Universal Audio Announces Hitsville EQ Collection – PR Newswire

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May 18, 2022, 17:58 ET
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Giving music creators legendary Motown Sound with the first authentic plug-in emulations of Hitsville Studio’s custom-built EQs
SCOTTS VALLEY, Calif., May 18, 2022 /PRNewswire/ — Universal Audio Inc. (UA), a worldwide leader in audio production tools including Apollo and Volt audio interfaces, UAD plug-ins, UA mics, and UAFX guitar products, is proud to introduce the first authentic plug-in emulations of the tools used to shape the sound of Motown — the Hitsville EQ Collection.
Giving music creators legendary Motown Sound with authentic plug-in emulations of Hitsville Studio’s custom-built EQs.
Hitsville EQ Collection delivers the rich tone and color of the fabled graphic and mastering EQs used to mix some of Motown’s greatest records, from Stevie Wonder to The Supremes.* The collection is available exclusively for the UAD Spark plug-in subscription service and Apollo interfaces.  
Hitsville EQ Collection — $299
Located in Detroit, MI, Hitsville U.S.A. is the original house-converted recording studio that helped launch Motown as one of the world’s most successful independent music labels. Famous for their rich, energized sound, Hitsville EQs were developed in-house, and purpose-built for the studio’s around-the-clock recording schedule.
"You can’t overstate Motown’s contribution to the trajectory of modern music," says Bill Putnam Jr., CEO of Universal Audio. "We’re thrilled to bring the legacy of Hitsville U.S.A. and the Motown sound to the next generation of creators."
Featuring the all-purpose graphic EQ and the first-ever emulation of Hitsville’s rare mid/side disk mastering EQ, with legendary "Motown Filters" and half-speed frequency settings, the Hitsville EQ Collection packages the vintage sound of Motown’s most revered studio tools for Apollo and UAD Spark customers for the first time ever.
*Use of artist names does not constitute an official endorsement of Hitsville EQ Collection software.
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Universal Audio (UA) is a pioneer in audio and music production tools, with a rich 60-year history of craftsmanship and innovation. UA today enables millions of audio and music creators worldwide, with industry-standard Apollo and Volt recording interfaces, UAD plug-ins, UAFX pedals, advanced audio machine learning, LUNA recording suite, and UA Custom Shop hardware. UA is headquartered in Scotts Valley, California, with passionate employees worldwide — united by our goal of "Inspiring Sound for Generations."
Founded in 1985 by Esther Gordy Edwards, Motown Museum is a 501(c)(3) not for profit, tax-exempt organization in Detroit. The museum is committed to preserving, protecting and presenting the Motown story through authentic, inspirational and educational experiences. Announced in late 2016, the Motown Museum expansion will grow the museum to a 50,000-square-foot world-class entertainment and education tourist destination featuring dynamic, interactive exhibits, a performance theater, recording studios, an expanded retail experience and meeting spaces designed by renowned architects and exhibit designers. When completed, the new museum campus will have a transformative impact on the surrounding Detroit neighborhoods, providing employment, sustainability and community pride by serving as an important catalyst for new investment and tourism in the historic area. For more information on Motown Museum, visit
©2022 Universal Audio, Inc. All rights reserved. Product features, specifications, pricing, and availability are subject to change without notice. The "Universal Audio" name, UA "diamond" logo, "Apollo," "Apollo Twin," "UAD," "Powered Plug-Ins," "UA Sphere," and "LUNA Recording System" are trademarks or registered trademarks of Universal Audio Inc. *All other trademarks contained herein are property of their respective owners, which may or may not be affiliated with Universal Audio Inc.
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What you'll learn in a master's of public health program – Fortune

Prospective students in master’s degree programs in public health (MPH) have, over the past two years, been granted a bittersweet opportunity. On one hand, the COVID-19 pandemic has ravaged the globe, killing millions of people, and exposing gaping holes in our public health systems and response abilities. Even so, researchers haven’t gotten a chance to study the effects of a large-scale pandemic in nearly 100 years.
The past few years have proven valuable and fertile for educators—and particularly those people running public health programs. The pandemic has, in effect, provided a real-life case study for students studying public health, which has, in turn, spurred interest in the field.
“We’ve seen interest go up,” says Gina Lovasi, Ph.D., an associate professor of urban health, and the associate dean for education at Drexel University’s Dornsife School of Public Health. “The last couple of years, public health has become more salient as an option for many students.”
Students interested in pursuing an MPH degree have filtered into top-ranked programs across the country, many of them eager to help fill the systemic holes exposed by the pandemic, and to get their hands dirty helping their communities become healthier and more resilient. Here’s what they can expect to take away from these programs.
Since many students, just a couple of years ago, may not have given much thought to attending an MPH program, it’s worth asking: What do you learn when attending an MPH program?
These master’s degree programs differ from school to school. And because public health is such a wide-ranging topic, an MPH student’s general education path involves taking some general, foundational courses, and then choosing a concentration.
“The field of public health is broad, but much more so in the past few years,” given the wide-ranging needs of communities, says Kari-Lyn Sakuma, associate professor at Oregon State University’s College of Public Health and Human Sciences.
In a general sense, MPH programs focus on improving a community’s health and preventing disease and illness among members of a community, Sakuma adds. But there are a multitude of ways those goals can be achieved through public policy, data analysis, and research—all of which are elements of many, if not most, MPH programs.
But Sakuma says the pandemic has highlighted the importance of coordination among professionals working in all of these areas. “There’s a need to integrate across sectors with current public health challenges today. We need more integration across disciplines,” she says. “That’s what we’ve been working toward.”
As master’s degree programs in public health adapt to the post-pandemic landscape, most students can expect to take a handful of core or foundational courses before branching off into specific concentrations. While the specifics of the foundational courses could vary by school, they’re generally designed to give students a wide-ranging overview of the public health field.
For example, at Oregon State University, students take courses focused on leadership, communication, and policy in the public health space, as well as courses focused on planning and management. At Drexel University, all MPH students complete courses such as “Public Health Foundations,” and introductory classes for biostatistics, and epidemiology.
“We give all MPH students a foundation—knowledge across all disciplines at our school, and flexibility to develop depth in their concentration,” says Lovasi. “Foundation courses help to make sure we’re providing a common base for students to then specialize more in their disciplinary area. Those foundation classes are very broad courses, like biostatistics.”
These master’s degree programs offer flexibility in other ways—with in-person classes, online or some combination of the two, and are completed over varying lengths of time, ranging from accelerated one-year programs to several years. Depending on the specific program students opt for, they either select a concentration at the onset or after a couple of quarters or semesters.
Concentrations typically include some version or variation of epidemiology, biostatistics, urban health, global health, health policy, environmental health, and occupational health, among other options.
While students must pick a program and major or concentration that aligns with their career goals or specific interests, these master’s degree programs also prepare students for other public health realities. Oregon State, for example, has an emphasis on the specific needs of certain communities, as many of its graduates go on to work in small, rural areas in the western U.S.
“Our program specifically caters toward the Pacific Northwest,” Sakuma says. “A lot of our students come to us through word of mouth, or by working with OSU grads in their communities. We get a lot of students from the region, including California, Idaho, and Montana. And a big part of the attraction is that we work directly with rural communities.”
Getting direct work experience is another key element for many MPH programs, and it often takes the form of an internship or integrative learning experience, as they’re sometimes called. These components act as a capstone to earning an MPH degree. Students generally find organizations that marry their interests with a community’s needs and spend time working in the field—which, in turn, provides valuable work experience, while offering a helping hand to communities in need.
At Drexel, MPH students work directly with faculty members to create a plan for their internships, which can last many months. “The internship experience part of the MPH program is organized around deliverables—each student creates a learning agreement at the onset, saying what the deliverables will be, which may be some sort of a data dashboard, an infographic, study, or other material for public health education use,” says Lovasi. “It’s designed to create something tangible for the student that they’re going to have as a part of their portfolio” after graduation.
It’s common for students to work with state or federal government organizations, local health departments, non-profits, and think tanks, Lovasi adds.
This type of on-the-ground experience, coupled with the extensive coursework, can open up numerous career opportunities around the country after students graduate. What’s more, many MPH grads leave school with a sense of satisfaction and excitement knowing that they’ll be making a difference in the world.
“By enrolling in an MPH program, doors open to you. You get the skills to make a difference once you step through those doors,” says Lovasi. “You’ll get a broad base of understanding in the field, and the flexibility to carve out your own identity.
See how the schools you’re considering landed in Fortune’s rankings of the best master’s in public health programsbusiness analytics programsdata science programs, and part-timeexecutive, full-time, and online MBA programs.


