Heardle gives a chance to music lovers from around the world to flaunt their knowledge of pop music. It can also be a great platform to discover new music or classics from years gone by, and is a thoroughly entertaining game that helps you unwind after a long and stressful day at work.
The game requires players to guess the title of a song by listening to the starting bits of its intro. The goal is to crack the puzzle as quickly as possible, using the least number of attempts out of a total of six available chances. The length of the intro also increases every time a player makes the wrong guess, making it easier to decipher the track.
Heardle was released in early 2022, and has since gone on to become one of the most popular browser-based games. Without further ado, read on to know some interesting details and clues for the song featured in today’s Heardle challenge.
Heardle clues and answer: Monday, November 7, 2022
According to Heardle’s official website, the songs that are played daily are among the most-streamed tracks of the last decade. This can be seen as an undue advantage to those who listen to contemporary music, but casual listeners need not worry – the game also features old classics from iconic artists like Michael Jackson, George Michael, and many others.
That said, here are some clues shared by Fortnite Insider that you can take a look at if today’s Heardle song is puzzling you:
The song was released in 1983.
The song’s genre is synth-pop, alternative/indie.
Single by New Order.
Length – 7:29.
Two words.
Begins with the word ”Blue.”
The Album’s name is Power, Corruption & Lies.
Still haven’t figured it out? Then you’re probably hearing the track for the first time, in which case you can keep scrolling down to find the answer.
The answer to today’s Heardle challenge is Blue Monday by New Order.
More details about Blue Monday by New Order
Blue Monday was released on March 7, 1983, as part of New Order’s critically acclaimed album, Power, Corruption & Lies. The song opens with a memorable upbeat drum intro that sets the tone. It also has a catchy baseline.
The number was a smash hit around the world and received widespread critical acclaim, with many critics and publications rating it as one of the greatest synth-pop songs of all time and one of the best songs of the 80s.
New Order are a popular electronic band who garnered massive international fame with the release of their hit single, Blue Monday, in 1983. Over the years, the band has churned out several memorable tracks, including Ceremony, Blue Monday, and Doubts Even Here, to name a few.
New Order’s distinctive style of music incorporates various elements of synth-pop, electronic rock, and post-punk, among others. They’re widely regarded as one of the greatest electronic bands from the ’80s and continues to influence a number of contemporary artists.
Ahhh the Music Biopic. The seemingly unstoppable Oscar-bait genre that rears its head year after year, no matter how stale and “paint by numbers” the plot is or how every song feels like celebrity karaoke. I thought perhaps when Walk Hard: The Dewey Cox Story released in 2007 that the genre might finally be broken for good. It skewered not just Walk The Line (the Johnny Cash biopic that swept the Oscars two years prior) but the genre as a whole. The parody was so sharp, so devastating, and so funny (not to mention music – which was always pitch perfect) that it seemed there was no way for the biopic to recover.
And yet the biopic, as we saw with Bohemian Rhapsody’s huge success, persisted. The plot was shockingly bland (especially egregious for a story about Freddie Mercury!) and the sound mixing was terrible, but it was heaped with awards and a big fat box office. Unfortunate (to me) because it meant the much more interesting and exciting Elton John pic Rocketman was ignored the following year. For better or worse audiences want to see their favorite rock and roll stars and pop idols on the big screen, to feel the comfort of their favorite songs, to consume an easily digestible, dramatic version of their stars’ lives. And so what are we to do with this frustratingly unkillable genre?
Enter Baz Luhrmann and Weird Al Yankovic. Unlikely bedfellows, but the heroes who have come to destroy and rebirth the music biopic genre with Elvis and Weird: The Al Yankovic Story.
