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Tours & More, Llc company type is Domestic Llc. Company Number assigned to this business is W06223648 and state of formation is Maryland. This company business address is 712 Carlisle Drive Arnold Md 21012. Registered office street address is the same as mailing address. You can find this business by geo coordinates: 39° 3' 15.4" N , 76° 28' 26.7" W. Tours & More, Llc was incorporated on Wednesday 14th March 2001, so this company age is twenty-three years, one month and twenty-two days. Current company status of this company is Active. Tours & More, Llc agent is Martha L. Silvestri. According to Maryland business register this business is in good standing. Check Martha L. Silvestri Full Profile » Address, phone number, salary, property ownership, car sales and more!

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ARNOLD TRAVEL & TOURS is a travel agency with more than 30 years of experience. Their team of professionals are committed to the quality of the avant-garde tourist service. They provide to corporate and personal clients, and are supported with all of the right tools to offer a timely and competitive service.

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By the numbers: Statistics confirm Scottie Scheffler's historical dominance

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Is impending fatherhood the only thing stopping Scottie Scheffler? Quite possibly.

His historic run continued Monday when he completed his victory at the RBC Heritage. It was his fourth win in his past five starts, a run that also included victories at the Arnold Palmer Invitational presented by Mastercard, THE PLAYERS Championship and the Masters. The only exception was a runner-up finish at the Texas Children’s Houston Open, where he missed a 6-footer to join Stephan Jaeger in a playoff.

Scottie Scheffler’s Round 4 highlights From RBC Heritage

Scheffler has seemed invincible lately, and the statistics confirm that. Here’s a closer look at some of the key stats that put Scheffler’s historic play into perspective:

• By winning at Harbour Town Golf Links, Scheffler became the first player since Bernhard Langer in 1985 to win the RBC Heritage one week after winning the Masters .
• Scheffler is the first player since Tiger Woods in 2006 to win the week after winning a major .
• With four wins and a runner-up in his past five starts, Scheffler is the first player since Woods in 2007-08 to have five consecutive top-two finishes . Vijay Singh is the only other player to have such a run in the past 30 years (2004).
• This was Scheffler’s 10th PGA TOUR victory, coming in just his 51st start since he earned his first win at the 2022 WM Phoenix Open. Only David Duval has needed fewer starts after his first win to reach victory No. 10. Duval did it in 33 starts. Tiger Woods is third on the list with 59 starts.
• In his 51 starts since the 2022 WM Phoenix Open, Scheffler also has 23 top-three finishes (45%) and 35 top-10s (68.6%).
• All 10 of Scheffler’s wins have come since the start of the 2021-22 season. He is the first player to win 10 (or more) times on the PGA TOUR in the span of three seasons since Dustin Johnson won 10 titles between 2015-16 and 2017-18.
• This is Scheffler’s fourth win of the season, matching his career-high from 2022. He is the fourth player with multiple four-win seasons since the start of 2000 , joining Woods (10), Singh, (3) and Phil Mickelson (2).
• Scheffler has now recorded 40 consecutive TOUR rounds at par or better , a streak that began in the final round of the 2023 TOUR Championship. He’s 12 back of Woods’ all-time TOUR mark of 52 straight rounds at par or better (set across 2000-01).
• In each of Scheffler’s last seven victories, eight or more of the top 10 players in the Official World Golf Ranking have been in the field . His most recent run of four wins in five starts has included two Signature Events (Arnold Palmer Invitational presented by Mastercard, RBC Heritage), THE PLAYERS and the Masters.
• Scheffler is averaging 5.38 birdies per round this season, on pace to set the all-time TOUR record for single-season birdie average (since the statistic was first tracked in 1980) . Woods set the current record (4.92) in 2020.
• In his 39 rounds this season, he has outperformed the field average 35 times . He’s been at least a shot better than the field 30 times, at least two shots better 26 times and at least three shots better 19 times.
• Scheffler leads the TOUR in Strokes Gained: Tee-to-Green by nearly a shot per round this season , after finishing atop the category by more than two-thirds of a stroke per round last season. No player had previously led the category by more than four-tenths of a stroke per round since Woods in 2009.