Honey Red Hair Color: A Guide to the Trendy Shade – Mane Addicts

Ashley Mishler
May 15, 2022
Red and copper tones are the hues for 2022. As we roll into summer and hair colors brighten, we’re seeing more and more celebs shift towards honey red, a tone that mixes the best of both worlds. This strawberry bronde, rose gold glow looks stunning on stars such as Zendaya, Sydney Sweeney, and Kendall Jenner. If you’re looking to go honey red, read on for some tips, tricks, and inspo pics to take to your stylist!
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It’s interesting to see warm tones in hair picking up steam. Historically, or at least over the last decade, icy, cooler tones have reigned supreme. Occasionally, a warm blonde or bronde will chart as a trend, then fade to the background as platinum regains the crown. Even when super bright red tones were trending, more often than not they veered towards a cool burgundy wine rather than a copper penny.
Honey red is a surprisingly easy color to gain, and maintain. With no need to over-lighten the hair, and no need to oversaturate with bright, creative color dyes, this nearly natural copper shade is quickly becoming the go-to.
Part ginger, part blonde, with a hint of a strawberry rose, honey red has the ability to look good on nearly every skin tone. If you’re visiting the salon for a copper color change, you can ask your stylist to tailor this tone to your skin. If you’re pale and fair, add a bit more rose. Olive skinned? More blonde. And for those with darker skin? Feel free to go in any direction with this color. Bright or muted, this hue will complement you.
If honey red is the hair color you desire, take these inspo photos with you to your next appointment!
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A post shared by Sydney Sweeney (@sydney_sweeney)
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From the UK’s best stylists.
The perfect bob is waiting for you!
In true Hollywood form, this wet look requires totally dry hair.
Mane: (n.) A head of distinctly long,  thick hair.  Addicts:  (tr.v) To occupy or involve  oneself in something habitually or compulsively.


Premier League LIVE: Newcastle v Arsenal score, commentary & updates – Live – BBC

Premier League LIVE: Newcastle v Arsenal score, commentary & updates – Live  BBC

What Is Immersive Audio?: How Engineers, Artists & Industry Are Changing The State Of Sound – The GRAMMYs

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Photo: Rob Monk/Future Music Magazine via Getty Images
Immersive audio tech allows sound technicians to think and work in three dimensions, and for listeners to get "inside" the sound. takes a deep dive into the past, present and future of immersive audio for home, the studio and live audience.
The quest to provide listeners with the highest fidelity and most realistic audio experience has been ongoing for centuries — Venice's Basilica of San Marco underwent structural modifications in the 16th century to ensure that the seat designated for the city’s top elected official received the best possible sound. Hundreds of years later, we are still seeking new auditory experiences, and the pace of recent innovations suggests that more advances lie ahead.
Immersion has been a throughline throughout our history of audio improvements. Engineers at the Basilica of San Marco employed a split choir to create a "stereo" effect that immersed listeners in a three-dimensional swirl of sound; more recently, works by 20th century composers Karlheinz Stockhausen and Edgard Varèse sought to place listeners in the center of the sound. In the late 1960s, Pink Floyd developed the Azimuth Coordinator, a joystick device that afforded real-time control of sound output from speakers placed all over the concert hall. Today, many performing artists find ways to incorporate immersive audio into the concert experience.
Audio recording technology developed along similar lines. As early as 1939, Disney engineers developed the stereo precursor, Fantasound (which was used to great effect on the Fantasia soundtrack). Stereophonic records came into wide use in the late 1950s and, by 1970, four-channel quadraphonic audio technology sought to create an enhanced and even more realistic sound experience for home listeners.
The mid 1970s saw the advent of 5.1 surround audio, developed by Dolby Labs. Created for home theater and cinema, the format became the audio standard for digital broadcasting. Today, 7.1 surround — a system with eight speakers — is common in home theater applications and recording studios.
All of these breakthroughs have a common core goal: Giving the listener – at home, in a concert hall, and ideally anywhere – an audio experience that fully envelops them in sound for a three-dimensional experience. Recent advances have been nothing short of breathtaking, perhaps fundamentally changing the way professionals and average listeners experience sound. Yet more than 150 years after the dawn of recorded sound, most experts agree that immersive audio is still in its infancy.
Most sound engineers mix live concert audio in "distributed monaural," says Marc Lopez, Vice President of Marketing Americas for d&b audiotechnik — a German company that has been designing and manufacturing amplifiers, loudspeakers and sound systems since 1981. He explains that live sound technicians are mostly just "trying to get sound distributed," but the result can be removed from reality. "It’s almost like you're watching and hearing from somewhere else," he tells
Immersive audio technologies aim to put listeners in a specific place, localizing "sound — not just in front of you or inside your head but all around you," notes Guillaume Le Nost, Executive Director of Creative Technologies for L-Acoustics. Based in Marcoussis, France, L-Acoustics manufactures loudspeakers, amplifiers and signal processing equipment primarily for live sound. Immersive audio is a growing segment of the company’s business. 
Le Nost points out that stereophonic (two-channel) sound has serious shortcomings, especially in a live music context. "When your speakers are 30 meters away from each other, it starts to be very difficult to have a nice stereo experience except [for] people exactly at the center," he says, adding that immersive audio places "the listener inside of the sound." 
While quadrophonics provided four discrete audio channels, today’s audio technology moves far beyond, into three dimensions. With immersive audio, says Le Nost, "we can place objects in space." And immersive technology "doesn't define a loudspeaker format delivery," says David Gould, Senior Director of Content Creation Solutions at San Francisco-based Dolby Laboratories. "It just loosely defines something that’s above and beyond."
Instead of merely providing four discrete channels of audio, immersive sound technology is object-based: "You can place a sound in a specific position independently from how many loudspeakers you have; they’re completely independent of each other; that’s really the magic of the object-based approach," Le Nost says.
"It's a lot of work to finagle all the instruments and frequencies to work in two channels and give a transparent mix," observes Steve Ellison, Director of Spatial Sound for Berkeley, Calif. based Meyer Sound Laboratories. Meyer designs and builds audio gear for the professional sound reinforcement and recording industries. 
While quadrophonics attempted to improve upon stereo, a worthy goal, quad sound could be gimmicky in its 1970s applications. "The stereotype of quad is a kind of ping-ponging effect: ‘Where’s the sound?’" Ellison notes. 
The immersive approach circumvents these issues by allowing sound technicians to think and work in three dimensions instead of two. To use an example from geometry, stereo and quad work with the X and Y axes, but the spatial/immersive approach adds the Z axis. "With traditional mixing, you’re mixing a bunch of single channels directly to the outputs," Lopez explains. The object-based approach employs what he half-jokingly calls "mystery processing. You just move the interface around, and it will figure out the best loudspeaker output for you." 
The result is infinitely more versatile and lifelike than quad could ever be.
Lopez places the development of immersive audio into an evolutionary timeline. "Monophonic delivery provided sound, but not necessarily experience," he says. "Stereo was a happy medium, a practical [way] for living rooms to deliver more of that experience. Quadraphonic sound attempted to put the listener either into the audience or into the band, and 5.1 surround was a more defined execution of that."
For a long time, if you wanted an audio experience beyond stereo, "there was only one way of doing it: you had to get four speakers," says Gould. He notes that with current immersive audio technologies like Dolby Atmos, the user has far more latitude and flexibility. "Think about things like sound bars, upward-firing speakers and even binaural renderers on cell phones," he says. "Now we have far more ways to get that experience."
Immersive audio takes things to another level entirely, he adds. And by definition, it’s not limited to a specific setup of one, two, four or some other number of speakers.
