromaticism with heterophony in the Sinfonia cromatica (1993). In the latter, each of the three movements represents a family of colours (magenta, aquamarine and white light) and the chromatic scale is developed as an important motif. In the Elegy for Anna Frank he uses a metalphone, an instrument of his own invention made of 11 gongs of different sizes, to evoke the sound of a railway. Ben-Shabetai's compositions have been performed in Europe and in the USA....
Berman, Boris
David Fanning
(b Moscow, April 3, 1948). American pianist of Russian birth. He studied at the Moscow Conservatory with Lev Oborin from 1965 to 1971, and took part in the Russian premières of works by Ligeti, Berio, Stockhausen and Cage, as well as the first performances of Denisov’s Ode and Schnittke’s ...
Bertini, Gary
William Y. Elias
(b Brichevo, Bessarabia [now Moldavia], May 1, 1927; d Tel Hashomer, Israel, March 17, 2005). Israeli conductor and composer of Russian birth. Taken to Palestine as a child, he began violin lessons at the age of six. He later studied at the Milan Conservatory (1946–7), in Israel, and at the Paris Conservatoire (1951–4) while taking further studies with Nadia Boulanger, Chailley, Honegger and Messiaen. In 1954 he returned to Israel and taught conducting at the Music Teachers’ College, Tel-Aviv, and later at the Rubin Academy of Tel-Aviv University, where he was appointed a professor in 1975. In 1955 he formed the Rinat Choir, which quickly acquired a wide reputation and became the Israel Chamber Choir. Bertini’s orchestral début was also in 1955 with the Israel PO, with which he first toured the USA and East Asia in 1960. His British début was in 1965...
Braun, Yehezkel
Jehoash Hirshberg
(b Breslau, Jan 18, 1922; d Tel Aviv, August 27, 2014). Israeli composer. His parents settled in Palestine in 1923. After studying at the Israel Academy of Music with Alexander Boskovitch, among others, he was appointed to teach there when it merged with Tel-Aviv University in 1966. In 1975 he completed the MA in classical studies at the University, and studied Gregorian chant with Dom Jean Claire at Solesmes. He served as a jury member for prizes in Gregorian chant at the Conservatoire National Supérieur, Paris (1990, 1996, 1997).
In his early works Braun adopted the ideology of a national Israeli music, merging folklike dance patterns with cantillation motifs and modal chromaticism, as in his transparent Piano Sonata (1957). During the late 1950s and 1960s he composed several 12-note compositions, such as the Prelude and Passacaglia for harp (1967), retaining his predilection for simple melodic lines and consonant harmonies within the dodecaphonic context. Later works are more stylistically diverse. His Piano Trio no.1 (...
Bronner, Mikhail Borisovich
Alla Vladimirovna Grigor′yeva
(b Moscow, Feb 25, 1952). Russian composer. He graduated from the Moscow Conservatory where he studied composition with Khrennikov; he completed his postgraduate studies in 1981 and had become a member of the Composers’ Union in 1979. Notable landmarks in his career were the premières of his ballets Optimistichskaya tragediya (‘An Optimistic Tragedy’) and Ukroshcheniye stropivoy (‘The Taming of the Shrew’) at the Stanislavsky–Nemirovich-Danchenko Theatre in Moscow (1985, 1996) and the performance of the Yevreyskiy rekviem (‘Jewish Requiem’) in Germany in 1994.
Bronner writes music predominantly for the theatre and makes extensive use of theatrical elements in other genres: the monumental examples of this can be found in Yevreyskiy rekviem for soloists, chorus and orchestra in which he sets a poem by Chaim Byalik in Yiddish alongside prayers, the address of Maimonid in Tvrit, lines from the diary of Anne Frank, lyric poetry from the Song of Songs...
Cohen, Arnaldo
Bryce Morrison
(b Rio de Janeiro, April 22, 1948). Brazilian pianist of Russian-Jewish extraction. He studied with Jacques Klein (a student of William Kapell) in Rio de Janeiro and later with Bruno Seidlhofer and Dieter Weber in Vienna. In 1972 he won first prize in the Busoni International Competition and made his début at the Wigmore Hall, London. Wary of instant acclaim, however, he declined Deutsche Grammophon's offer of a contract and in 1976 returned to Brazil, where he gave concerts and taught maths and physics. A decisive change of direction came in 1981, when he replaced Martha Argerich at a concert in the Netherlands; his success in Bach's First Partita, Chopin's Four Ballades and Prokofiev's Seventh Sonata prompted his return to Europe. Cohen's distinctive elegance and dynamism create their own ambience, especially in the music of Liszt, several of whose works, including the rarely heard Grande fantaisie sur Les Huguenots...
Comissiona, Sergiu
Charles Barber and José A. Bowen
(b Bucharest, June 16, 1928; d Oklahoma City, March 5, 2005). Israeli and American conductor of Romanian birth. He studied the violin and conducting at the Bucharest Conservatory, continuing his conducting studies with Silvestri and Lindenberg. After his début with the Romanian State Opera with Faust in 1946, he joined the Bucharest Radio Quartet and the Romanian State Ensemble as a violinist, becoming musical director of the latter (1950–55). He was principal conductor of the Romanian State Opera (1955–9) in Bucharest and won the 1956 conducting competition in Besançon. He emigrated to Israel (becoming naturalized in 1959) and became musical director of the Haifa SO (1959–66) and founder-conductor of the Ramat Gan Chamber Orchestra (1960–67). He made his British début with the LPO in 1960, and his US début with the Philadelphia Orchestra in 1965; his success led to many engagements as a guest conductor, including the Boston SO, Cleveland Orchestra, San Francisco SO, New York PO and the Berlin SO. His musical directorships included the Göteborg SO (...
Czernowin, Chaya
(b Haifa, Israel, 7 Dec 1957). Israeli composer.
She studied at the Rubin Israel Academy of Music, Tel Aviv University (BA 1982) with Abel Ehrlich and Yitzhak Sadai, in Berlin with Dieter Schnebel (1983–4), at Bard College (MFA 1987), where her teachers included Eli Yarden and Joan Tower, and at the University of California at San Diego (PhD 1993) with Roger Reynolds and Brian Ferneyhough. She has taught at the Darmstadt summer courses (1990–98, 2004, 2010), where she received the Kranichstein prize (1992), at the University of California, San Diego (1997–2006), at the University of Music and Performing Arts in Vienna (2006–9), and at Harvard University (from 2009), where she became the first woman composer to serve as a senior professor of composition. Her honors include an Asahi Shimbun Fellowship for a year residency in Tokyo (...