Luhrmann’s Elvis is an opulent spectacle, a fantastical, larger-than-life look at an opulent, larger-than-life persona: Elvis Presley. The film isn’t interested in facts, though it does use them, but in using the trappings of myth-making and stardom to examine mythology as a storytelling device. Austin Butler is absolutely magnetizing as Elvis, and Tom Hanks has finally managed to achieve a thing I never thought possible: a truly monstrous and unlikeable performance as the devilish Colonel Tom. Elvis is less concerned with the “real” Presley, than it is with examining the Faustian tale of a man who sells his soul to the devil to achieve fame and stardom.
Celebrity is fantasy, is storytelling, is selling a product (the actor or musician as “god”). And using the biopic, one of the many devices used to sell the idea of “celebrity,” in order to examine that function, to use the spectacle against itself, Luhrmann exploded the genre. By refusing to create a false pastiche of Elvis’s “real life,” by subverting the notion of an “authentic” experience, Luhrmann is able to present a captivating and insightful look at the very idea of celebrity. Elvis the rockstar was spectacle. The spectacle is the point.
And then there is Weird. The genius of Weird Al Yankovic is that he takes popular songs, keeps the music, but changes the lyrics to the silliest, simplest topic he can think of. He isn’t interested in satirizing the original musician, or skewering the thematic content of the song, but instead uses the music to expound upon such varying topics as: bologna sandwiches, rocky road ice cream, and Star Wars. The humor comes from the clash between the hugeness of the song and the mundanity of the lyrics. This clash of celebrity and normalcy encapsulates his entire career (the nice, dorky guy as a pop idol) which is why Weird, co-written and directed by Eric Appel, is so perfect.
It takes the exact structure of a standard music biopic (except for the explosive third act) from the blue collar father who doesn’t understand his son’s love of music, to the self-destructive descent into addiction and alienation of his bandmates and friends. And then they insert Weird Al (played by a brilliant Daniel Radcliffe) and his music. The nice guy and ultimate “square.” In doing so it creates a metacommentary on the nature of Weird Al’s long-lasting success, stardom, and the genre of the biopic. It applies the structure of Yankovic’s parodies to film and it creates something surprisingly fresh and exciting.
It’s 2022 and perhaps it is finally time to accept that certain genres have more longevity than we might hope for, but if the world isn’t completely destroyed by climate catastrophes in the next few years, hopefully we can see more films (like Elvis and Weird) that subvert the old structures and use them to reveal something exciting and new.
We’re delighted to bring you the first episode of our new series, Pop Culture With Chanté Joseph.
Rihanna fans have been waiting for this moment for six years. The singer has released Lift Me Up, a single from the soundtrack to Black Panther: Wakanda Forever. It’s her first release since she launched her Fenty Beauty empire, became a billionaire and a mother. As she storms back into our lives, we ask: what makes Rihanna such an icon?
How to listen to podcasts: everything you need to know
This is the first episode of Pop Culture With Chanté Joseph, a 10-part series from Guardian Podcasts. Listen to a new episode every Thursday here.
Contributors Afua Hirsch – Writer and broadcaster Shaad D’Souza – Acting deputy music editor, the Guardian Jay Rivera – Rihanna fan
Music Rihanna – Pon De Replay (2005, Def Jam Recordings) Rihanna – Umbrella (2007, Def Jam Recordings) Rihanna ft Calvin Harris – We Found Love (2011, Def Jam Recordings) Rihanna – James Joint (2016, Roc Nation) Rihanna ft Drake – Work (2016, Roc Nation) Era Istrefi – Bonbon (2016, Ultra Records) Rihanna – Kiss It Better (2016, Roc Nation)
Photograph: The Guardian
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Another Promotional CD I found for Matt Nathanson thanks to Discogs is a “Sampler” CD for his 2003 album ‘Beneath These Fireworks’. That album was Matt’s major label debut album on Universal Records, but it wasn’t his first CD by any means. The CD was a 3 song sampler for his upcoming album and was sent around to the Radio DJs, I am assuming. The cover for the Promo is the same as the album cover, the only difference is instead of saying “Beneath These Fireworks”, it says “Sampler”.