The object-based approach brings another important innovation: scalability. Freed from the requirement of a specific audio setup, technologies like Dolby Atmos are engineered to adapt to the application and listening environment. Debuting in 2012, Atmos enabled overhead sound to cinema audio; two years later it became available for home theaters, and today it’s gaining widespread use in recording studios. 
"Rather than being ‘burned’ into channels," Gould explains, "you now get these discrete audio objects that can [effectively ask] 'Okay, what is my playback environment, and how do I best render this audio within that playback environment?'" Metadata encoded into the digital audio files also provides critical three-dimensional audio positioning information. "So whatever speakers you have, each sound is coming from the right place," Gould continues. 
Theoretically, there are no limitations on how complex an object-based audio mix can be. In practice, however, it’s more limited but still quite impressive. "In the cinema, Dolby Atmos supports up to 64 loudspeakers," Gould says. "In our home renderer, we support up to 30 speakers." 
Even though immersive audio playback technology is widespread and well within the grasp of the consumer, music still has to be made into an immersive format. Doing so is the realm of the recording studio.
Audio producer and engineer Webster Tileston first began to explore immersive audio in 2020 when he experienced binaural audio on headphones. Binaural audio is a kind of three-dimensional effect that can be realized with just two channels, making it ideally suited for listeners using headphones or earbuds. Immersive audio has since become a significant part of his work. 
"My excitement came from the fact that I could mix in Dolby Atmos and deliver a single file format," says Tileston, an Atmos Mix Engineer at Nashville studio Axis Audio. "And I can use that one mixing process for pretty much any playback the client needs." That scalability makes spatial/immersive audio an attractive option. 
Growing use is bringing down the cost of immersive audio technology. "There’s a misconception that you have to spend a ton of money," Tileston tells "There are a lot of affordable ways to get into it." The technology is also remarkably user-friendly, allowing for more creative control. "I'm able to place things in a much more musical way than I would have been able to in stereo," Tileston says. "Instead of having to try to fake depth perception and 'dimensionality' with reverb, I'm now able to accomplish that right away with the space that's around me."
Gould admits that as recently as two years ago, there was still skepticism about Atmos. But at least three popular music streaming services — Amazon Music Unlimited, Apple Music and Tidal — have begun providing Atmos content; Apple's acceptance of immersive audio in May 2021 was a game-changer. 
"Everyone went from, ‘How will anyone hear this?’ to 'Oh, this is real, and I need to be on board with it,'" says Dolby’s Gould. His company has seen rapid growth, with more than 550 studios now outfitted with Atmos. "A lot of that has come in the past 12 months. Everyone — producers, engineers and artists — has been very excited about the possibilities," he says.
Recognizing immersive audio’s importance as both a technological innovation and a tool for creative artistic expression, the Recording Academy created a new award in 2005. "A group of highly respected members from the Academy’s Producers and Engineers Wing initiated the idea," explains Michael Almanza, manager of the Academy’s Immersive Audio category. 
Originally called Best Surround Sound Album and renamed in 2019 Best Immersive Audio Album, the category debuted at the 47th GRAMMY Awards. Winners that year were the production team behind Ray CharlesGenius Loves Company. Subsequent winners have included producers of recordings by the Beatles, Beyoncé, Dire Straits, Roger Waters and Alicia Keys.
Eligible recordings must be commercially released for sale or streaming and provide "an original immersive mix — not electronically re-purposed — of four or more channels," Almanza says. Yet a sometimes confusing array of competing file formats and physical media have made entering the immersive audio space challenging. In the past two years, the recording industry has begun to coalesce around Dolby Atmos and immersive streaming, eliminating much of the confusion.
Headed by GRAMMY-winning mastering engineer Michael Romanowski and George Massenburg, a committee at the Producers and Engineers Wing is currently developing a set of technical guidelines for immersive audio. 
When Leonard Bernstein composed his MASS in 1971, the work featured a pit orchestra, choirs, "street musicians" and rock band. MASS would be performed widely, but capturing and conveying the scope of the piece remained challenging. 
"The idea that Bernstein had was to make the audience feel immersed in the live concert experience," says Keith Lockhart, Conductor and Artistic Director of the Brevard Music Center’s Summer Festival. In 2018, BMC staged an ambitious reading of MASS using d&b audiotechnik's Soundscape system — which Bjork and Kraftwerk have also used on tour. 
Soundscape allowed for an effortless combination of recorded and live elements, North Carolina-based Lockhart notes. D&b is one of a handful of audio companies working on the leading edge of immersive audio for live performance. L-Acoustics and Meyer Sound have developed their own proprietary technologies as well.
L-Acoustics’ immersive technology, L-ISA, has been used by a diverse range of artists including alt-J, Soundgarden, Bon Iver, Katy Perry and Blue Man Group. Meyer Sound’s immersive technology has been employed in performance spaces like Brooklyn’s National Sawdust, theatrical presentations and the popular Immersive Van Gogh exhibition. The increasing prevalence of immersive audio technology demonstrates that audiences expect to be dazzled.
"Anything you can do to differentiate your show from the other shows out there," says Best Immersive Album GRAMMY nominee Steven Wilson, who has used immersive sound mixes in his concerts since 2011. "Whether it's having surround audio or incredible visual production – increasingly these things make a difference to justify the price of tickets and get people out of their front rooms and into the concert hall."
"Painting in sounds," says Wilson. "That’s really what making music is." As a solo artist, leader of Porcupine Tree and in-demand collaborator, Wilson has been a go-to remix producer for over a decade, re-imagining classic stereo albums from Genesis, Chicago, Black Sabbath, Tears for Fears, Kiss and others in immersive formats.
Wilson concedes that it’s possible to overdo things when all of these new tools are at hand. "The 'glue' of the track [can be] pulled apart if, for example, things become too isolated," he says. "In an Atmos mix you’ll have a guitar solo or a backing vocal isolated in one of the rear speakers; I’m wary of that." 
Wilson believes that some genres are especially well-suited for immersive audio. "It’s absolutely fantastic for electronic music," he says, noting that the nature of the music encourages expansive use of technology. Wilson’s approach to immersive mixes for rock music tends to be more conservative. "There's something about rock and roll," he says. "The drums and the bass and the guitars are all fighting each other coming out of a stereo or mono positioning; when you start to pull those elements apart, it starts to sound wrong." 
Emphasizing that he’s completely self-trained on Dolby Atmos and immersive technologies, Wilson notes that there’s only one way to determine what works and doesn’t. "You only discover those things by experimenting, by trial and error. I always feel I'm still learning." He’s clearly a quick study: his 2021 album The Future Bites received a Best Immersive Audio Album nomination.
"Audio has always been the experience of hearing sound," says Axis Audio’s Webster Tileston. "The immersive side of things gives us a more natural way to create and consume it." He notes that he has created immersive mixes from a few live recordings, just for fun. "I remember playing them back and thinking, 'I feel like I’m sitting in this club right now.' And that’s a cool feeling." 
L-Acoustics’ Le Nost believes that immersive audio "is going to become very mainstream, much more in our daily lives. I think this technology has a bright future." Ellison of Meyer Sound acknowledges immersive audio’s role in recorded music, but sees live performance as a major growth market. "You go somewhere that's a shared experience, and you can hear content in a way that you couldn't hear at home," he says.
Lopez of d&b audiotechnic notes that Broadway theaters have been employing immersive technology for nearly 20 years. Likewise, many artists desire to bring audio up to a level that matches their visual spectaculars. Immersive audio in the live context is "a higher-resolution way to [present] what’s going on, to recreate that intimacy, that emotional connection," Lopez says.
"At its core, immersive audio is an experience, regardless of how it is listened to," says the Recording Academy’s Almanza. "Immersive audio is its own art form. And as long as there is a pursuit of excellence in this now-widening field, the Academy will continue to recognize and award those creators."
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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.