Da-Oz Daus Ram
Nathan Mishori
[Avraham]
(b Berlin, Oct 17, 1929). Israeli composer of German birth. He moved to Palestine with his parents in 1934 and began studies of the piano in 1945 and the oboe in 1947. Blinded in the [Israel] War of Independence of 1948, he studied theory and composition privately with Hajos for three years, and he graduated from the Israel Academy of Music, Tel-Aviv, in 1953. Two years later he had a string quartet, a piano sonata and some songs publicly performed. Parts of these works showed a personal expressive quality, which reached a highpoint in the sombre orchestral Alei yagon va’nocham (‘Metamorphosis of Grief and Consolation’). Earlier tendencies toward fast chromatic modulations developed into atonal writing in the piano Capriccio, the String Trio and the Lea Goldberg Songs (1962); the influences of Prokofiev and Bartók gave place to those of Schoenberg. The dodecaphony ruling the Movimenti quasi sonata...
Davidovsky, Mario
Noel B. Zahler
(b Buenos Aires, March 4, 1934; d New York, Aug 23, 2019). American composer of Argentine birth. He studied the violin as a child and began to compose at the age of 13. Subsequently he studied composition, theory, and history in Buenos Aires, where his principal teacher was Graetzer. In 1958 he studied at the Berkshire Music Center with Copland and while there met Babbitt, who encouraged him to move to New York to work at the Columbia-Princeton Electronic Music Center. He taught at the University of Michigan (1964), the Instituto Torcuato di Tella of Buenos Aires (1965), the Manhattan School (1968–9), Yale University (1969–70), and City College, CUNY (1968–80). His association with Columbia University began in 1960 with his appointment as associate director of the Columbia-Princeton Electronic Music Center and ended with his tenure as professor of music (...


Noosa finds luck betting on yogurt
Josie Sexton
jsexton@coloradoan.com
BELLVUE – Two weeks before Christmas, Noosa Yoghurt stopped producing.
Machines filling 500 cups per minute, for 22 hours a day, stopped running. Thousands of 12-cup boxes, stacked 5 feet high and spread across a large shipping warehouse, sat waiting.
Inside the company's temporary trailer offices, workers packed up a wide-screen TV and various electronics as they took off early. At Noosa, production has become a 24-hour, seven-day-a-week operation. But just for the night, 90 employees took a step back from yogurt and attended an office holiday party, Monte Carlo-themed, for the chance to win some prizes.
The theme was fitting for a company that five years ago made a gamble on yogurt and in 2014 continued to see near triple-digit growth in sales of its single product.
In the past year, Noosa has risen to become the third-best-selling yogurt brand in the region. It has nearly doubled its staff, tripled plant capacity and sold a majority of the business to a private equity firm, for an undisclosed amount, in order to continue on its unlikely trajectory.
Co-founder Koel Thomae, together with her business partners, built the company for five years on traditional bank financing. But sales grew from $43 million to $74 million in the last year, which Thomae said is difficult to keep up with.
In selling Noosa to Boston-based Advent International, she said her company gets to stay the same, with the addition of Advent's advisers, and keep up with a growing national demand for yogurt.
"Based on the investment that our new partner is willing to make," Thomae said, "I think we've got huge opportunities."
With $74 million in annual sales, Noosa controls about 11 percent of the Rocky Mountain region market and less than 1 percent of the $7 billion U.S. yogurt industry. The brand has come this far without any traditional advertising.
"Please don't use Noosa as a case study," Thomae tells aspiring food entrepreneurs. "I mean, this is unheard of."
Betting on Australia
From 2004 to 2007, Thomae traveled twice from Boulder to Australia's Sunshine Coast to see her family. On the first trip, she stopped at a corner store and happened upon an unbranded, clear container marked Queensland yogurt.
It didn't taste like the traditional blended yogurts Thomae had grown up with in Australia. Queensland was thicker — but not so thick as Greek — and it was creamy, with passion fruit puree on the bottom. It wasn't just the best yogurt Thomae had ever had, "it was like the best food I had ever tasted."
At the time, Thomae was working for the Boulder-based Izze Beverage Co., which was about to be bought by Pepsi. After her first Queensland experience, she went back to the U.S. and back to work at Izze. But she also began tracking the yogurt industry, which was starting to boom in Greek varieties. Even to her boss, Thomae said, "I wouldn't stop talking about yogurt."
On her next trip to Australia, Thomae made her mother call Queensland yogurt's family owners. Mom obliged and set up a meeting with the Mathewsons. They got together for lunch and beers at the local beach's surf club in a town called Noosa.
By the end of lunch, Thomae and her mom had convinced the Mathewsons to bring their product to the U.S. market.
"We created a business partnership out of one lunch," Thomae said. "Obviously, 20 million people (in Australia) versus 300 million (in the United States) … It's very compelling."
Betting on Colorado
Back in Colorado, as Thomae sought a milk supplier, dairy owner Rob Graves was looking for ways to expand his own product line with Whole Foods Market.
Graves, a fourth-generation owner of Morning Fresh Dairy in Bellvue, said he didn't really like yogurt until he tried the Queensland recipe. He lights up when he talks about making those first 5-pound yogurt batches, in buckets, with the help of Thomae and the Mathewsons.
"We'd make a batch a week, and if we could sell that batch within a week, we thought we were doing really, really good," he said of the business' first months.
Taking a cue from the original transparent Australian packaging, Thomae searched for clear cups in the U.S.; the most readily available came in an unusual wide-mouthed and flattened 8-ounce container.
The new company set up shop in one room of the Bellvue dairy. Graves prepared fruit puree on his home stove, following his own grandmother's jelly recipe, reducing fruits with sugar and simmering slowly.
The trick is "just patience and balance," he said. It's a combination hard to maintain in the recent yogurt industry.
Noosa Yoghurt, as it was renamed for the American consumer, was first sold in 5-pound batches to Whole Foods Markets. Four months after Noosa's start in January 2010, Horizon Organic stopped producing yogurt, leaving shelf space open at King Soopers and Kroger, the country's largest supermarket chain.
Betting on Greek
Noosa's growth in five years was aided by those initial two large retailers, and the later addition of Target and Super Target in all 50 states. Even so, Noosa's gains are dwarfed by the yogurt industry's disruptor: Chobani.
Launched in 2008 by a Turkish immigrant, Chobani grew its revenue in five years to $1 billion. In national sales, the maker of Greek yogurt falls closely behind yogurt giants Danone (Dannon) and General Mills (maker of Yoplait).
With the help of Chobani, about half of the American yogurt market is now Greek style, with companies such as Fage, Oikos (Danone) and Stonyfield (Danone) competing.
But Thomae said there is only so much supermarket shelf space for one trend in yogurt.