The first song and actually the first single is “Sad Songs”. The song feels like it could be the Goo Goo Dolls. The chorus is so catchy and it has a great hook. His delivery of the lines is confident and earnest. For a song called “Sad Songs”, the music is more upbeat and gives us a great dichotomy in styles.
The next track is “I Saw” which would’ve fit nicely on a Matchbox Twenty album. With clever little lyrics and heartbreaking and emotional delivery, we get a showcase of what Matt is capable of doing. It is a darker sounding song, with a very serious tone and some great piano notes that add so much drama. Yet the chorus brings us a little punch of energy and Matt sings his heart out. A beautiful tune.
One of the album’s highlights is “Little Victories”, which was actually on his album ‘Still Waiting for Spring’. This recording is definitely more polished, but the heart of the song is still the same. It is a soft, acoustic performance, with Matt’s vocals feeling warm and familiar. There is a string section that could’ve been lifted from Green Day’s “Good Riddance” and fit the radio sound of the time.
And that is it. Three songs and a great introduction to a stellar album. There is nothing new or remixed, it is really a sampler of the songs on the album so nothing new. The only reason to have this one is for the completist in you which is exactly why I have it.
SOUTH TANGERANG, Indonesia: K-pop band NCT 127 was forced to end their first concert in Indonesia early after 30 people fainted in a crush, police said.
Indonesia is still reeling after more than 130 people, including over 40 children, died in a stadium stampede last month – one of the deadliest disasters in football history.
Police spokesperson Endra Zulpan said late on Friday (Nov 4) that the concert near the capital Jakarta had been going for around two hours when fans started surging forward to get closer to the stage.
“Because of it, 30 people fainted. To prevent other incidents, we decided to stop the concert at 9.20pm (1420 GMT),” Zulpan said, adding that the collapsed fans had recovered.
Six strings not required: “When I do music, I always want it to be as unique as possible. We decided we weren’t going to have guitars anywhere on this project. Bass and drums are the only instruments. I had been working on bass lines and guitar riffs so it was like a good collaboration with her coming up with melody lines for the lyrics she had written. Most of the lyrics were probably from one to two full pages of non-stop poetry and stories she had written. Most of the album’s songs came from that first braindump.”
ExploreNew Italian restaurant to open at Dayton Arcade
Popside sessions: “For the last decade, we’ve faithfully been Micah Carli supporters. We started recording the All Hallowed songs during the pandemic. We all mesh so well together. Whenever I’ve worked with Micah in other bands, he’s great at coaching you into being a better band. It’s never like, ‘I’m into this genre, let’s go this way.’ He just wants you to be the best version of yourself and it was the exact same with this project.”
Contact this contributing writer at 937-287-6139 or e-mail at donthrasher100@gmail.com.
HOW TO GO
Who: All Hallowed with the 1984 Draft, Jill & Micah and Place Position
Where: Yellow Cab Tavern, 700 E. Fourth St., Dayton
Happy Friday. Here is another great list of new releases for you. This time around we have just over 40 for you and I hope there is something you will enjoy. Me, I am going to skip this week and I hope to have something I want to hear soon as I’m not feeling any of this right now. That doesn’t mean you won’t have something you want to hear so let me know what floats your boat this week or what we may have missed. Thanks again, as always, for stopping by and spending a few moments with us each week.
Just how far can Luffy stretch? That’s a question “One Piece” fans have been asking for years of the Gum-Gum hero with the go-go-gadget arms. Sure, there are limits to Luffy’s flexibility, but if you look at the pirate adventure series to which he belongs — one that’s been serialized for 25 years running, generating more than 100 books, 1,000-plus anime episodes and 15 theatrical features — it would seem that “One Piece” creator Eiichiro Oda can stretch the entire franchise pretty much as far as he pleases.