Realscreen » Archive » 2022 FOCAL Awards reveals nominees shortlist – Realscreen

The FOCAL International Awards, which celebrate the best use of archival footage in creative and cultural industries, released the shortlisted nominees this week for its production categories.
Now in its 19th year, the ceremony acknowledges the best examples of archive restoration and preservation practice, as well as the people and companies in the industry. This year’s edition will be held in London on June 23, hosted by actor, writer and producer Sally Phillips.
Below are the nominees for FOCAL’s production categories:
Best Use of Footage in an Arts & Entertainment Production
Camera Tripod Bicycle (South Wind Blows)
Charlie Chaplin, The Genius of Liberty (Kuiv Production)
Film, the Living Record of Our Memory (El Grifilm Productions, Filmoption International)
Latin Noir – Anemon Productions, Point Du Joir (Les Films Du Balibari)
Street Gang: How We Got to Sesame Street (HBO Documentary Films, Screen Media, Chicken Soup for the Soul Entertainment, Macrocosm Entertainment)
Best Use of Footage in Advertising or Branded Content
Broadway League, “This Is Broadway” (STALKR, Lucky Generals)
Google, “It Starts With Summer” (STALKR, Uncommon Creative Studio)
HBO Max, “Celebrating Devoted Fans” (STALKR, BBDO NY)
Sandy Hook, “The Kids Are Not Alright – Disappearing Act” (STALKR, BBDO NY)
Best Use of Footage in a Cinematic Feature
Attica (pictured) (Firelight Films, Showtime)
Citizen Ashe (Rexpix Media, CNN Films, HBO Max, Dogwoof Pictures, Stick Figure Productions)
Living Proof – A Climate Story (National Library of Scotland, Film Hub Scotland)
Street Gang: How We Got to Sesame Street (HBO Documentary Films, Screen Media, Chicken Soup for the Soul Entertainment, Macrocosm Entertainment)
Summer of Soul (…Or, When the Revolution Could Not Be Televised) (Searchlight Pictures, Onyx, Hulu)
Best Use of Footage in a Factual or Natural World Production
Bruno v Tyson (Workerbee)
Launch! On the Sea with Scotland’s Lifeboats (A Kind of Seeing, Screen Argyll)
Memory Box: Echoes of 9/11 (Dog and Duck, NBC News Studios, Yard 44)
Playing with Sharks (A Wildbear Entertainment Production, National Geographic, Screen NSW, Dogwoof, TDOG)
The Return: Life After Isis (Alba Sotorra Productions, MetFilm, Sky)
Best Use of Footage in a History Feature
Attica (Firelight Films, Showtime)
Charlie Chaplin, The Genius of Liberty (Kuiv Production)
Memory Box: Echoes of 9/11 (Dog and Duck, NBC News Studios, Yard 44)
9/11: One Day in America: Told in Full (72 Films)
Best Use of Footage in a History Production
Antoine the Fortunate (Anemon Productions, Les Films Du Balibari, EPO-Film)
Σε γνωρίζω από την όψη / By the Light of Thine Eyes (Committee Greece 2021, Animasyros)
Cinecittà, de Mussolini à la Dolce vita / Cinecittà, Making of History (Temps Noir, Palomar, Cinecittà-Luce)
Colonia Dignidad: Eine deutsche Sekte in Chile / Colonia Dignidad: A Sinister Sect  (Looksfilm, Netflix, Westdeutscher Rundfunk [WDR], Südwestrundfunk [SWR], Arte)
Lotte Eisner – A Place, Nowhere (Ilona Grundmann Filmproduction, Acqua Alta)
Best Use of Footage in a Music Production
Blitzed: The 80s Blitz Kids Story (Get Blitzed Ltd.)
King Rocker (Krocker Film Ltd.)
Lindisfarne’s Geordie Genius: The Alan Hull Story (Daisybeck Studios)
The Sparks Brothers (Complete Fiction Pictures Limited)
Best Use of Footage in a Short Film Production
Lost Connections (Yorkshire Film Archive)
The Silent Pulse of the Universe (Breakwater Studios)
We Were There to Be There (Field of Vision)
Best Use of Footage in a Sports Production
Citizen Ashe (Rexpix Media, CNN Films, HBO Max, Dogwoof Pictures, Stick Figure Productions)
Dettori (Trombone Productions)
Muhammad Ali (Florentine Films)
Queen of Speed (Sky Studios, Drum Studios)
SEVE: Artist, Fighter, Legend (Zig Zag Productions)
The FOCAL Awards also released the shortlisted nominees for one personnel category:
The Jane Mercer Researcher of the Year Award
Rosemary RotondiAttica
Mridu Chandra & Lewanne JonesCured
Adrian Wood, Film, the Living Record of Our Memory
Stephanie JenkinsMuhammad Ali
Kate Griffiths, The Sparks Brothers
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Recording your grandparents is important for family history – Los Angeles Times

Ross May / Los Angeles Times; photo by Ryan Chen
I press play, and the voice of my waipo, my maternal grandmother, comes tumbling out of my computer’s speaker; it sounds like she’s in the room with me.
“I came to Tainan when I was 18 years old. Now I’m 75 years old,” my waipo says.
A long and drawn-out silence. The sound of her eating. I scrub through the recording. “What did your mom cook for you?” I hear my own voice, shrill and awkward, trying to fill in the gaps.
“I don’t remember. Back then it was tough. When I was a kid, we just ate everything.”
“What was it like when the Nationalist government came from China and took over Taiwan?”
“I don’t know. I have never paid attention to politics.”
I can count the number of interactions I’ve had with my waipo on two hands. Several times when I was a kid visiting Taiwan from California, once on a family vacation to China a couple years back, and the most recent two times at her home in southern Taiwan when I was recording her and her recipe for zongzi — a pyramid-shaped rice dumpling wrapped in bamboo leaves — for my upcoming cookbook on Taiwanese cuisine.
I haven’t seen her since.
All my interactions with her had been stilted and klutzy, in part because my family never had much of a relationship with her. My grandmother was in her early 20s when she was forced to give up her children — my mother and my aunt — to her ex-husband’s family as a condition for the divorce. He was an absent and terrible husband; she did not want to live her young life on his terms. But because his parents were rich, they had leverage, and my waipo was quickly cast out of her own daughters’ lives. My mom was raised by her paternal grandparents — wealthy doctors who spoke fluent Japanese, Hokkien and Mandarin and owned their own clinic. Trilingualism was a mark of affluence in their era. By contrast, my waipo was a barber and cut people’s hair for a living. She mostly spoke Hokkien and only learned Mandarin later in life.
“When your mom was at school, I’d wait outside to give her candy,” she says with sadness. Her voice gets louder as I edge the recorder closer to her. “But they wouldn’t let me see her for long.”
From comedy to art to film, you can celebrate Asian Pacific American Heritage Month in Los Angeles with these fun events.

This 25-minute-long recording of my conversation with my waipo now lives in my external hard drive, mostly populated with mundane small talk and long silences. I was recording her voice under the guise of work — I wanted her recipe and backstory for my book — but really, I was doing it for posterity’s sake.
When I left her house after my interview with her, I made a note to myself to go and visit her more often. And over the next couple of days, she began to send me a flood of photos and videos of her cooking that her partner had taken of her. Her standing over the stove, browning pork belly in a large, rusty brown carbon steel wok, a ceramic mustard-yellow jar of lard, with pink flower flourishes, by her side. Her sitting at a table, cutting up a pile of vibrant purple shallots. Her holding up a fresh slab of pork belly, proud and beaming at the camera. Although she did not express it outright, I could tell she was glad to have connected with me.
Soon, the messages stopped. A couple months after my conversation with her, she died.
It was an aggressive cancer that had started in her liver and eventually engulfed her whole body. I could not make it to the hospital because of COVID-19 restrictions. I did not go to the funeral because no one told me about it.
“I regret not asking more questions. I regret not visiting again before it was too late.”

Replaying her voice and our conversation together remains an extremely uncomfortable experience, not because of its contents but because it is a visceral reminder of the first, last and only real connection I had with her. I regret not asking more questions. I regret not visiting again before it was too late.
As a journalist, I have spent many hours in front of other people’s grandparents recording their stories for work. Usually the offspring are there with me and express a fascination at all the previously untold and hidden stories that come tumbling out of their elders when the right questions are asked.
This was the first time I had recorded my own.
“What did your parents do for work?” I hear myself asking my waipo.
“They owned a rice factory,” she says.
“Did you help?”
“Did you grow rice?” I was excited at this moment; I had spent the last year researching rice for my book and had no idea anyone in my family knew anything about it.
“No. We didn’t grow it. They took in the rice and processed it.”
“What types?”
“All types.”
While blood ties are not a prerequisite for family, and while we ourselves are responsible for shaping and creating our own destinies, it is a moving experience nonetheless to hear about our lineage directly from our ancestors, no matter how distant, estranged or fraught the relationship is. Because whether we like it or not, the decisions they made in their lives — however mundane or insignificant — have had a direct impact on our existence.
Because of this, over the years I’ve made a more conscious effort to get to know my family history despite my parents’ apathy toward their past. From the little that I’ve gleaned, I know that I am descended from a pair of stubborn, single Taiwanese mothers. Both my maternal and paternal grandmothers were impoverished, uneducated women who grew up at the cusp of a regime change in Taiwan, when the island was handed over from Japan to the Republic of China. They spent the majority of their youth under martial law. They saw Taiwan transition from an impoverished war-torn country to an East Asia economic powerhouse.
When my waipo first learned how to cut hair as a teenager, her starting salary was just $1 a month. When she was 18, a charismatic, handsome young man came to her salon to get his hair cut. They got to know each other; she fell pregnant with his child. That child turned out to be my mom. If he did not go into her barbershop, if she did not meet him, I would not exist.
“Your aunt reminds me of him,” her voice says in the recording. “Bad temper.”
A couple of neighborhoods away in the same city, my paternal grandmother was single-handedly responsible for raising five young children. To make ends meet, she operated a secret beauty clinic on the upper floor of her house, where she’d administer cosmetic injectables to rich housewives and eventually saved enough money to send her children — my father and his siblings — to the United States to live. I also interviewed her before she died a couple of years ago, but back then I lacked the foresight to record her voice. “We were so poor we could not afford shoes. We had to borrow shoes,” she had told me. “Most schoolchildren did not have shoes.”
If she did not open that secret beauty clinic and make as much money as she did, I would not have been born in America. I would not be writing in English.
These two women, with all their flaws and strengths, are the reason I’m here, along with a constellation of other ancestors whose stories I’ll never know or hear.
I grew up with my paternal grandmother and have years of memories, photos and videos of her. Unfortunately, I did not have that luxury with my maternal grandmother. Instead, I have her recipe and this audio recording — a digital replica of her voice that might outlast even me. While it is not a replacement for a lifetime of memories, it is a priceless heirloom nonetheless.
So the next time you see your grandparents or aging loved ones, take out your phone recorder. In a world where almost everything can be recorded, documented and photographed instantaneously, sometimes we forget to record the very people and noises we take for granted because we assume we’ll always have more time.
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When my waipo passed away, I asked my relatives if I could keep her rusty large wok and the mustard-yellow jar of lard. She had shown me how to make zongzi with these tools, though when I had asked her about them, she didn’t find them extraordinary at all.
Despite cooking with the wok for over 20 years, I don’t think she ever learned how to properly season it. As its new owner, I scrubbed it clean and reseasoned it and baptized it over high flames to give it life. Glistening and with a brand-new patina, it now sits behind me in my apartment in Taipei, nestled on the shelf above her ceramic lard jar as the audio recording of her voice plays on my speakers — her sound waves bouncing off the same objects that were there with us when I first made the recording, a physical and auditory snippet of her life that I will pass down through the generations.
Clarissa Wei is a freelance journalist based in Taipei. Born in Los Angeles but raised on the food of Taiwan, she is currently writing her first cookbook, Made in Taiwan (Simon Element), due out in fall 2023.
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Review | 'Master' is a horror movie in the shadow of 'Get Out': a metaphor for race in America – The Washington Post