"At the time it felt like, oh my gosh, we're going to be behind this curve," she said of opening Noosa during the Greek explosion. "And it ended up actually being great timing, because (Greek) just exploded the entire (yogurt) category, and there continues to be so much press around Greek."
As Greek continues to soar, Thomae said people are wondering what might be the next trends in yogurt. Noosa, with a high-protein alternative to the thicker Greek variety (a container of Noosa packs 14 grams of protein to Chobani's 11), is waiting patiently.
"So as everybody jumped on the Greek bandwagon, we just kept focused on what we do best," Thomae said. "And that sort of created the next subcategory in the yogurt aisle."
Betting on taste
In that next yogurt aisle subcategory, Noosa stands apart.
California-based Wallaby boasts an Australian-style yogurt, but more blended and organic. New York's Siggi's has introduced a strained, nonfat Icelandic yogurt, and a handful of other regional and occasional styles have emerged, such as dessert yogurts.
But Wade Groetsch, Noosa's president and chief operating officer, said, "We don't want to pigeonhole ourselves" with the product.
The brand continues to diversify only in fruit purees — most recently coconut and pumpkin — without adding a Greek subset or dessert line of products.
The Australian recipe remains the same, though the fruit now comes from California. And what Thomae modestly calls accidental packaging has become a large part of Noosa's identification.
Groetsch joined the company in 2012 to focus on sales and finances and has since become the big-picture thinker with the big-yogurt experience behind Noosa's last two years of growth and development.
Before coming to Noosa, he spent 11 years with the Yoplait division of General Mills. He went on to run Dannon's largest yogurt-producing factory in Minster, Ohio.
Now he is watching the U.S. yogurt industry, which has quadrupled in production over the past two decades to nearly 4.5 billion pounds annually, and the European industry, where in countries such as Sweden, a person will eat 62.8 pounds of yogurt annually. In comparison, an American by 2008 was eating 11.8 pounds annually.
Groetsch said Noosa's secret to continued growth is its taste; the company's main marketing plan in four years has been to get people just to try the yogurt, in free samples.
That will have to change slightly as business moves forward with Advent's investment, focusing on national growth and brand recognition outside Colorado through "guerrilla marketing" tactics and social media.
If its owners are any indication, Noosa as a whole isn't phased by the transition.
Thomae heads the company's sales and marketing from a shared workspace in Boulder, a few small Noosa posters hanging on otherwise bare walls of her small office. Graves continues to run between Noosa and Morning Fresh Dairy from the companies' shared Bellvue headquarters. And Groetsch oversees the day-to-day operations of the yogurt facility, in the midst of its $10 million expansion.
The "Australian partners," as everyone refers to the Mathewsons, have moved back to Australia to focus on their own family business, with an undisclosed but imaginably hefty takeaway from the buyout. And after four years of playing catch-up with hungry consumers, Thomae said, "it's nice to finally be at a point where we're over-investing."
In January, Noosa's new "world headquarters," as Groetsch refers to the Bellvue Morning Fresh and Noosa campus, will finish construction, starting with a 6,000-square-foot administrative building, in a farmhouse style, and continuing with a 35,000-square-foot warehouse. About 10 new jobs will be created from the expansion.
Meanwhile, Morning Fresh is building a new milking parlor and converting corn fields to grass as it doubles its cattle numbers to continue supplying Noosa.
Together, the businesses hope to start offering tours and hosting events at the idyllic canyon-side setting, all of which should solve what seems to be Noosa's only big current business problem, according to its owners: "People don't even know we're here."


NAB Show 2022: Self-Guided Tour of All Things Data, AI & Automation
By Pickle &nbspJanuary 30, 2022
Why is Intelligent Content a key destination — along with the Create, Connect and Capitalize pillars — at the 2022 NAB Show? Because it has become a real, transformational element of today’s media and entertainment ecosystem, with practical applications all across the content value chain.
Intelligent Content is relevant and important to your business. Whether you’re ready for it or not, it is the future. Perhaps that sounds like a bold statement, but if you look at the modern media business, you already see Intelligent Content everywhere, in broadcast, OTT and all manner of digital and social platforms.
Intelligent Content is content that uses smart technology before, during and after creation. It is informed by and embedded with data that can be traced, analyzed and applied. Thanks to this data, intelligent content can more easily be discovered, reused and adapted. It can be used for more than one purpose and on more than one platform. And in the end, intelligent content can make great storytelling more intuitive and enable a curated viewing experience for every single consumer.
Using Intelligent Content, Fox Entertainment and Blockchain Creative Labs have built on the hit show “The Masked” singer with the launch of “The MaskVerse,” an NFT marketplace and community designed to make buying, selling and trading of digital goods — Non-Fungible Tokens (NFTs) — part of the mainstream consumer experience.
Intelligent Content also drives the Squid Game NFT collection, which is likewise engineered to increase engagement with fans and develop a broader reach, with greater revenue-generation potential. Fans can purchase “Squid Game” NFTs, such as characters, honeycomb candy (Dalgona) and backgrounds, and eventually use them to participate in online games mirroring those in the popular show (with big cash prizes but without so much gore).
How does it actually work? Data, artificial intelligence (AI), and machine learning are being used to make content work harder. It’s a circular flow in which data informs content creation, and the data harvested through delivery and consumption across various devices and platforms informs further content creation and delivery. Used in this way, data drives smarter, richer and more meaningful connections between the producers and consumers of content. It supports new channels of engagement and new ways to generate revenue. This is the Intelligent Content showcase you’ll discover at the 2022 NAB Show.
Within Intelligent Content, you’ll find three focus areas: AI and Automation, New Engagement Channels, and New Business Models. It’s no accident that these areas respectively align well with Create, Connect and Capitalize, though AI and automation truly make an impact along the entire value chain, from camera to consumption.
As broadcasters, streamers and networks pursue more direct relationships with consumers, AI manages the data that drives better-informed decisions that lead to greater success. Supporting behavioral analytics and demand-led commissioning, it allows for more accurate viewership predictions, enabling more effective monetization of content, and even helps media organizations extend their reach, target new audiences, try new ideas and capitalize on new opportunities while minimizing risk. In conjunction with integrated tech stacks, AI also enables greater automation of production workflows, improving efficiency and reducing costs across the board.
All of these gains give media organizations the opportunity to explore new engagement channels and to connect with consumers in new ways. As audiences increasingly expect personalization at scale, content creators and distributors will need to engage with them differently and empower them to consume content in different ways. They will need to consider new business models, new methods for capturing data about audiences and viewing patterns, and additional platforms through which to reach consumers. (Social influencers, mobile and other always-on platforms, wearable devices, connected electronics, appliances and homes, and more!)They also need to understand the infrastructure and technical requirements needed to support all these new efforts and ventures.