Case in point: The series’ latest entry, “One Piece Film: Red,” expands into musical territory, focusing on a pop star named Uta who has been made powerful by the Sing-Sing Fruit. “One Piece” characters gain special abilities after consuming Devil Fruit (Gum-Gum is Luffy’s), and Sing-Sing skills allow this chic chanteuse with two-tone hair and a worldwide fan base to whisk listeners into a kind of parallel dimension she calls “New Genesis.” At first, this would seem to be a good thing: Uta loathes war and wants to make “a better world with none of the cruelty and violence.” But like Ultron in the “Avengers” movies, her plan to alleviate suffering would come at an enormous cost.
Available either dubbed or subbed in the U.S. courtesy of Crunchyroll, this blockbuster toon (already the sixth-highest-grossing Japanese film of all time in its home country) opens with one of Uta’s concerts. The daughter of Shanks — one of “One Piece’s” most famous pirates — Uta grew up practically alone on Elegia, the island of music, building a massive following from her remote home thanks to a special “One Piece” technology: video transponder snails. Her identity and past have been a mystery until now. No sooner has her opening song ended than Luffy swings down onto the stage to reveal a personal connection to this character.
As it turns out, Luffy and Uta were childhood friends (Shanks is the same pirate who gave Luffy his signature straw hat), and the long-limbed kid might be the only person on Earth who can talk Uta out of her dangerous plan: Basically, she promises that her anti-war concert will go on forever, not telling all those who attend that they risk being permanently trapped in her alternate reality.
Much of the film is dedicated to Uta performing her most popular songs (Ado supplies the vocals), which the dubbed version doesn’t translate. Subtitles convey the lyrics, but the tunes still sound too bland to have launched such a phenomenon. That’s a different strategy from Mamoru Hosoda’s far better “Belle,” for which GKIDS took the trouble to produce a terrific English-language soundtrack; ”Belle” also did more with viral sensations and virtual worlds in the narrative itself.
For all its pleasures, the “One Piece” TV series is known for its subpar-to-awful animation (spend some time on fan forums, and that complaint arises all that time). The team at Toei have significantly improved the quality for the feature, but no one expects first-rate visuals. The “Red” soundtrack falls in the same good-enough-to-better-than-you’d-expect zone. The fun here comes from surprising audiences with emotionally grounded plot twists and deep-cut cameos from characters like Mini Bepo and Rob Lucci (a villain whose motives echo Uta’s) — and of course, Shanks’ return, to face his adopted daughter.
Devil Fruits give powers but also take something away, and performing proves super-exhausting to Uta, who keeps herself going by gobbling Wake-shrooms between sets, knowing that this crutch will eventually kill her. But if she realizes this, then her plan can’t work as advertised. It means the world’s No. 1 sweetheart — and self-proclaimed “savior of the downtrodden” — can’t go on singing forever, as she supposedly intends. Add in the movie’s parallel realities, and things get awfully complicated, especially the fight scenes.
The battles between pirates, Marines and Uta’s purple-cloaked personal guards are every bit as spectacular as one might hope, if more than a little difficult to follow. With the action split between Elegia and New Genesis, what happens if someone dies in either of these worlds? Can listeners who change their minds leave Uta’s trance? And what does the Demon Lord known as “Tot Musica” have to do with everything?
Safe to say that director Goro Taniguchi and screenwriter Tsutomu Kuroiwa aren’t afraid of confusing audiences and seem to have very little interest in accommodating first-time viewers, who will have a tough time orienting themselves to the extensive “One Piece” universe of characters. For the faithful, however, Uta proves an exciting new personality — an influencer extraordinaire and powerful rival to the pirates — who serves to bring back Shanks and his Red Hair gang while steering Luffy and his crew on a new course.
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Phillips After 5: Life in Color at the Phillips Collection: Learn about the Phillips Collection’s newest acquisitions during pop-up talks at the Dupont gallery’s monthly after-hours soiree, then try your hand at coloring images of pieces from its collection. Local singer Tommi provides R&B and soul sounds, while Denizens offers a beer tasting. Suggested dress code: “The more vivid the better!” 5 to 8:30 p.m. $20.