In “Master,” Regina Hall plays Gail Bishop, the newly appointed dean of students — or master — at a prestigious Massachusetts college called Ancaster. While Gail is moving into her new home, where the walls are covered with ivy, another initiation is occurring across campus, with the arrival of Jasmine Moore (Zoe Renee), a newly arrived freshman who makes her way to the quad with a familiar mixture of confidence and wariness.
“We’ve got a live one,” an upperclassman chirps when she spies Jasmine, a line delivered with such cheerful malice that the viewer is immediately put on edge. There are moments in “Master,” which marks the promising if uneven feature debut of writer-director Mariama Diallo, when Gail and Jasmine’s parallel but common travails feel like they’re heading into territory already plumbed by such satires as “Dear White People” and the Netflix series “The Chair.” Soon enough, it becomes clear that Diallo’s main reference is “Get Out” and other works of elevated horror that have sought to dramatize the displacement and psychic violence so often experienced by Black people navigating historically White spaces.
Those moments of discomfort range from humiliating microaggressions and lazy assumptions (Jasmine’s White roommate and her friends blithely throw her a rag to clean up a mess they made) to outright malevolence. One of “Master’s” most effective scenes features Jasmine at a frat party, dancing expressively to a joyful pop song, only to realize moments later that her White peers are chanting the N-word with gleeful abandon.
Meanwhile, Gail has entered her own crucible: Well-meaning colleagues compare her to former president Barack Obama, and when another woman of color is put up for tenure, she’s confronted with a stark reminder of who belongs at Ancaster and who doesn’t.
Of course, as one character says midway through “Master,” this isn’t about Ancaster. It’s about America. Although Diallo makes some trenchant observations about diversity-equity-inclusion initiatives and cultural appropriation (culminating in a clever third-act reveal), she jams too many plot beats, characters and polemical points into the narrative for all of them to pay off satisfactorily. Although “Master” involves a fair amount of magical realism and dream sequences, too it often lacks credibility. Would it really take Jasmine as long as it does to meet one of the only other Black students on campus?
“Master” is a deeply pessimistic movie, in which both Renee and Hall deliver quietly powerful portrayals of women who come to crucial realizations much too late — about isolation, identity and their own roles within structures and stories that were never created to support them. “Master” might be a horror film, but its scariest elements are off screen, in the form of the persistent social realities that inspired it.
R. At area theaters. Contains strong language and some drug use. 91 minutes.


‘The Beatles: Get Back’ Doc Set for Release on Blu-Ray and DVD This Summer — This Time It’s for Real – Variety

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The documentary's home video release was originally supposed to happen back in February.
By Chris Willman
Senior Music Writer and Chief Music Critic
Director Peter Jackson’s eight-hour documentary “The Beatles: Get Back” is set to be released on DVD and Blu-Ray this summer, with the sprawling doc from 2021 finally available in physical editions July 12.
If there’s a sense of deja vu to that announcement, it’s because these home video editions were already previously announced to come out six months earlier, but that release was scotched before it happened due to a defect that was detected in the discs.
The Beatles: Get Back” has been originally scheduled to come out Feb. 8, after an initial announcement Jan. 5. But Beatles fans who had placed their orders noticed them getting canceled as the winter release date approached. It was said the reason for the cancellation was an imperfection in the 7.1 audio mix, causing the discs to need to be remanufactured. A few copies did slip out at retail despite the pre-release recall and became high-bid items on the resale market.

With the new release date finally officially confirmed, each of the sets breaks the 468-minute doc down into three separate discs. There are no bonus features beyond the documentary itself, although the foldout package includes four commemorative cards with photos of the individual Beatles. Both editions include several audio options, with the Blu-Ray offering Dolby Atmos, 7.1 PCM, 2.0 PCM and 2.0 Descriptive Audio. The DVD has 5.1 and 2.0 Dolby Digital, along with 2.0 Descriptive Audio.
“Get Back” was widely hailed by fans and critics when it was released on Disney+ last Thanksgiving week, with Variety saying it “may stand as the best rock doc ever.”
Jackson, the director of the “Lord of the Rings” trilogy, had originally set out to forge a standard theatrical documentary out of the footage that was originally shot in 1969 for Michael Lindsay-Hogg’s “Let It Be” film, but was so taken with the outtakes he was restoring that he talked Disney into letting him do a nearly eight-hour version to premiere on its streaming service instead. A one-hour outtake of the “rooftop concert” subsequently hit IMAX theaters as a one-time theatrical event. Jackson has said he has lobbied Disney to let him release even more of the footage, and urged fans to do the same, but there has been no word on anything additional seeing the light of day.
Paul McCartney is clearly a fan of the documentary, and how well-received it was by fans. He titled his current tour, which hit Los Angeles this past weekend, the “Got Back” tour. And the encore segment of the concerts opens with McCartney singing a duet of “I’ve Got a Feeling” with the pre-recorded image and audio of John Lennon from the rooftop concert that concludes the documentary. McCartney explains in the shows that Jackson offered to isolate Lennon’s vocals from the filmed passage to make the nightly pairing possible.
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Founder of Art & Soul believes dance can be transformative for people of all ages – Your Observer

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The power was out, and patience was thin.
Alana Turner, founder of the Lakewood Ranch-based Art & Soul Dance Company, can still recall opening her doors right after Hurricane Irma struck Florida in 2017.
Turner, who had a background in social work and child protection prior to operating dance studios, knew exactly how she wanted to handle the adversity.
She wanted to help children, just as she’d done at every stage of her career. And she wanted to do it free of charge.
“If you think people are interested in dance classes when they don’t have electricity and water, no, they aren’t,” says Turner, now happily running a thriving enterprise. “But here’s what we did. Parents were able to go back to work after about a week, but the kids were still not back to school. So, we offered free camps for any of the kids whose parents had to work. If they gave a donation to the Irma relief fund, their kids came here for camp for free.”
It was that ability to integrate community action and philanthropy into her business model that pervades Art & Soul to this day. Five years later, Turner reaches 250 students from age 2 to adults in classes that include jazz, ballet, tap and hip hop.
Turner’s daughter Kiki, a dancer and multisport athlete, helps run the studio when she’s not working on her studies at State College of Florida, Mantatee-Sarasota.
Art & Soul has intense, skill-focused dance classes and brings students to regional competitions, but it also teaches kids at a more fundamental level.
“The whole purpose is to be inclusive as opposed to specific to a population,” says Turner about her students. “They all work together. They all hang out together, and it really breaks a lot of barriers.”
Turner opened her first dance studio in Toronto in 1990, but she missed her background in social work. So, she began offering scholarships to foster kids and could see the immediate, tangible gains they made in their lives.
“I saw with my own eyes how they began to feel confident,” she says. “They could be artistic and creative and all the things that they wouldn’t typically have a chance to do. When I moved here in 2014, I initially didn’t want to open another dance school. I thought, ‘I’ve done that already. I’ve been really successful. I’m going to do something else.’  But truthfully, I didn’t see the opportunity to serve the populations I wanted to serve in other dance studios. So, I just said, ‘I’m going to do it myself.’”
Five years later, she’s doing exactly that.
One of the projects closest to Turner’s heart are her weekly classes with ReImagine Dance, which brings a group of special needs children to work toward building skills and friendships.
The kids are prepping for a performance at Manatee Performing Arts Center in late May, but week to week, they’re surprising themselves and their parents with what they’ve learned.
Shannon Johnson and Melanie Simmons, parents with the ReImagine Dance program, said they can see the progress the kids are making not only in class but also at home.
“It’s amazing to see how much they have opened since we started,” says Johnson. “Truman wouldn’t do anything at first, and now he sings during the entire class and dances. When he goes home, he’ll sing and dance all night long.”
“We want them to learn dance,” adds Simmons. “We want them to be successful and show that they can be wonderful, just like everybody else. And they know that, but they don’t usually get the ability to express it. Sometimes, there’s just not that many opportunities for them. But most importantly for us, they get to build friendships here. At least for my daughter, she doesn’t have a lot of opportunities outside of school to meet people who are like her.”
That gets right to the heart of it for Turner, who believes dance can be transformative and life-changing for people no matter their age or ability.
Turner wants to empower more kids to feel confident about themselves and their futures, and she wants to spread the message that doing good in the community feels good, too.
“Our platform is dance,” she says. “But we’d be more than happy to work with anybody in the community who wants to offer these kinds of opportunities to kids with different challenges and abilities.”
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Google I/O 2022 keynote live blog – The Verge