The 2022 NAB Show will offer an in-depth look at all these aspects of engagement, giving you a better understanding of how your business can move forward in making content work harder for you. Building on that idea, the New Business Models focus area will examine exactly that: new business models. More specifically, it will reveal how consumer data is redefining the value exchange between content creators and content consumers — and driving the shift away from subscription and advertising dependent models. Here you’ll learn more about monetization and reaching the connected consumer in a data-driven media ecosystem.
While data has powered various parts of the industry for some time now, the idea of Intelligent Content isn’t necessary intuitive. That’s why this area of the 2022 NAB Show will feature a self-guided tour of all things data, AI and automation, complemented by a new content series on NAB Amplify. Exhibitors are utilizing Intelligent Content to help showcase a more holistic approach to how these technologies are impacting all levels of the workflow from create to connect to capitalize.
Eliminating much of the technical jargon while also providing opportunities for deeper learning, the show will make it easy to build foundational knowledge and discover the possibilities for your business. You’ll learn what Intelligent Content actually means for you, whether you’re in broadcast, streaming, or another area of content creation or delivery.
Ultimately, if you’re an attendee, this approach will help you to make meaningful connections so that you can make informed decisions, which in turn can allow you to create better content, connect with the right people, and make money. That’s always been the strength of NAB Show, and it’s truer than ever as the media and entertainment industry expands into new forms of creating, connecting and capitalizing on content.
If you’ve been in the industry for a while, you’ve seen that every time a new form of media is invented, people throw up their arms and say, “The world is over. That’s the end.” But in reality, the way people consume media is multifaceted and varied. It depends on the moment, how people feel, what they want to do, how much time they have.
There is always a place for these additional forms of media, the new along with the old.NAB Show is the only show that focuses on all of it — the entirety of the media and entertainment ecosystem. That’s why the 2022 NAB Show is the perfect place to learn more about Intelligent Content, how it relates to what you’re doing today and how it will affect your media business in the coming days, months and years.
What’s India Looking for at European Film Market


Tag: Galerie Wouter van Leeuwen
American Winter by Gerry Johansson
“For me it is important not to create a story with the pictures,” says Gerry Johansson. “Normally when you edit you try to sequence the photographs. But for me it is important that each picture is considered as a single, individual image.”
Johansson’s photography is largely driven by intuition, but when it comes to making a book, logic and order triumph. Almost all of his 31 photobooks are defined by their geography, if not the subject matter, and their equally-sized photographs are generally organised either alphabetically or chronologically, a bid to encourage readers to interpret them individually.
Documentary, Exhibition, Photobook
Marigold Warner 23 January 2019
Obituary: Jacqueline Hassink, photographer 1966-2018
“I was trained as a sculptor, and this was the first time I had used the camera,” wrote Jacqueline Hassink in the Financial Times in 2011, of her breakthrough project The Table of Power. Between 1993 and 1995 Hassink contacted forty of the largest multinational corporations in Europe, asking to photograph their boardrooms. “I wanted to find a table that symbolised modern society’s most important value: economic power,” she writes. Nineteen refused, while the remaining 21, in Britain, the Netherlands, Germany, France, Switzerland and Italy, eventually agreed.
The book was published in 1996; it was the first time that photographs of these places had been made public, and in the spring of 2009, after the global recession, Hassink decided to revisit the boardrooms. With The Table of Power 2, she examined how boardroom design, revenue and employee numbers had changed over the intervening years.
Hassink, who has died aged just 52, was born in Enschede, the Netherlands, on 15 July 1966. She trained to be a sculptor at the Royal Academy of Art in The Hague, and then at the Trondheim Academy of Fine Art in Norway, but after graduating in 1992, presented herself mainly as a photographer, publishing nine books – including another celebrated title, Car Girls, in 2009. It was shot over five years at car shows across seven cities in three different continents, including New York, Paris, Geneva, Tokyo, Detroit, and Shanghai, focusing in on differing cultural standards on ideals of beauty on the women paid to pose with the cars.
Documentary, Exhibition, Features, Landscape, News, Photobook
Marigold Warner 28 November 2018


Tag Archives: bangalore
Stepping About with Tushar Mathur: An Interview
Bangalore-based Tushar Mathur has made quite a splash in the short time since he’s gone solo. With two singles out already, “Mend” and “Groove Pool”, he’s earned a sizable following for his signature chill R&B sound and sharp production quality. He’s been featured on BBC, VH1 and countless media publications for his fresh and unique sound.
But as laid-back and breezy as his music may sound, Tushar Mathur’s work ethic is quite the opposite. In launching his music career, he’s learned to don many hats: songwriter, producer, video editor and social media manager, to name a few. Fittingly enough, his upcoming track “Stepping About”, talks about our generation’s struggle to strike a balance between hustle culture and self-care. The track features Shayan Roy, a Mumbai-based rapper and producer of Buzzfeed fame and releases on May 1st.
We sat down with Tushar Mathur last week for a detailed chat about his music, his influences and what it means to be a musician in the social media age.
Let’s start with the name. My name is Tushar Mathur and I’m originally from Coimbatore. I’m a chemical engineer. I finished my degree and didn’t want to pursue engineering at all. I moved to Bangalore around three years ago to do music full time.
I have a band that mainly plays blues-rock, and now I’m working on launching my solo career. The song I’m coming out with, “Stepping About”, is my third single; “Mend” and “Groove Pool” were my first two tracks and they released last year.
We really enjoyed your first two tracks! What made you interested in music? What would you say is the starting point for you?
The starting point for me, I’d say, is my family. I have a very musical family. My parents and grandparents sing Hindustani classical music. But the moment I really got interested in English music was when my brother went to Jaipur for his summer vacation and he came back with a CD. That CD had 12 tracks – mostly hits by Guns and Roses and Deep Purple. We’d sit down and listen to that CD on repeat, the entire day. That sparked an interest in me and I took it forward from there.
My dad also used to play a lot of John Denver and country music around the house. I grew up listening to a lot of guitar-centric music. My brother would also introduce me to a lot of metal and rock. My music has been centred around the guitar ever since.
So would you say these are your primary influences? Or has this evolved as you’ve evolved as an artist? What would you say your main influences are now?
Right now, I’m hugely inspired by Tom Misch. He’s a guitarist and producer from London. My music has been hugely inspired by him- the style that I have now is mainly because of how much Tom Misch I listen to. Another recent influence of mine has been FKJ. When I start touring and playing live, my idea is to incorporate a lot of loop work onstage. FKJ has sort of been a pioneer in that field.