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‘Taylor Swift: The Eras Tour’ Writes Her Name As No. 7 In Deadline’s 2023 Most Valuable Blockbuster Tournament

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Taylor Swift : The Eras Tour AMC Entertainment

After Covid shut down AMC and the rest of the globe’s multiplexes and the actors strike ratcheted down the box office, you could say that the No. 1 exhibitor was taking its fate into its own hands with Taylor Swift: The Era’s Tour . However, it has Scott Swift, Taylor Swift’s father, to thank. He reportedly made the call to AMC CEO Adam Aron to sidestep studios and gain more cash in taking his daughter’s movie from her $1 billion-plus-selling, sold-out concert tour directly to AMC. Why have a studio walk away with a ton of cash and spend tens of millions in marketing when Swift with a then-near-400 million social media followers is the best form of advertisement? She tweeted a few times to promote the movie, and showed up at her boyfriend Travis Kelce’s Kansas City Chiefs games to drum up her $15M Taylor Swift: The Eras Tour concert film as a must-see. The movie also received a SAG-AFTRA waiver, which allowed the pop star to show up at her own Los Angeles world premiere and do publicity. The result: $100M in global advance ticket sales. AMC, to avoid antitrust issues, hired Gotham-based distributor Variance Films to book cinemas across the nation, and Trafalgar to handle the overseas release. Much to the chagrin of the studios, who had their thing to say about Aron’s entry into the distribution business, they all started moving their movies away (i.e., Universal’s The Exorcist reboot, Lionsgate’s Ordinary Angels ) from Eras Tour and its arrival on the calendar October 13. Swift cleverly tailored her marketing to fans, releasing the movie on a date that reps her lucky number, with tickets priced at $13.13 for children and seniors. Initially she wasn’t going to preview the movie, looking to open hard on 10/13. At the last minute, during the week of release, Swift changed her mind and opted for last-minute Thursday previews (they only yielded $2.8M).

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Billie Eilish Reveals ‘Hit Me Hard and Soft’ World Tour, Starting in September

By Ellise Shafer

Ellise Shafer

• Billie Eilish Reveals ‘Hit Me Hard and Soft’ World Tour, Starting in September 15 hours ago
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Billie Eilish is embarking on a world tour in support of her forthcoming third album, “ Hit Me Hard and Soft ,” set for release on May 17.

The Live Nation-produced tour will kick off in September in Quebec and continue through North America until December. In February 2025, Eilish will hit Australia, followed by Europe, the U.K. and Ireland from April to late July.

Tickets will be available for presale for American Express cardholders on April 30, with additional presales running throughout the week. General tickets go on sale May 3.

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Tue Feb 18, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Wed Feb 19, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Fri Feb 21, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Sat Feb 22, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Mon Feb 24, 2025 – Sydney, Australia – Qudos Bank Arena Tue Feb 25, 2025 – Sydney, Australia – Qudos Bank Arena Thu Feb 27, 2025 – Sydney, Australia – Qudos Bank Arena Fri Feb 28, 2025 – Sydney, Australia – Qudos Bank Arena Tue Mar 4, 2025 –Melbourne, Australia – Rod Laver Arena Wed Mar 5, 2025 – Melbourne, Australia – Rod Laver Arena Fri Mar 7, 2025 – Melbourne, Australia – Rod Laver Arena Sat Mar 8, 2025 – Melbourne, Australia – Rod Laver Arena

Europe/U.K./Ireland Wed Apr 23, 2025 – Stockholm, Sweden – Avicii Arena

Thu Apr 24, 2025 – Stockholm, Sweden – Avicii Arena

Sat Apr 26, 2025 – Oslo, Norway – Telenor Arena Mon Apr 28, 2025 – Copenhagen, Denmark – Royal Arena Tue Apr 29, 2025 – Copenhagen, Denmark – Royal Arena

Fri May 2, 2025 – Hannover, Germany – ZAG Arena Sun May 4, 2025 – Amsterdam, Netherlands – Ziggo Dome Mon May 5, 2025 – Amsterdam, Netherlands – Ziggo Dome Wed May 7, 2025 – Amsterdam, Netherlands – Ziggo Dome Fri May 9, 2025 – Berlin, Germany – Uber Arena Thu May 29, 2025 – Cologne, Germany – Lanxess Arena Fri May 30, 2025 – Cologne, Germany – Lanxess Arena Sun June 1, 2025 – Prague, Czech Republic – O2 Arena Tue June 3, 2025 – Kraków, Poland – Tauron Arena Wed June 4, 2025 – Kraków, Poland – Tauron Arena Fri June 6, 2025 – Vienna, Austria – Stadthalle Sun June 8, 2025 – Bologna, Italy – Unipol Arena Tue June 10, 2025 – Paris, France – Accor Arena Wed June 11, 2025 – Paris, France – Accor Arena Sat June 14, 2025 – Barcelona, Spain – Palau Sant Jordi Sun June 15, 2025 –Barcelona, Spain – Palau Sant Jordi