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Join us for all the news and announcements from Google’s developer keynote
2022’s developer conference season is here, and, as usual, Google is the first of the major companies to host its event. But while Google I/O is full of useful information for developers that build things for Android devices and Google services, it also has a bunch of product announcements and other interesting news for us consumers.
This year, we’re expecting to see a whole raft of products, from a new Pixel A-series phone to upgraded Pixel Buds and maybe even a Pixel Watch smartwatch. During its kickoff keynote, Google will also likely go over all of the updates coming to Android, other Google products, and its AI efforts, so there’s something for everyone.
The keynote event starts at 1PM ET / 10AM PT on Wednesday, May 11th, and we’ll be liveblogging the whole thing, so join us for the fun.


Best record player with speakers – ABC27

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by: BestReviews Staff, BestReviews Staff
by: BestReviews Staff, BestReviews Staff
Listening to music on vinyl has gone through a resurgence in the last few years. Once associated with disco tracks from the ’70s and synth-pop from the ’80s, it overtook CD sales last year for the first time in decades.
The technology that makes a vinyl record player has also improved. For example, you previously needed a relatively large speaker setup, but you can now get record players with built-in speakers. 
The included Bluetooth connections also make the record players more appealing to those who didn’t grow up with them. The Victrola 8-in-1 Bluetooth Record Player With Built-In Stereo Speakers is excellent for someone new to vinyl players.
Before you set out to find the perfect record player with speakers, consider whether you want a player with built-in speakers or one with Bluetooth. It’s an important consideration as the audio quality on built-in speakers won’t be as good. However, a record player that can pair with Bluetooth speakers tends to cost more and is less portable. On the other hand, if audio quality isn’t much of a concern to you, built-in speakers can do the trick.
When you think of vinyl records, most people imagine the standard 10- or 12-inch record that had to be played at 33 revolutions per minute. But there is a smaller seven-inch record that plays at 45 rpm and the less common 12-inch that plays at 78 rpm. If the record player’s platter is in a box or sits in a recess, ensure that the vinyl won’t touch the sides.
While they all might look the same, there are mainly two kinds of record players that produce sound through different components.
Unless you have a vinyl collection that plays at only one speed, you’ll need a player that can handle the three vinyl types. So, depending on the vinyl you want to listen to, you must ensure that the record player has a speed-adjustable motor for 45 rpm, 33 rpm and 78 rpm. Otherwise, the sound produced will be too fast or too slow. 
Since you are buying a record player with built-in speakers, you might expect the audio to be pretty good. While you won’t get home-theater quality, the sound from these record players is generally sufficient. Remember, audio quality is related to the size of the speakers, so having sizable speakers for clarity is key.
Record players can do more than just play your favorite vinyl.  Some can have several additional functions, such as a cassette player, FM radio or the ability to record songs on vinyl to MP3 format.
The average price of a record player can vary depending on the manufacturer, and it tends to be a bit higher if it has built-in speakers. For example, a basic player with speakers can retail for $50-$70. But a record player with Bluetooth, multiple connections and speakers can retail for $150-$200. 
A. The term “record player” is often used interchangeably when people talk about a turntable. But technically, they are different devices. A record player typically has all the components needed to listen to music, including speakers. A turntable is only one part of a complete music system and doesn’t have built-in speakers.
A. No, and the Bluetooth connection comes with a caveat. The Bluetooth lets you connect a mobile device to the record player so that you can stream your music to the built-in speakers. Unfortunately, the connection rarely works the other way around, so you usually can’t connect external speakers to listen to the record player — but some models allow for this.
Victrola 8-in-1 Bluetooth Record Player With Built-in Stereo Speakers
Victrola 8-in-1 Bluetooth Record Player With Built-in Stereo Speakers
What you need to know: This record player is perfect for the ultimate experience, as it includes a host of audio functions.
What you’ll love: The vintage look will appeal to nostalgic audiophiles, while younger listeners will appreciate the Bluetooth connectivity, the ability to record vinyl tracks to MP3 format and the remote control. The record player has a three-speed, belt-driven platter with two built-in speakers.
What you should consider: You can’t stream the vinyl audio to an external speaker. 
Where to buy: Sold by Amazon
Crosley CR8005F-WS Cruiser Suitcase Turntable With Speakers
Crosley CR8005F-WS Cruiser Suitcase Turntable With Speakers
What you need to know: This record player has a belt-driven platter that can play vinyl at three different speeds.
What you’ll love: The Bluetooth lets you connect the player wirelessly to external speakers, and it has an auxiliary input to listen to music through the built-in speakers. 
What you should consider: Larger vinyl will hang off the side as the platter is relatively small.
Where to buy: Sold by Amazon
1 By One Belt Drive Turntable With Built-in Speakers
1 By One Belt Drive Turntable With Built-in Speakers
What you need to know: Made from layered wood and metal, this record player invokes a nostalgic ’70s feeling.
What you’ll love: This record player spins at both 33 and 45 rpm and has a belt-driven platter. It has a built-in amplifier that lets you connect it to external speakers, and it comes with a diamond-tipped Audio-Technica stylus cartridge. 
What you should consider: Even though it has Bluetooth, you’ll need an RCA audio cable to connect extra speakers.
Where to buy: Sold by Amazon
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Charlie Fripp writes for BestReviews. BestReviews has helped millions of consumers simplify their purchasing decisions, saving them time and money.
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Pinterest quietly launches a livestreaming app for video creators – TechCrunch

Pinterest on Monday launched a new app aimed at making it easier for creators to livestream to its platform. The new Pinterest TV Studio app for iOS and Android will allow select creators to go live on Pinterest as well as use multiple devices in order to achieve different camera angles, the app’s description states.
The company didn’t announce the app’s debut — perhaps because it’s not broadly available to all creators at this time. Instead, upon first launch, creators have to enter in a code or scan a barcode that Pinterest provides in order to gain access to the livestreaming tools the app provides.

Image Credits: Pinterest

Image Credits: Pinterest
However, the addition of a dedicated livestreaming app is another example of how Pinterest is rethinking its place in the broader social media landscape, where TikTok’s rise has pushed other platforms to adopt a video-first focus. Today, major social players including Instagram, Facebook, Snapchat and YouTube have a TikTok-like short video feature available, and most offer features for creating live video content.
Pinterest, meanwhile, has been working on its own video efforts with the launch of Idea Pins, a sort of video-first mashup of both TikTok-stye short-form video content and tappable Stories. The company during its earnings last week said it’s seen over 25% growth in the save rate of Idea Pins quarter over quarter. And Pinterest users who follow multiple video creators on the site tend to visit Pinterest more often than those who do not, the company shared.
Pinterest addresses the TikTok threat in its first quarter earnings

Meanwhile, Pinterest last November also announced the launch of Pinterest TV — a series of live, shoppable videos from creators focused on food, home, fashion, beauty, DIY and more. The shows air live, then later become available for on-demand viewing. The platform was initially only available to select, hand-picked creators at the time of launch, including folks like Christian Siriano, Monica Suriyage, Tom Daley, Manny MUA, Robyn Schall and others. It had earlier in the year tested livestreamed events inside the Pinterest app with top creators.
Pinterest gets into live shopping with launch of Pinterest TV

According to data from Sensor Tower, the brand-new Pinterest TV Studio app has been live on the App Store and Google Play since May 2, 2022. It has not seen enough downloads to rank the app on any app store charts and the firm isn’t able to estimate the total downloads at this time.
However, the app is available in several markets outside the U.S., including Canada, Australia, the U.K. and Germany — signaling a potential global expansion of Pinterest TV efforts.
Pinterest confirmed the launch with a statement but said it didn’t have more to share about the app at this time.
“With more Creators developing innovative programming with Pinterest TV on the Platform, we’re continuously experimenting with new ways to help Creators bring their ideas to life,” a spokesperson said.