Your first two tracks feel so effortless and breezy! How was the process of writing, producing and releasing these songs?
My first track “Groove Pool” is about an introvert at a party who wants to let loose. I’m not exactly why I wrote about it.. I’m not usually an introvert, but maybe I felt that way and just wanted to write about it. (Laughs)
My writing always starts off with simple guitar work. I usually start with a basic chord structure and build on top of that. The vocals, for me, usually come at the end. I tend to work on all the instruments and then sit down at the end of the day with the finished instrumentals, and write the lyrics and put in a nice vocal melody. That’s my process.
“Mend” was pretty similar. Groove Pool was released in July 2019 and Mend was out by November 2019. “Mend” was special because I worked quite hard on the music video for it. I had dancers, directors and photographers coming in so that took quite some time, but I’m happy with the result.
And how has the reception been for these tracks?
It’s been great! The songs have been on BBC Radio, both my videos were featured on VH1, and I’ve been featured on radio stations across the world. The response has been phenomenal, and people have been so supportive!
As a musician who’s transitioned between cities, how would you say the Bangalore scene compares to the Coimbatore scene?
The scene in Coimbatore is basically non-existent, which is why I moved to a city like Bangalore. Even before, we’d always travel to Bangalore for shows and competitions with my band. Bangalore has always been a great place for music; there are always people who play and appreciate different styles of music, especially when it comes to English music. Coimbatore’s scene is slowly developing as well, but the live music culture is yet to pick up. I’d say Bangalore is a hundred times better, in that aspect.
It must be an interesting experience to have to release music during this pandemic. Has it been a challenge to work on and promote your new track in these times?
I’ve actually been working on this third song for the last six months. It’s been a very long process. I’m usually very picky about my music, and with “Stepping About”, I was even more particular. It’s about our generation’s battle between hustle culture and self-care. Productivity has become a measure of self-worth, and it took me a while to gather my thoughts and pen them down, given how much this affects our generation.
The pandemic hasn’t really affected my release schedule- I’d say I’ve been going about my work as usual. Whenever I release music, I give myself an entire month to promote. I’ve been doing what I’ve done for every song. But I think during this pandemic, a lot of people are sitting at home and consuming more content than they usually would. I don’t think it’ll negatively affect the reception of the song per se; but my touring and live sets have definitely been impacted.
Even though it wasn’t written recently, the song’s subject matter seems more fitting than ever.
Somehow it’s become very relevant. Even in this situation, everyone’s constantly doing something, or learning something new. People of our generation constantly make themselves feel bad about not being productive enough, and that’s something I had felt six months ago when I came up with this song as a concept. It’s suddenly become way more relevant to the situation that’s going on right now.
Your track also features Shayan Roy, who’s popular for his viral Buzzfeed videos and his burgeoning rap career. How did this collab happen, and how was it working with Shayan?
I was looking for a rapper for my track. I got in touch with a lot of people but it wasn’t working out. Somehow I came across Shayan and I just sent him an email. That’s all I did. I attached my track and told him “Your part would be between these timestamps”, and asked if he’d be interested in laying something down for me. He actually got back to me instantly saying he loved the track and he would give it a shot.
It was that easy! A lot of people have asked me this: “How did you end up working with Shayan? How did this happen?” I’ve actually never met him- this has entirely been through email, Instagram and WhatAapp. And this all happened because of a single email. People don’t realize how important an email can be. That’s how I’ve got VH1, BBC and interviews like this.
You seem like quite the hustler!
(Laughs) Technically yes. It sounds a bit ironic that I’m writing a song about self-care. You’re right, I do hustle, and I do a lot of things. But there are times when I feel that I do need to chill out and take it easy. This song is to remind me to take a break. One of the lines actually is “At times I need to chill out” – that’s me telling myself I need to chill. So it’s very relatable to me and kind of a message to myself.
I’m always telling people to take it easy, but my friends tell me that I don’t follow my own advice and that I’m constantly doing something or the other. So I think that this song would be good for me as well, as a reminder that sometimes, I should take it easy.
Do you find it challenging to be a musician at this time? Between the music, the promotions and the social media, it feels like you’re doing the work of a three or four-member team!
That’s true, but the thing is: I love doing this! The music part is amazing, of course, but I believe that if you’re a musician, you need to see that music is a business. I think a lot of newer musicians think they’re above everybody, and think “I’m not going to learn how to promote myself, who wants to do that?” or “I’m just going to send this song out to a couple of my friends and it’ll blow up on its own.”
But I feel that with the music industry nowadays, the actual music makes up 30-40% of your success- the remaining 70% is just marketing and promotion. You might write the best song in the world, but if nobody’s going to hear it then what’s the point?
You’re right, it definitely is a three-person job, but I enjoy it, and I find the producing, marketing and promotion aspect of it extremely interesting.
Do you produce all your own tracks? How did you get into that?
Yeah, I’ve produced all my own tracks. I’m such a fidgety person, the type that loves to mess around with controls and buttons for hours, and that’s how I got into producing. I have a friend called Sandeep who’d take my calls and kind of guide me through some of the questions I had, but apart from that there’s always YouTube and Google. You can literally learn anything on the internet! This was essentially a product of me having a lot of time on my hands and being able to sit down and figure out how to achieve different sounds.
There was another advantage of getting into producing. I was already a musician at that point. Earlier, when we’d jam, I’d know what I want from the sound. Now it’s become easier to achieve that sound on my own and manage the different aspects of the final product. It’s given me more control over my music, in a way.
So you’re a self-taught musician as well as a producer!
I actually did go to guitar classes for a year, but I didn’t like it back then. It was mainly Carnatic stuff, and all I wanted to do was play Zeppelin. So yeah, I’d say I’m self-taught.
I’ve also taught myself video editing- all the videos you see are edited by me. I also take up a couple of freelance projects on the side, to support myself financially.
Wow, so it’s more like you’re doing the work of a six-member team!
Yeah I do quite a lot, you’re right. But I really enjoy the whole process.
RAPID FIRE:
Top Five Desert Island Album/Songs:
1. Beat Tape 1 by Tom Misch
2. Geography by Tom Misch
3. Dark Side of The Moon by Pink Floyd
4. Led Zepellin 1 by Led Zepellin
5. My own music!
What are you currently listening to?
I really make use of Spotify’s daily mix feature- lots of times I’m not really sure who the artists even are!
I’ve been very excited about FKJ’s new album, Tom Misch’s stuff and this artist called Raveena.
Describe your sound in two words.
Let’s make it three: Smooth. Like. Butter. (Laughs)
What’s been your favourite gig? And why?