Kaleta and Super Yamba Band at the Millennium Stage: From the 1970s to the 1990s, Beninese guitarist Leon Ligan-Majek, known as Kaleta, performed with two of the greatest African pop musicians of all time — first alongside King Sunny Ade, then as a member of Fela Kuti’s legendary band. Now residing in Brooklyn, Kaleta keeps the hypnotic Afrobeat funk flowing as the frontman of the Kaleta and Super Yamba Band. 6 p.m. Free.
‘You Are Ketchup’: A celebration for the forthcoming book by Kokayi at Byrdland Records: The central ingredient in “You Are Ketchup,” the terrific new memoir-slash-career-guide by D.C. rap mainstay Kokayi, is tough love, which he’s more than happy to dish up in person, too. “One hundred thousand new songs go up on Spotify every day,” he says. “You’re not special!” At least not to the grinding gears of a capricious music industry that treats musicians, in Kokayi’s words, like ketchup, an interchangeable sauce. So he’s written a book about accepting one’s fate as a condiment while ultimately nurturing all of the artistic ineffables that exist beyond the edicts of the marketplace. Written in a tone so conversational you can practically hear it in your ear, “You Are Ketchup” feels like a megadose of straight advice from a muso-mentor who’s been there. 7 to 9:30 p.m. Free.
Interview: D.C. rap hero Kokayi never did things by the book. Then he wrote one.
Salt & Sundry’s 10-year anniversary: November will be even more festive than usual at Salt & Sundry: This destination for colorful, boho home goods is celebrating a decade in business with a cocktail party Thursday from 6 to 8 p.m. at its Union Market location, passing out snacks and a cocktail from neighboring bar Buffalo & Bergen and offering 10 percent off all purchases. Pop-ups are happening throughout the month at both D.C. locations every Saturday. Stop by for a book signing with the “Afrominimalist” Christine Platt at Union Market on Nov. 5 from 1 to 3 p.m., a nonalcoholic drink tasting with local brand Mocktail Club at Logan Circle on Nov. 19 from 1 to 3 p.m., and a discount on Virginia-based Sydney Hale candles at both stores on Nov. 19, among other events. Through Nov. 26. Free.
Women in Spanish cinema screenings: The Cultural Office of the Embassy of Spain organized the film series Mujeres de Cine, which showcases female directors of Spanish films in four showings this month. “¿Qué hicimos mal? (What did we do wrong?),” a feature from Liliana Torres about a woman questioning her past to improve her romantic life, screens at AFI Silver Theatre on Thursday. On Saturday, the East Building Auditorium of the National Gallery of Art hosts “Destello Bravío (Mighty Flash),” directed by Ainhoa Rodríguez. The surrealist film, which centers on a small rural town, explores its female characters’ desires to rebel against societally mandated norms. Both films are shown in Spanish with English subtitles. Thursday at 7:15 p.m.; Saturday at 2 p.m. Free with advance registration.
National Gallery Nights tickets become available: The National Gallery of Art’s late-night events are going on hiatus after one more after-hours party. The theme for Nov. 10 is “Americana,” which covers multiple aspects of American life and culture. Among the highlights: American University professor Elizabeth Rule discusses her Guide to Indigenous D.C. app; Country Current, the Navy’s country and bluegrass band, performs; museum curators offer pop-up talks about American art; and Chalk R!ot creates a graffiti piece inspired by ’80s hip-hop. The two previous events “sold out” in the blink of an eye, so be logged on to nga.gov before noon and ready to click. If you miss out, there are two more chances to grab them: Once on the morning of the party, when extra tickets become available at 10 a.m., and at the door of the event, when a limited number of spaces can be claimed beginning at 5:30 p.m. Tickets available at noon. Free.