Mon Jul 7, 2025 – Glasgow, UK – OVO Hydro Tue Jul 8, 2025 – Glasgow, UK – OVO Hydro Thu Jul 10, 2025 – London, UK – The O2 Fri Jul 11, 2025 –London, UK – The O2 Sun Jul 13, 2025 – London, UK – The O2 Mon Jul 14, 2025 – London, UK – The O2 Wed Jul 16, 2025 – London, UK – The O2 Thu Jul 17, 2025 – London, UK – The O2 Sat Jul 19, 2025 – Manchester, UK – Co-op Live Sun Jul 20, 2025 – Manchester, UK – Co-op Live Tue Jul 22, 2025 – Manchester, UK – Co-op Live Wed Jul 23, 2025 – Manchester, UK – Co-op Live Sat Jul 26, 2025 – Dublin, Ireland – 3Arena Sun Jul 27, 2025 – Dublin, Ireland – 3Arena

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‘spider-man: across the spider-verse’ composer daniel pemberton announces u.s. concert tour, talks his groundbreaking score.

Musicians will perform the score live as the animated feature plays for audiences across 50-plus dates: "I always thought it'd be impossible to do live."

By Brian Davids

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Following last week’s announcement of the now fast-selling U.K. tour, Spider-Man: Across the Spider-Verse composer Daniel Pemberton is revealing that the film’s live-in-concert experience is now web-swinging across the Atlantic and into the States. 

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The Emmy-winning and Oscar-nominated composer channeled the rave and club scenes of ‘90s London to create the musical identity of the Oscar-winning Spider-Verse saga. And while this experimental approach could be done with relative ease in the recording studio, Pemberton was initially uncertain if the multidimensional scores of Into the Spider-Verse and now Across the Spider-Verse could be re-created for a continuous live-to-picture performance.

“ I always thought it’d be impossible to do live, because they jump between so many different ideas and genres. But a long time ago, I did a couple of cues at a one-off film music festival, and I was really surprised at how effective it worked,” Pemberton tells The Hollywood Reporter . “So that got my brain thinking about trying to do the whole film live, and we did a couple of tests that went down phenomenally.”

Pemberton is quick to credit the Phil Lord- and Chris Miller-produced films for providing him with the leeway that inherently comes with the franchise’s revolutionary approach to animation.  

Below, during a recent conversation with THR in support of Across the Spider-Verse ’s U.S. tour announcement, Pemberton also explains how the first cue he ever wrote for Across wound up serving as the film’s thematic bookends involving Gwen Stacy.

So how did you arrive at this point where Into the Spider-Verse and Across the Spider-Verse both have live concerts and tours?

The Spider-Verse films probably have the most complicated scores I’ve ever done, and I always thought it’d be impossible to do live, because they jump between so many different ideas and genres. But a long time ago, I did a couple of cues at a one-off film music festival, and I was really surprised at how effective it worked. So that got my brain thinking about trying to do the whole film live, and we did a couple of tests that went down phenomenally. 

So Into the Spider-Verse has now been on a tour, and it’s crazy that it’s become quite a huge thing with a touring band and a whole bunch of musicians driving around America in a truck. But we’ve only done Across the Spider-Verse live once, and that was at the Academy Museum in L.A. That was the first and only time it’s been done so far, but it’s so much work to get the show watertight. Once you’ve done that, then you can start working out how to turn it into a touring show.

On certain dates, will you be there to pick up a guitar and play various other instruments?

There are moments in the score with opera singing and whistling. Will the live shows actually have designated opera singers and whistlers? 

The whistling we normally do live, but the opera singer is probably going to be on track. There are a lot of things in this score that are so complex to balance. So we’re trying to give a live experience, but it’s not like a symphonic orchestra where every single element is all being performed live. We have loads of live stuff backed with electronics and turntables, and that’s the only way we could really make it work. It’s really about how much of an exciting show it is. And if you see the show on two different nights, you are going to get a slightly different experience, but also a very unique live experience. 

What percentage of Into the Spider-Verse ’s score did you expand on in Across the Spider-Verse ?

For me, great film music is when you have strong themes and strong identities that are completely recognizable to that film. Great film music is when you can hear something away from the film and it takes you back into that universe. And that can be as simple as a certain noise or a huge melody. And with Spider-Verse , we have created quite a unique melody and sound, so it’s really fun to keep expanding on that. Everything is connected in these two movies. Every sound and motif connects together. 

One of the things that’s been interesting is watching the reactions of younger filmgoers who are starting to learn about cinema and film music and how surprised they are at thematic continuity and motifs that can connect characters. It is one of those very iconic and also straightforward parts of film music. But there hasn’t been a consistent approach, especially with the superhero movies over the last couple of decades. Often you have different composers scoring different episodes in different franchises, and if you look at The Lord of the Rings or Star Wars movies, there is a very strong thematic and melodic approach between those. You’ve got one vision, one composer, and with Spider-Verse , that’s what we’re trying to do. So, for a lot of younger people, that’s often quite new to them, which is obviously quite weird to me.