My favourite gig is actually my very first one. I had a gig back in Coimbatore, in this Punjabi Association that we were a part of and my dad had pushed us to go play a show there. A lot of my friends and family were at the show, and they still fondly recall the gig to this day. That was the first-ever time I got up on stage to perform and it felt magical- it’s my most cherished performance that I’ve given.
Dream collab?
Tom Misch, if I could, but I wouldn’t be able to function if that happened. If not him, then I’d really like to collaborate with a Hindi rapper – maybe Divine (I love his style) or Raja Kumari.
Is there anyone you’d like to shout out for helping you along the way?
I’d like to shout out my friend Pavithra. She’s been with me the entire way, and she’s supported me throughout!
You can visit Tushar’s website here for more information. His music is available wherever you regularly stream music. Listen to “Stepping About” now!
Tags: bangalore, chill, groove pool, indie, mend, r&b, shayan roy, stepping about, tushar mathur
Categories Indian, Interviews
Iyer’s Filter Coffee – coldturkey
Artwork by Saloni Sinha and Vishal Gulve
Disclaimer: the writer has a long personal history with three out of four of the band members of Iyer’s Filter Coffee.
The early/mid-2000s were a great time to be an indie rock fan. There was a perfect balance between good bands, access (thank you LimeWire and Myspace), and discoverability. The fact that so many of the stalwarts of that early scene have gone on to become mainstream monoliths in their own right shows how much that era of music still resonate today.
Bangalore-based Iyer’s Filter Coffee and their debut EP, coldturkey are a throwback to that early indie rock sound. The four-piece band stick to the basics of two guitars, a bass and drums (with the odd keys) to deliver up a solid first release.
First up is “Elanor.” What starts off with an Audioslave-esque lead by guitarist Pushkara Ravindra ends up in a freewheeling melodic shred-fest, with front-man Rushil Mishra’s vocals and rhythm guitar harmonising to tie together a sound that stops short on the right side of self-indulgent.
Up next is “Beach,” with its easy toe-tapping lazy groove that gets me smiling every time (thanks to namesake Sachin Iyer). The real pleasure lies in the final third of the song (a common thread throughout the album), which has this delightful break down/sine-wave thing going on for it that’s just sonically gorgeous.
“Soma” is IFC’s signature song, a wailing mix of wah-wah filled fuzz and three-chord guitar grunge with a driving bass that’s bound to get the crowd pumping, even if I’m not completely sold on what the song tries to do. There’s something about the mix that I can’t quite place that undercuts some of the guitar riffs, but I doubt that’ll matter when you’re three beers down, so…
Soma, from coldturkey
The penultimate song, “Moonlight” opens with a most Indian-indie-sounding riff, before switching things up and veering towards an AM-circa-Suck-it-and-See sound. It’s a surprisingly mature and well-crafted piece, and displays a range and depth to the band that bodes well for their future releases.
“Why Don’t You Come Over” rounds out the nostalgia trip with a dream-pop/shoe-gazy reverb-laden late-night call to lovers past. It’s mellow, it’s airy, it’s a delight to listen to.
coldturkey doesn’t reinvent a genre, nor does it break from long-standing musical traditions, but it ultimately doesn’t have to. It’s a solid debut by a good band that’s slowly etching their mark on the Bangalore music scene, filling a niche and gaining an organic following in the process. They’ve also got a brilliant album cover, which is always a bonus.
coldturkey is available on Apple Music, Soundcloud, and Spotify. Go check them out!
Tags: alternative rock, bangalore, indie rock, iyer's filter coffee
Categories Album Reviews Indian
Author xiodyn
Striking a Balance: A Conversation with Ketan Bahirat
As we previously mentioned, we were very impressed with electronica/ambient/post-rock band Until We Last’s recent performance at Counter Culture. New writer Anindita Nayak recently got a chance to speak to Ketan Bahirat, founder of Until We Last, about the band, his early start in music and challenges.
Photo courtesy Until We Last’s Facebook page.
Let’s talk a little about their music first. Until We Last songs transport your mind to different level with their unusual mix of melodies, making them sound a little like God is an Astronaut or Explosions in the Sky (though the band does dislike the comparisons sometimes). One of our favorite songs of theirs is “Water”, which sounds even better live than it does on the album. Unfortunately, their SoundCloud channel doesn’t have all of the songs they had performed at CounterCulture, but maybe we’ll find them on their upcoming EP, which is launching in a month’s time. Now, let’s move on to Until We Last’s journey.
Currently in his penultimate year of college, Ketan Bahirat took formal Hindustani lessons back in 6th grade. He picked up guitar skills from YouTube videos and played with two metal bands before forming Until We Last in 2011. Until We Last has been performing live since late 2012, culminating in the launch of an album, copies of which they were more than happy to give away free at Counter Culture. When quizzed about his personal favorite gig so far, Ketan speedily answers with Magnetic Fields, an impressive festival in the middle of the Rajasthani desert.
The name of the band stems from a philosophical note that revolves around travel, our home planet, nature and the quest to strike the perfect balance between sustainability and development. When it comes to song names, it’s usually based on circumstances. Their most popular song, “Rain”, was so named because it was raining when they were composing it! And there is, of course, a conscious decision of keeping a close reference to nature or travel.
The initial few compositions were recorded in Ketan’s bedroom. When looking for potential band members, he remained close to the local music artists and often jammed with them. It hasn’t been an easy ride for Until We Last, considering that the lineup has had over ten changes so far. The longest time without a lineup change was for a year, ending when the bassist, Anjan Bhojaraj, left for higher studies and was replaced by Paul Dharamraj, a former member of the Bicycle Days. This aspect is probably one of the major challenges for any band, especially when the band members are so young and other aspects will tend to take higher priorities.
However, working with so many artists has also helped Until We Last’s music evolve. One of their former band members, Bhargav, continues to send across pieces of compositions from Singapore and they are continuing to reach out to other artists who could collaborate with them to produce more music.
One good thing that struck us about Until We Last is that they don’t seem very concerned about the prevalent culture of piracy, especially in a country like ours. Admittedly, the growing number of music festivals and venues is changing that culture in India, but the fact remains that platforms for indie artists to sell music are uncommon and finding people who are willing to buy music is even less common. Until We Last has also seen a good amount of traction from countries like Germany and Russia, where listeners are willing to pay for their music.
But in the end it’s all about sustainability: fans need to buy music to support good artists. On that note, please do listen to Until We Last’s music and maybe buy it too. And be sure to follow their updates on Facebook and Twitter too. We wish them all the success with their upcoming album!