Museum after-hours events draw crowds with music, drinks and, yes, art
100th anniversary of the discovery of Tutankhamen’s tomb at National Geographic Museum: On Nov. 4, 1922, workers excavating an area in Egypt’s Valley of the Kings for the English archaeologist Howard Carter uncovered a set of stone stairs buried under rock debris. They led to the largely intact tomb of the Pharaoh Tutankhamen, who died circa 1323 B.C. The National Geographic Museum, currently hosting the immersive exhibit “Beyond King Tut,” marks the centennial of this important discovery with a weekend of events, including hourly tours; crafts and activities for families; documentary screenings; and a falafel workshop with Dina Daniel, the founder and chef at Egyptian restaurant Fava Pot. Through Sunday. $12-$20. Children younger than 5 admitted free.
Review: Immersive King Tut exhibit looks beyond the gold mask
Superorganism at 9:30 Club: The eight-member group Superorganism is on its second album of fun and sometimes frenetic pop music. The London-based band’s self-titled debut in 2018 featured eclectic production choices and jubilant melodies. Lead singer Orono Noguchi’s voice doesn’t compete with the group’s maximalist sound; instead, her dreamlike delivery grounds the music and makes the band’s insightful lyrics more meaningful. Mystical-sounding guitar riffs fading in and out and cartoony birds chirping in the distance make Noguchi sound like she’s singing in the middle of a lush garden. On the 2022 album “World Wide Pop,” Superorganism doubles down on its delightful chaos. The first song, “Black Hole Baby,” is a good encapsulation of what the band is doing: “Welcome back to the black hole, honey / Hold my hand ’cause the end is coming,” Noguchi sings as alien-sounding bells ring, explosions sound and clips from radio personalities play. The band is doing that quintessential pop thing — providing a soundtrack for the end of the world. 10 p.m. $25.
‘Broadway’s Brightest Lights’ at Strathmore: The National Philharmonic kicks off its 2022-23 season with a tribute to some of Broadway’s biggest stars. Singers Megan Hilty (“Wicked”), Michael Maliakel (“Disney’s Aladdin”) and Luke Hawkins (“Annie Live!”) perform greatest hits from Gershwin to Sondheim, and guests can expect new orchestrations of beloved tunes — and plenty of tap dancing. If you miss Friday’s performance at Strathmore, check out the same program at Sunday’s show at Capital One Hall. Friday at 8 p.m.; Sunday at 7 p.m. $19-$102; free for children.
Día de los Muertos at the Kennedy Center: In honor of the Mexican Day of the Dead, the New Orchestra of Washington — conducted by Guadalajara native Alejandro Hernandez-Valdez — presents a program of pieces by Mexican composers, including Silvestre Revueltas and José Pablo Moncayo, and the world premiere of “Cantos de Requiem” by Jorge Vidales, which was commissioned by the New Orchestra of Washington and Choral Arts. 7:30 p.m. $45-$59.
The Big Build at the National Building Museum: The National Building Museum puts a new spin on a petting zoo during its family-friendly festival, returning for the first time since 2019: Instead of animals, construction equipment will be parked outside the museum, and kids can get up close to and even climb inside the heavy machinery. The Big Build’s booths inside the museum’s Great Hall will introduce children and teens to building pros like roofers, structural engineers, plumbers and carpenters. Fun interactive activities include a nail driving contest and an earthquake simulation, as well as story time and free admission to museum exhibits. 11 a.m. to 4 p.m. Free. No tickets or reservations required.
Side Yards at Yards Park: Sword swallowers! Escape artists! Contortionists! Stilt walkers! What sounds like a roster of attractions hawked by a traveling carnival barker are the star performers at Side Yards, an annual tribute to sideshows along the Capitol Riverfront. Viewers of all ages can marvel at magicians, acrobats and other entertainers, sit for tarot and palm readings, and purchase food and drinks from local restaurants. While the Side Yards Eventbrite page says the event is sold out, organizers say that walk-ups are welcome. 5:30 to 8:30 p.m. Free.