Dave Matthews Band Set for Five Florida Shows on Tour 2022 • MUSICFESTNEWS – Music Fest News

By Rick Munroe on May 18, 2022
The Dave Matthews Band is once again returning to the Sunshine State for a five show run during their Tour 2022. The first Florida stop is on May 25 in Tampa at MidFlorida Credit Union Amphitheatre, followed by a two-night run starting on May 28 in West Palm Beach at iTHINK Financial Amphitheatre. They will come back to Florida June 6 & 7 Daily’s Place in Jacksonville. The longtime Virginia-based indie rockers will continue the summer trek for an extended North American tour that will take the band to nearly every major city across the U.S. The band will return to Alpine Valley Music Theatre in East Troy, WI for a pair of shows July 2 and 3. Additional two-night stands include West Palm Beach, FL; Noblesville, IN; Saratoga Springs, NY; Gilford, NH; Camden, NJ; Denver, CO and Los Angeles, CA.
The Dave Matthews Band are: Carter Beauford, drums; Jeff Coffin, saxophones, flute; Stefan Lessard, bass; Dave Matthews, guitar, vocals; Tim Reynolds, lead guitar; Rashawn Ross, trumpet; and Buddy Strong, keyboards.


Over the past three years, Dave Matthews Band have planted over two million trees through its partnership with the Nature Conservancy. The band has committed to helping plant an additional one million trees in 2022. Concertgoers can join in this mission by adding an optional donation of $2 per ticket to plant a tree with The Nature Conservancy’s Plant a Billion Trees campaign – a major forest restoration effort with the goal of planting a billion trees around the world. The Dreaming Tree Wines, DocuSign, and other tour partners have lent their support. For additional details, visit Along with the tree campaign, Dave Matthews Band will once again join forces with REVERB to neutralize carbon emissions associated with both band and fan travel, resulting in a Climate Positive tour. Dave Matthews Band have a long history of reducing their environmental footprint and neutralizing tour carbon going back to their first shows in 1991. Tour greening efforts and the band’s annual eco-village are in partnership with DocuSign.
Dave Matthews Band have sold more than 25 million tickets since their inception and a collective 38 million CDs and DVDs combined. With the release of 2018’s Come Tomorrow, Dave Matthews Band became the first group in history to have seven consecutive studio albums debut at No. 1 on the Billboard 200.
5/18-Huntsville, AL-The Orion Amphitheater
5/20-Charlotte, NC-PNC Music Pavilion
5/21-Atlanta, GA-Cellairis Amphitheatre at Lakewood
5/25-Tampa, FL-MIDFLORIDA Credit Union Amphitheatre
5/28-West Palm Beach, FL-iTHINK Financial Amphitheatre
5/29-West Palm Beach, FL-iTHINK Financial Amphitheatre
6/3-Charleston, SC-Credit One Stadium
6/4-Charleston, SC-Credit One Stadium
6/6-Jacksonville, FL-Daily’s Place
6/7-Jacksonville, FL-Daily’s Place
6/10-Cuyahoga Falls, OH-Blossom Music Center
6/11-Bristow, VA-Jiffy Lube Live
6/17-Mansfield, MA-The Xfinity Center
6/18-Hartford, CT-Xfinity Theatre
6/21-Clarkston, MI-Pine Knob Music Theatre
6/22-Toronto, ON-Budweiser Stage
6/24-Noblesville, IN-Ruoff Music Center
6/25-Noblesville, IN-Ruoff Music Center
6/28-Wantagh, NY-Northwell Health at Jones Beach Theater
6/29-Holmdel, NJ-PNC Bank Arts Center
7/2-East Troy, WI-Alpine Valley Music Theatre
7/3-East Troy, WI-Alpine Valley Music Theatre
7/8-Saratoga Springs, NY-Saratoga Performing Arts Center
7/9-Saratoga Springs, NY-Saratoga Performing Arts Center
7/12-Gilford, NH-Bank of New Hampshire Pavilion
7/13-Gilford, NH-Bank of New Hampshire Pavilion
7/15-Camden, NJ-BB&T Pavilion
7/16-Camden, NJ-BB&T Pavilion
7/20-Bethel, NY-Bethel Woods Center for the Arts
7/22-Raleigh, NC-Coastal Credit Union Music Park at Walnut Creek
7/23-Virginia Beach, VA-Veterans United Home Loans Amphitheater at Virginia Beach
8/30-Stateline, NV-Lake Tahoe Outdoor Arena at Harveys
9/2-George, WA-Gorge Amphitheatre
9/3-George, WA-Gorge Amphitheatre
9/4-George, WA-Gorge Amphitheatre
9/9-Greenwood Village, CO-Fiddler’s Green Amphitheatre
9/10-Greenwood Village, CO-Fiddler’s Green Amphitheatre
9/14-Phoenix, AZ-Ak-Chin Pavilion
9/16-Chula Vista, CA-North Island Credit Union Amphitheatre
9/17-Mountain View, CA-Shoreline Amphitheatre
9/19-Los Angeles, CA-Hollywood Bowl
9/20-Los Angeles, CA-Hollywood Bowl
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Abigail Barlow & Emily Bear, Cost n' Mayor, and More Named to TikTok's The Showbiz List – Broadway World

On the heels of award season, TikTok has unveiled The Showbiz List to recognize and celebrate all of the incredible creators making waves in the entertainment industry. This list recognizes the impact that TikTok creators have made on the industry overall, and introduces a new generation of creators for Hollywood to watch.
See the full list below!
The Showbiz List 2022


TikTok creators bring authentic emotion and joy to their performances. Here are three creators known for their outstanding performances in acting.
@actressbecc (Brooklyn, NY): Becca Bastos is a trained actor and performer who found a love for creating characters and impressions on TikTok. She’s most known for her relatable POVs, and original character sketches and impressions.

@julianburzynski (Los Angeles, CA): Julian Burzynski is a quadruple-threat as an actor, singer, dancer, and comedian. He uses TikTok to share his one-man show where he reenacts popular movie and TV scenes, using his collection of epic wigs.

@theejoshneal (Hayward, CA): Joshua Neal is a trained actor and writer who excels at giving his followers both comedy and drama through creative storytelling on TikTok. Joshua uses his platform to entertain, connect with other creators, and evolve as an artist.
Animation brings the fantastic worlds of our imagination to life with talent and artistic drive. Here are three animators known for their unique styles and eye-catching content.
@andrea.animates (Port Townsend, WA): Andrea Love is an award-winning animator who creates unique, mind-bending stop motion with wool and felt. Using a technique called needle felting, she brings handmade, miniature felted worlds to life one frame at a time.

@felleanimated (Garden Grove, CA): Felle Animated uses his art to express himself by creating entertaining animations related to pop culture, media, games and more. He hopes to inspire others to unleash their creativity and go after their dreams. (Los Angeles, CA): LIGHTS ARE OFF has captured the TikTok community with his computer-animated, short-form horror videos where he creates delightfully disturbing worlds.

Behind the Scenes Content

Audiences are captivated by a deeper look into their favorite films and television shows. These are the creators that show the behind-the-scenes world of film/tv, or share commentary on the industry.
@girlbosstown (Boston, MA): After leaving her 9-5 job this summer, Robyn Delmonte turned making TikTok videos on her couch into a full-fledged consulting business – creating “PR moves” for some of the biggest brands in the industry. She’s also a trend forecaster and provides her unique commentary on celebrity red carpet looks.

@guywithamoviecamera (New York, NY): Reece Feldman has quickly become the Gen-Z aficionado of all things film, TV, and entertainment. His TikTok account took off as he was working on-set as a Production Assistant for Amazon’s, “The Marvelous Mrs. Maisel,” and he has since been tapped across major studios and streamers to create content for titles in-production, new releases, premieres, and award shows including the Oscars.

@straw_hat_goofy (Los Angeles, CA): Julian “Juju” Green is “Your TikTok Movie Guy,” sharing his take on the latest trends in movies and TV, along with his honest and unbiased commentary. His TV and film analyses have led to partnerships with entertainment brands including Netflix, Walt Disney Studios, Pixar, Hulu, Marvel, Disney, and more.
Choreographers bring life and movement to TikTok. Sparking trends and encouraging all of us to try our hand as dancers. Here are three choreographers who inspire TikTok to bust a move.
@arri.arii (New York, NY): Ariana Taylor decided to bring her life-long love for dance and fashion to TikTok to encourage others to dance along with her. Since then, dance has become her career and she’s credited as the originator for several viral dance challenges.

@cost_n_mayor (Los Angeles, CA): Cost n’ Mayor are a dance and choreography duo whose routines are as synchronous as their relationship. From falling in love as New York City performers to uniting their skills now as Los Angeles choreographers, the couple continues to spread their talent, humor and artistry on TikTok.