Tags: ambient, bangalore, electronica, ketan bahirat, post rock, until we last
Indie March Night at Counter Culture, Bangalore (22/3/2014)
The month of March was a great time to visit Counter Culture, an excellent, aesthetic live music venue in the bustling Bangalore suburb of Whitefield. March 8 fielded an eclectic and wholly excellent bevy of women artists in honor of Women’s Day; this weekend features Avial, Agam and Lagori in a delicious palette of modern Indian music. But last weekend was truly the centerpiece of the whole mad March extravaganza: five gifted, exciting bands that form a rough outline of where Indian indie is today and where it has the potential to go.
First on the billing at the Indie March night on March 22nd was the intriguingly-named post-rock Bangalore act Space Behind the Yellow Room. This was the first time I’d heard them, and the little that I did hear that night was magical: the ethereal, frenetic music setting the tone for the night that was just unfolding. Interspersed throughout their mostly instrumental pieces were some rather unfathomable, but wholly enjoyable shrieks and screams from the drummer (we’ll never know if they were parts of the composition, or in-situ improvisation). Unfortunately, due to a number of reasons including Bangalore traffic and unfashionable lateness, I only managed to catch a few snippets of their music, but it definitely made a great first impression. And raised questions, too: what is behind the yellow room?
Which space? Why yellow?
Space Behind the Yellow Room was followed by Until We Last, another post-rock band from Bangalore. From what I could gather, there were two different impressions that people had about Until We Last following Space Behind the Yellow Room. Some, like myself, thought it wasn’t the smartest of lineups: post-rock is great for quiet introspection and expensive headphones, but by this time, most people had had a drink or three in them and wanted, well, dance music.
They were dancing, but in a more post-rock way.
Others disagreed. Another Top Five member found the band to be top-notch, and arguably one of the centerpieces of the music that evening. Either way, though, Until We Last definitely did not disappoint. I had first seen them at the Bangalore Weekender last year, where they completely transformed a lawn on a bright Bangalore morning into a dreamlike, almost ethereal space. Here, too, they brought the same ethos, but perhaps their music is more suited for the aforementioned bright mornings: a few hundred tipsy twenty-somethings aren’t the best vessels of contemplation. Special note must be given, though, to their track “Water” as well as the way they signed off: “We are Until We Last.” Think about it. It’s pretty deep.
Like I said, two post-rock bands back-to-back wasn’t the greatest of ideas. In essence, the atmospheric drama carefully draped over the crowd by these two bands was ripped apart the second the F16s took to the stage. The young Chennai indie rock band were coming off of strong wins at IIT Madras, JD Rock Awards, Hornbill and pretty much anywhere else they went. It only took a few minutes into their tight, spotless set to realize that they deserve every damn one of those awards. The F16s have really got it all together: the suaveness, the confidence, the professionalism and, yeah, the hair.
For me, one of the greatest moments of the night was when they broke into an absolutely perfect cover of “Mansard Roof” by Vampire Weekend. And these guys really are real rock stars. Of the five bands that played at Counter Culture that night, the F16s were the only band that had the audience singing along to every one of their tracks: the beautifully executed “Light Bulbs” was a particular stand-out. Last month at the JD Rock Awards, the F16s won “Best Emerging Band” and I have to say, Rolling Stone pretty much got that one exactly right.
After an amazing one-hour set, the F16s handed over the stage to Skrat, their fellow indie rockers from Chennai. Theatrical and energetic, Skrat are quintessential entertainers, led by the instantly likeable Sriram TT. The clock was ticking around midnight at that point (Whaddup, extended Bangalore curfew!) and most people in the venue were quite well sloshed. The crowd basically went wild during Skrat’s well-known and well-loved tracks like “Samurai Badass” and “Tin Can Man”, but things reached a different level of pandemonium when the band proclaimed their love of motorbikes and immediately got a guy to ride a motorbike to the front of the stage. Unfortunately, I don’t have photos to prove it, but I assure you it was awesome.
Shortly before the motorcycle arrived.
Most people didn’t really get over the F16s-Skrat double blast, which meant that the final band of the night, Parvaaz, unfortunately didn’t get the audience it deserved. The few people who remained sober until the end claimed that Parvaaz was pretty good too, and that they boasted of a heady mix of technical competence and soaring Urdu vocals. Apologies for our inability to verify that claim.
Clocking at a little under six hours, Indie March Night was a mini-festival in itself, and a really great way to spend a Saturday evening/night.
Words, photos and video by Neeharika Palaka and Subhayan Mukerjee
Tags: bangalore, chennai, counter culture, parvaaz, Skrat, space behind the yellow room, the f16s, until we last


The Real Winners and Losers of the Presidential Election
It's not just Trump and Clinton
Liz Raftery Nov. 9, 2016 at 9:32 a.m. PT
The 2016 presidential election is finally behind us, with Donald Trump upsetting Hillary Clinton to be declared the next president of the United States early Wednesday morning. But Trump wasn't the only person who emerged a winner after the campaign -- and Clinton wasn't the only loser. Here's a look at some of the television personalities and other celebrities who emerged from the election much stronger or weaker than they were before.
Winner: Samantha Bee
The host of TBS' Full Frontal with Samantha Bee shattered her own glass ceiling this election season, solidifying her place within the boys club of late-night TV. The former Daily Show correspondent provided sharp, poignant and hilarious commentary throughout the campaign, and made her fledgling show a must-watch for anyone seeking thought-provoking political analysis, as well as a few laughs. The only downside of Bee's success was that it made us yearn for the days of the Jon Stewart-helmed Daily Show. Which brings us to...
Loser: Trevor Noah
What was your favorite bit of Daily Show commentary this election? Oh, you didn't have one? That's because no one pays attention to The Daily Show anymore, because why would they? Whereas Stewart's Daily Show was practically required viewing in the presidential elections of 2008 and 2012, the entire 2016 campaign represented nothing more than a missed opportunity for Noah, who continues to merely flail around in the gigantic shoes left by his predecessor while struggling to connect with viewers on either end of the political spectrum. We're guessing Comedy Central execs are seriously regretting passing Bee over for the job.
Loser: Jimmy Fallon
Jimmy Fallon has made a career out of being a softball interviewer who's much more interested in playing games or joking around with his guests, as opposed to getting real information out of them. But the shtick took on an air of tone-deafness when Fallon took it upon himself to tousle Trump's hair on live television as if he was a petulant child, while his late-night counterparts, including Seth Meyers and Stephen Colbert, were going out of their way to denounce Trump's racist and sexist proclamations from the campaign trial. Fallon's behavior even drew a rebuke from the godfather of late night himself, David Letterman.
Winner: Seth Meyers
Meyers led the late-night charge against Trump from the very beginning, banning the GOP candidate from his show all the way back in June (in response to Trump's claim that he would ban The Washington Post from covering his rallies). And, aside from Bee, Meyers consistently offered the most on-the-nose commentary on the events of what is sure to go down as one of the most bizarre elections in American history. Must be all that practice he got on "Weekend Update." And, speaking of Saturday Night Live...