Hammered Hulls Record Release at the Black Cat: For D.C. music fans of a certain age, few bands in recent memory have generated as much excitement as Hammered Hulls — a punk supergroup featuring vocalist Alec MacKaye of Ignition and the Warmers, bassist Mary Timony of Ex Hex and Helium, guitarist Mark Cisneros of Des Demonas and Medications, and drummer Chris Wilson of Titus Andronicus and the Pharmacists. After dropping a seven-inch single in the summer of 2019, the quartet has finally released its debut LP, “Careening,” a collection of 12 songs that snarl and groove, with jagged edges of guitar lines tempered by deep, steady bass lines and whip-crack drums. It calls back to classic D.C. hardcore sounds while also looking forward. Hammered Hulls marks the record’s official release with a show at the Black Cat. Divorce Horse and Saffron open. 8 p.m. (doors open). $20.
Interview: Eavesdropping on the new post-punk supergroup Hammered Hulls
Children’s Africana Book Awards Festival: The Smithsonian’s National Museum of African Art hosts a festival celebrating books that encourage accurate representation about the continent. Award categories include books suitable for young children, older readers and new adults, and winners include writers such as Safia Elhillo and Johnnetta Betsch Cole. The day also features an author Q&A, book signings, art activities and a master class writing workshop led by Lesina Martin, which requires advance registration. 11 a.m. to 3 p.m. Free.
16th annual Parade of Trabants at the Spy Museum: The Spy Museum has a significant section on Cold War espionage in Berlin, so it’s only appropriate that the museum has long hosted a commemoration of the fall of the Berlin Wall. But this quirky party celebrates the occasion through the lens of the Trabant, the clunky, smoky, nostalgia-inducing East German car that’s now sought after by collectors. View a collection of Trabis — cars made of resin plastic and cotton fibers — and chat with owners while listening to German tunes from the Alte Kameraden band and creating “Berlin-style” graffiti. 10 a.m. to 4 p.m. Free.
‘Noche de Baile’ at La Cosecha: Union Market’s La Cosecha, dedicated to the flavors and styles of Latin America, combines shopping and dining like few other places in the area. (It helps that the merchants are never far away from the large, central bar.) Each Saturday in November, the space hosts a different DJ for three hours of dancing, food and drink specials, staying open past its usual closing time. 8 to 11 p.m. Free.
Día de los Muertos Masquerade Gala at the Mexican Cultural Institute: Check out the Mexican Cultural Institute’s ofrenda, or Day of the Dead altar, at this after-hours party, which includes live mariachi music, dance performances and lessons, a Mexican buffet, open bar, and tours exploring the building’s historic murals. The dress code is black tie optional or masquerade-style. 8:15 to 11:45 p.m. $135.
Fall Festival at River Farm: The American Horticultural Society opens the gates of its 27-acre estate to visitors for a fall festival featuring a beer garden and holiday shopping from local vendors. Kids might enjoy a show by children’s band Rocknoceros (performing hits like “Washing My Hands”), a petting zoo with pony rides or the crafting station. Visitors can grab a bite from food trucks including Rocklands Barbeque and Lost Boy Cider. A portion of ticket proceeds benefits the National Center for Missing and Exploited Children, based in Alexandria, and the American Horticultural Society. 11 a.m. to 4 p.m. $9-$20.
13th annual D.C. Tweed Ride: D.C.’s Tweed Ride began in 2009 as a way for the city’s snappiest dressers to show off their stylish houndstooth jackets, vintage dresses, boater hats and newsboy caps along with their new and antique bikes while parading around the city. This year’s ride covers just over eight miles, beginning and ending at Logan Circle, followed by a picnic in the grass. There’s no need to RSVP — just show up in your coolest outfit. 10 a.m. Ride begins at 11. Free.