Yeah, it’s really difficult. In the good old days of film music, the composer would get a cut, write their piece of music, and then they’d record it and stick it on the film. And then there’s a round of applause for everyone. In the modern world and the modern way of film composing, everything changes all the time. So you might write something to picture, but then that picture might get slightly tweaked: something gets put in or extended or taken out at the last minute. So the music is always in flux, and while you can make that work for a film, you can’t do that when you have musicians playing it live. You have to make it in a way that is enjoyable and exciting for the musicians to play. If the musicians are only thinking about the technicality of very complicated tempo changes, which you might have when you’re editing a film to move between things, it is going to be a terrible live performance. So, like Ludwig, I had to go back to the beginning and rebuild the score, scene by scene. Some scenes will be slightly different on a very minuscule level. I’m talking tiny, tiny stuff, but you still have to build the whole thing from the ground up again, and that is very time consuming. It’s a bit like pulling a car apart and rebuilding it. You get to learn all the bits in the score again. But I saw Ludwig’s performance. It was brilliant, but I would not want to be a musician during that performance. It never stops. It’s exhausting. It’s a beautiful score, but Oppenheimer feels like the musician equivalent of running two marathons back to back.

I like to think it was the other way around because he saw mine first. ( Laughs .) So he came to my show, and we worked with some of the same people, actually. It was the same production team, so Mike Kasper from Black Ink worked on that with Ludwig. But we like to keep an eye on what each other is doing. We’re good friends, and I’ve got massive respect for his work. It also makes me a bit jealous, so that’s a good sign. 

Are composers pretty competitive with one another? 

Oh, for sure. The best film music in the world is stuff that makes 50 percent of me incredibly jealous and annoyed, because it’s better than anything I’ve done and it’s everything I aspire to do. And the other 50 percent is like, “This is everything film music should be.” So you’re incredibly excited because it’s everything you care about, and when you hear it done well, it’s very exciting. So it’s the 50-50 rule of excitement and jealousy. If you get that, then it’s a great score.

Ludwig also had tempo changes to account for, so they had to introduce a new click track just one bar before the tempo change happened on the page. Did you run into similar tempo challenges?

On Oppenheimer , there’s loads and loads of crazy tempo changes, and I remember Ludwig telling me about that when we were having a beer in London. And what’s interesting about that is you’ll get smudge and imperfection. Sometimes, this can be really interesting because players are not all going to play together, and we have something similar to that with Spot, the baddie in Across the Spider-Verse . I recorded multiple de-tuned cello parts that weren’t all in tune, and if you keep tracking stuff that’s de-tuned, it’s like drawing a line many times. If you draw a straight line once, and then you badly draw a line 60 times, you will start to get a feeling of where the central line is, making it very unstable and interesting. So we have something similar with the cellos. They’re detuned, but they all align around one melody. That’s more of a melodic idea than a tempo idea, but putting multiple tempo changes in is something I try to avoid. It’s a nightmare when it comes to editing, so if you don’t have to do it, don’t do it. 

Yeah, it’s different, and I like working that way. It allows you to experiment and not be dictated to by the picture. So I will go through a very long process, which I call research and development, where I’ll try out loads of ideas and come up with sounds, themes, motifs. So I do write that way, but to do a film like Spider-Verse , the music is so reactive to the picture. You can’t just slap a track on and then go to the pub. You have to work at it so much to make it in sync with the visuals and in sync with the story, because the movie moves at an incredible pace and you have to hit so many different emotions and beats within seconds of each other. So I need to write themes that you recognize within two seconds because we are going to move somewhere else afterwards, and that’s a very complicated task. If you’re doing an indie film where you might have one tone or one mood, it’s easier to do that, but this has the movement of a big blockbuster. So you need music that’s incredibly nimble, and over the years, the only thing that’s been able to deal with that kind of nimbleness has been the symphony orchestra. So I was always like, “How do I create a sound and a palette and an approach that has the speed and nimbleness of a full orchestra but isn’t a full orchestra? Something new, something different.” And with Spider-Verse , we created all these techniques through scratching, turntables, weird electronic sound design, live orchestra drums, and we built a language that allowed me to write a score that could be that reactive to picture. But you try to do it in a way that hopefully feels elegant and simplistic enough that you don’t notice the movement.

The cue that bookends Across is probably my favorite, as Gwen’s ( Hailee Steinfeld ) heavy drum parts are right in my wheelhouse.