Winner: Alec Baldwin
Much like Tina Fey's impression of Sarah Palin lives on in infamy, Alec Baldwin's spot-on imitation of Trump will take its deserved place in the Saturday Night Live Hall of Fame. As with Fey's skewering of Palin, Baldwin needed to do little more than repeat Trump's own words back in order to discredit him as a viable candidate for elected office. When the campaign was nothing short of depressing, it was a relief to know that SNL could provide some political humor week after week. (Honorable mention: Kate McKinnon also deserves a shout-out for her Clinton impersonation, but SNL was another area where Trump bested Clinton.)
Loser: Billy Bush
It remains to be seen what President-elect Trump will do to the national unemployment rate, but there's already at least one person who lost his job as a direct result of the election: former Today show host Billy Bush, who was dropped by NBC days after the infamous 2005 "locker room talk" tape surfaced. Rather than being remembered for co-hosting Access Hollywoodand Today, Bush will forever be remembered for his snickering during a recorded conversation with Trump as the presidential nominee discusses his penchant for "grabbing women by the p----."
Loser: Donna Brazile
Bush isn't the only TV personality who got fired during the 2016 campaign. Political commentator (and former Clinton advisor) Donna Brazile was given a pink slip by CNN after the investigation into Clinton's emails revealed that Brazile had given the Democratic nominee a heads-up about one of the topics that would be covered in the first head-to-head meeting between her and Trump.
Winner: Chris Wallace
The Fox News anchor, who moderated the third and final presidential debate, is universally viewed as the best of this year's debate moderators. Wallace kept both candidates on topic and pressed for concrete answers on controversial issues such as Clinton's emails and the sexual abuse allegations against Donald Trump. Even critics of Fox News had to applaud Wallace for his truly fair and balanced performance.
Winner: Megyn Kelly
Fox News personality Kelly got on Donald Trump's bad side early, way back during the primary debates over the summer. Even before the "locker room talk" tape and the sexual abuse allegations against him, Kelly hammered Trump on his alleged sexism, and he responded by speculating that she was "bleeding out of her... wherever." Charming! Kelly also found herself in the headlines several months later, when her (and other employees') allegations of sexual harassment against Fox News chairman/Trump supporter Roger Ailes directly led to his ouster from the network. Those newsmaking events, combined with Kelly's popularity among viewers on both sides of the political aisle, put her in a prime position as she renegotiates her contract with Fox News. Who knows where she'll end up next?
Winner: Ana Navarro
Republican strategist/commentator Ana Navarro became a household name during the campaign as she appeared on cable news channels to discuss her decision to vote for Hillary Clinton over Donald Trump. Navarro was particularly vocal in relation to the "p----gate" scandal, and her impassioned, informed commentary gave news viewers an idea of the mindset of female and Hispanic voters.
Loser: Antonio Sabato Jr.
Soap star and Dancing with the Stars alum Antonio Sabato Jr. was one of only a few Hollywood celebrities who publicly came out in support of Trump. But, unlike his fellow Republican National Convention speaker Scott Baio, Sabato managed to alienate even a few Republicans when he doubled down on the birther issue, reiterating in an interview Trump's previous claim that President Obama is actually a Muslim (he's not).


Counts v. Meriwether
USDC, C.D., California March 9, 2016
Following dismissal of two screenwriters’ copyright infringement claims against writers, producers, broadcasters and distributors of television series “New Girl,” district court grants defendants more than $760,000 in attorneys’ fees under fee-shifting provision of Copyright Act.
Stephanie Counts and Shari Gold sued defendants, including Elizabeth Meriwether and Twenty-First Century Fox Inc. (the Fox defendants), and William Morris Endeavor Entertainment LLC (WME), alleging that the defendants’ television series “New Girl” infringed their unpublished screenplay “Square One.” On December 30, 2015, the district court granted summary judgment in favor of the defendants on the plaintiffs’ copyright infringement claim, finding that the plaintiffs had not presented a theory of access qualitatively stronger than that of bare corporate receipt, and, even assuming there was access, no reasonable jury could find substantial similarity as to any of the protected [TMP1] components of the two works. (Read our summary of the district court’s decision here.)
Defendants then moved for attorneys’ fees as the prevailing parties under the Copyright Act. The district court noted there is no precise rule or formula for making fee determinations, but that several “nonexclusive factors” guide a court’s discretion: (1) the degree of success obtained on the claim, (2) frivolousness, (3) motivation, (4) objective unreasonableness (both in the factual and legal components of the case) and (5) the need to advance considerations of compensation and deterrence.
The district court concluded that these factors weighed in favor of granting fees, and awarded the Fox defendants their requested $548,772 in attorneys’ fees and WME $220,063 in attorneys’ fees.
First, as to the degree of success obtained, the district court found that defendants achieved “complete and total success on the merits,” which weighed in favor of an award of fees. Second, it found that the plaintiffs’ lawsuit was objectively unreasonable, in both the factual and legal components of their case. Third, in terms of motivation or frivolousness, the district court noted that a finding of bad faith or improper motive is not a prerequisite to an award of attorneys’ fees, but that a court may be influenced by the plaintiff’s culpability in bringing or pursuing the action. The district court decided that, to the extent the plaintiffs presented unsupported allegations and mischaracterized the works at issue, they acted unreasonably. It did not, however, find a clear indication that the plaintiffs acted in bad faith, making frivolousness and motivation neutral factors in the analysis.
The district court also found that furthering the primary goals of the Copyright Act, as well as considerations of compensation and deterrence, weighed in favor of awarding fees. Defendants’ successful defense vindicated the purpose of the Copyright Act because their success secured the public’s access to an original work and encouraged the creation of additional original works. Moreover, an award of fees would serve the purposes of compensation and deterrence by encouraging valid copyright owners to fight for the protection of their works, and discourage other plaintiffs from bringing similarly meritless copyright suits.
The district court held that the Fox defendants’ request for $548,772 in attorneys’ fees for 1,120.4 hours of work between February 27, 2014, and December 15, 2015, was reasonable, and that counsel’s billing rates were consistent with the prevailing rates in the Central District of California. It also held that the $220,063 in attorneys’ fees sought by WME for 413.2 hours of work between Jan. 30, 2014, and Nov. 30, 2015, was similarly reasonable and consistent with prevailing rates. The court found that all fees were recoverable under the Copyright Act, even those incurred with respect to defending a claim for breach of implied contract, because that claim was “related” to the copyright claim and based on the same allegations.
Click here to download a PDF of the full decision.