John Philip Sousa Birthday Concert at Congressional Cemetery: Among the many famous residents of Congressional Cemetery is John Philip Sousa, the “March King” who composed “The Stars and Stripes Forever,” “The Washington Post March” and “Semper Fidelis,” the official march of the U.S. Marine Corps. Sousa was a member of the Marine Corps Band before returning as its director. Each year on his birthday, the band honors Sousa with a performance at his grave. The tribute begins with a ceremony and a talk by a Sousa impersonator before the band marches in at 11 a.m. for a 25-minute concert. 10:30 a.m. Free; RSVP requested.
Sherry Week: This is a great week for fans of fortified wine, as restaurants across the city celebrate sherry with tastings and events. Among the highlights: try special flights and cocktails at Jaleo, Cranesand McClellan’s Retreat; watch a sherry cobbler cocktail competition at Service Bar (Tuesday); taste a one-night-only menu of sherry cocktails at the Green Zone (Tuesday); taste rare bottles at Maxwell Park (Wednesday); or visit the theater with a performance of “La Llorona” at Capitol Hill Arts Workshop, with pre- and post-show drinks and a discussion about Spanish influence on Mexican food and drink (Friday). Through Nov. 13. Prices vary.
Election night events: Midterm elections don’t usually inspire the same fervor as presidential elections — in the bar world, that is. Viewing parties with special cocktail menus, bingo games and coloring sheets? So 2020. But there are still opportunities to go out and watch the results roll in. Boundary Stone hosts an election-night pub quiz, with all the big screens tuned to political coverage, beginning at 7 p.m. (Arrive early or make a reservation if you want to join in.) Busboys and Poets, probably the city’s most politically conscious bar, hosts watch parties with all-night happy hour at all nine of its locations beginning at 6 p.m. Fight Club, which installed a projection screen and TVs just before football season, offers $7 beer-and-a-shot combos, $10 wine and $2 off punches, and a 15 percent “Eat Your Feelings” discount on all appetizers from 4 p.m. on.
The Red Derby shows the results on big screens on both floors, but let’s face it: You’re going for the specials, which include half-price chicken tenders (it’s “Tendie Tuesday”), $3.50 whiskey and tequila shots, and $3.50 “mystery beers” selected by bartenders. Doors open at 5 p.m. Election night conveniently aligns with Taco Tuesday at Shaw’s Tavern, so you’re getting $10 taco trios and discounted margaritas — $8 each, $28 pitchers — beginning at 5 p.m. and a party with TVs and full sound at 7 p.m. Union Pub, located steps from Senate office buildings, has its own take on democracy: The Capitol Hill bar is running Twitter and in-person polls about which beer it should give away on election night. (The choices are Bell’s Two Hearted, Bud Light, Guinness Blonde and Pacifico.) Voting ends Sunday; the results will be announced Monday. The first 200 people in on election night will be able to claim the winner for free; other specials include $5 margaritas and $1 off tequila shots from 4 p.m. to close.
Here check out the list of K-pop bands who will complete their 7 years of journey in the K-pop music Industry
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K-pop Bands are very popular all around the world. People are fond of the unique music genre, encouraging many singers to adopt K-pop music as their career. At the same time, BTS is the most famous boys’ band in the world. At the same time, Blackpink is the most famous girl band. So BTS has been impressing the world over the decade. And so here we share a list of K-pop Bands who will be completing 7 years in the industry.
1) Blackpink: The most popular girl band Blackpink made their debut on August 8, 2016. They made their debut under the banner YG Entertainment. Since then, the four members have stayed with the group and will complete 7 years in the industry next year.
2)NCT 127: This is one of the three units of the NCT boy band. The band made its debut under SM Entertainment’s banner on July 7, 2016. This is the first unit to mark its debut. This band will also complete its 7-year journey in 2023.
3)MOMOLAND: The girl band debuted on November 10, 2016. The original band had seven members but added two more to the group. But they have lost three members, and now six members are left.
4)ASTRO: ASTRO made its debut on February 23, 2016. The members are constant since the start and are entertaining the audience.
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