So I reworked it for that, and then much later, for the ending of the film, we didn’t know what to do and we tried different approaches. And then a great [supervising] music editor on Spider-Verse called Katie Greathouse, who’s a very important part of the team, just said, “Oh, why don’t we try that track over this?” So she just pulled it out and put it on, and we were like, “Fuck, this really works. Wow.” So I was like, “OK, the idea works, but I need to go away and rework it.” So I ran to this other office, because I was working in the same offices as all of them, and then I just wrote like crazy. And suddenly, we had the ending. So that was one of the most exciting moments for me; I felt we had something that was really special. By the way, that bit is great live. It’s such a fun ending to end a concert on.

Every live set list has a song or a cue that every musician anticipates, usually because it’s the most challenging piece. Is there one in particular that will allow your musicians to breathe easier once they nail it live? 

So it’s a very unique and unusual way to experience cinema. I don’t know of anything else that’s like this communal experience with an audience. I know Americans like to make a lot more noise, but people are generally quite restrained in cinema. And I like that. I am not a big fan of lots of noise in the cinema, but when you see a film live with an orchestra and a band and a scratch DJ, make as much noise as you want. It’s a whole different way of seeing a film. So that’s why I’m excited for people to experience this on tour. You can’t have this cool and unique experience anywhere else.

If you were handed these exact movies in live-action or you went into them with the foreknowledge that they were live-action, how different would both scores be in your estimation?

I enjoyed it.

Cathy [Yan], the director, had a very strong and unusually different vision for how that film should feel and look, and I got very excited by that. So I felt that it was a way to be a bit more creative, and that score is probably close to what Spider-Verse sounds like. It’s more trashy guitar-based, but if you look at King Arthur: Legend of the Sword that I did with Guy Ritchie, that’s got a similar sort of aesthetic where I got to do something a bit more creative. So it always depends on the film and the filmmakers and the approach, really, but I like things where you can push at the edges a bit more.

From Aaron Sorkin and Danny Boyle to Spider-Verse , is there an underlying principle to working on opposite ends of the spectrum? Do these projects have more in common than people might realize?

*** Spider-Man: Across the Spider-Verse Live in Concert tour information is available at SpiderVerseInConcert.com

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Billie Eilish Announces Dates for Hit Me Hard and Soft 2024-2025 World Tour

The 10-month outing is slated to kick off in Quebec on Sept. 29.

By Gil Kaufman

Gil Kaufman

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Billie Eilish announced the dates the world tour in support of her third album on Monday (April 29). The Hit Me Hard and Soft: The Tour is slated to kick off on Sept. 29 at the Centre Videotron in Quebec, Canada, and take the singer across North America through late December, with stops in Toronto, Baltimore, Philadelphia, Detroit, Newark, Boston and Pittsburgh before a three night-stint at Madison Square Garden (Oct. 16-18) and two nights at State Farm Arena in Atlanta (Nov. 2-3).

Why Billie Eilish Insists on Sustainability In Her Career: ‘It’s a Never-Ending F–king Fight…

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The tour will feature a number of sustainability efforts, including the continuation of Eilish’s long-running partnership with environmental nonprofit Reverb, which has so far resulted in $1 million in donations to environmental, greenhouse-gas reduction and climate-justice projects, according to a release announcing the dates. On the upcoming tour, sustainability efforts will include reducing greenhouse-gas pollution, decreasing single-use plastic waste, supporting climate action and updating concession offerings to promote plant-based food options.

Billie Eilish Explains the ‘Huge Responsibility’ to Make New Album ‘Hit Me Hard and Soft’ Her Most…

Support + Feed will also continue its previous collaboration with Eilish and offer an expanded version of the Support+Feed Pledge aimed at inspiring fans to eat one plant-based meal a day for 30 days. Eilish’s fans are also encouraged to take public transportation and/or carpool to shows to reduce their carbon footprint, and to bring an empty reusable water bottle or donate to receive a custom RockNRefill Nalgene bottle they can fill up for free at water-refill stations at every venue. Eilish is also encouraging fans to fight the tremendous waste caused by fast fashion by dressing up for the gigs in thrifted, upcycled or borrowed clothes instead of buying new ones.

In an effort to keep tickets out of the hands of scalpers, the tour is using Ticketmaster’s Face Value Exchange, which will allow fans who purchase tickets for the North American tour they can’t attend to resell them to other fans at the original price; click here to find out more about this program.

Check out the dates for Eilish’s Hit Me Hard and Soft: The Tour 2024-2025:

View this post on Instagram A post shared by BILLIE EILISH (@billieeilish)

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