@keke.janajah (Killeen, Texas): Keara “Queen Keke” Wilson is a lifestyle creator and dancer who uses TikTok to create and share her stellar choreography skills. She is also the originator of the popular Savage Challenge that took over TikTok.
Coordinating the cinematography for a video by yourself is no easy task. From shot design to lighting and everything in between. These creators use their creativity and vision to bring professional quality production value to their work.
@domenicaaq (Los Angeles, CA): Domenica Comai, also known as “Q,” makes up one-half of the video artist duo PAX&Q. Taking her knowledge and passion from creating music videos & documentaries, she showcases her love for unique edits & video art on TikTok.

@recider (Corpus Christi, Texas): Nicholas Adams uses cinematography to create brief, miniature films that showcase emotional stories ranging from zombie apocalypses, to going on a first date, all in a matter of seconds.

@zac.stracener (Los Angeles, CA): Zac Stracener, an award-winning filmmaker originally from Louisiana, is passionate about shedding light on important mental health issues through striking and poignant vignettes. Through his short films he dives into dark subject matter in order to shed light on important stories.
The subtle art of creating an entertaining commercial is never lost on an audience. Here are three creators who raise the level of commercial storytelling on TikTok to an art form.
@davidwma (Brooklyn, NY): David Ma is a commercial director and filmmaker who creates short films, commercials, and viral content on TV and social media. He is known for taking people behind the scenes on his sets and sharing his creative process and unique approach to filmmaking, and most recently was named one of Adweek’s Top 100 Creatives of 2021.

@gracewellsphoto (New York, NY): As one of the initial creators to develop the DIY commercial niche on TikTok, Grace Wells is known for her popular series “Making Epic Commercials for Random Objects,” where she creates high-quality commercial videos for every day items. She was signed as a commercial director just one year after joining TikTok and has directed commercial content for global brands including Procter & Gamble, Samsonite, CELSIUS, and Amazon Prime Video.

@noah.bowman (Las Vegas, NV): Noah Bowman is a videographer who continues to refine his cinematic technique to bring larger-than-life results to ordinary scenarios: whether it be for an athlete training, an on-the-street automotive hype video, or an at-home product commercial.

Costume Design

The outfits we wear tell a story by themselves. By dawning splendid costumes, these creators transport us back in time or to a wonderful world full of color and imagination.
@asta.darling (Memphis, TN): Asta Darling is a costume designer who uses her degree in Costume History to bring stories to life, one tale at a time. With an eye on fashion, she pops in and out of centuries and frolics through time with historical pieces by her own design.

@cameronhughes (New York, NY): Cameron Hughes is a costume designer who combines engineering and fashion to create one of a kind, wearable art pieces. He uses TikTok to share his detailed process, and has worked with artists like Doja Cat, Charli XCX, Aquaria and Bosco.

@jeremythetea (Orlando, FL): JeremyTheTea exudes all things wonderful and whimsical through his colorfully innovative creations. With a keen eye for design, he creates imaginative outfits that exist beyond the bounds of gender and convention, and he champions the idea that there is no greater power than learning to be unapologetically yourself.


TikTok lets filmmakers share their vision with an audience. From start to finish, creators are free to follow their imagination. Pouring themselves into scripts that bring characters to life poetic language and hilarious quips. These filmmakers use their eye for cinematography and storytelling to elevate TikTok to Showbiz levels.
@americanbaron (Austin, TX): Baron Ryan is a writer who makes amusing, occasionally surrealistic sketches on TikTok. He is originally from a small town in Missouri and recently wrote his first book, a short story collection, which is to be released in 2022.

@madelaineturner (Los Angeles, CA): Madelaine Turner is a writer, director, and content creator known for her comedic film style using whimsical, retro aesthetics and bold color palettes who uses TikTok as a way to showcase her story-telling prowess.

@sambafilms (Brooklyn, NY): Samba Diop is a Senegalese-born director and filmmaker who combines his interest in culture and cinematography through videos on TikTok. He approaches visual storytelling through the lens of powerful imagery, messages and emotions, and he has worked with brands like Netflix, Nike, and Google.

Makeup/Hair Design

With makeup and hair styling, creators can become creatures from another world or recreations of their favorite characters. These makeup artists show what can be done with a palate and makeup brush.
@cindychendesigns (Los Angeles, CA): Cindy Chen is an avant-garde makeup and fashion creator who creates new worlds using art, storytelling, and humor. As a professional visual designer, she channels her love for high fashion, geometric, and maximalist designs into both makeup artistry and a premium video style.

@flawlessbytenisha (New Jersey): Originally from Guyana, Tenisha Billington is a makeup artist and lover of art – whether it be in the form of SFX makeup, cosplay, or painting on canvas. She uses TikTok to showcase her skills, including makeup transformations and different ways to have fun with cosplay.
@sugarandspice (Long Island, NY): Sugar and Spice are drag queens who combine their love of dolls, fashion, and beauty through videos on TikTok. They use their platform to entertain and educate their audience about the LGBTQ community, all while sporting fun, Y2K-inspired looks.
Music is often the driving force behind the tone of a TikTok video. With a simple chord or verse, a video can become an uplifting or suspenseful tale. These are the artists inspiring creators across TikTok with their original songs.
@abigailbarlowww & @emilythebear (Los Angeles, CA): Abigail Barlow is a Grammy award-winning singer, songwriter, and composer best known for her viral TikTok musical series: “What if Bridgerton Was A Musical?” After breaking the internet, Abigail and her writing partner Emily Bear, a Grammy Award-winning composer, producer, and chart-topping recording artist, turned this viral success into a Grammy Award-Winning Musical Theatre Album known as “The Unofficial Bridgerton Musical.” In doing so, they became the youngest composing team to ever win in this category, and made history by being the only women among their fellow nominees.
MegaGoneFree (Queens, NY): MegaGoneFree is a Black LGBTQ+ independent artist originally from Baltimore, MD who shares her powerful and soulful melodies on TikTok. As a Black woman occupying a genre without many mainstream Black voices, she aims to create music that spreads a message of love, open-mindedness and empathy with her followers.

@sri (Dallas, TX): As a Brown woman in music, Sri uses her platform to show her audience that skin color will never stop you from doing what you love. She is well known for her viral cover of “Heather” and her TikTok videos where she showcases her talent for building harmonies and singing 30 second covers, and she most recently starred in the TikTok original musical, “For You, Paige” as the titular role of Paige.

Visual Effects (VFX)

Adding visual effects to a video can surprise and delight an audience with movie magic. These creators regularly make the impossible possible with VFX.
@daphnedtle (San Francisco, CA): Daphne Le writes, films, edits, and acts in content featuring show-stopping VFX and cinematic storytelling. She uses her self-taught VFX skills to create viral videos – which has led to companies hiring her to create imaginative industry-grade ads – and strives to create a platform that catalyzes societal change and amplifies women of color and underrepresented groups in the entertainment industry.

@kukombo (New York, NY): Kukombo is a Chinese-American creative based in New York City with an interdisciplinary artistic background in fashion design, filmmaking, music production, and photography. In his TikTok videos, Kukombo generates 3D environments, produces audio clips, and creates animations that take his audience on an unexpected adventure through his cinematic take on cosplay.

@24framesofginger (Boston, MA): Jon Deutsch, also known as 24framesofginger, is a stop motion animator and video creator whose unique and instantly recognizable visual aesthetic has drawn international acclaim. An expert in video editing, Jon uses smooth transitions, optical illusions, and eye-popping special effects to tell bite-sized stories that resonate with people of all ages and backgrounds. Currently, Jon is working on adapting his style into a longer-form narrative show.
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On master planning, Texas beats California (opinion) – Inside Higher Ed

Stymied by California’s outdated master plan for higher education, the state should look to Texas’ approach to supporting emerging research universities, Adela de la Torre writes.
California and Texas don’t see eye to eye on a lot of issues. Elected officials in the two states often express opposing views on economic development, taxes, climate change, social equity, gun control and more.
But there is at least one issue affecting the economic growth aspirations of both states where California would be wise to look to Texas and, frankly, to follow its lead: public higher education funding and its associated investment model.
Decades ago, Texas began implementing a new strategy. The state set out to greatly expand its financial stake in higher education institutions—including its emerging research universities—to elevate their position and impact while growing degree access among the most underserved in the state. The Texas Higher Education Coordinating Board authorized the addition of more postgraduate degree programs at its state institutions at a time when the Golden State was still lauding legislation that created the California Master Plan for Higher Education, which limited graduate-level degree expansion across its state universities. Texas also introduced specific state-supported funds, including the Texas Research Incentive Program and the National Research University Fund, specifically to incentivize private industry to invest in emerging research universities.
Whereas Texas recognized that changing conditions require a more nimble approach to higher education policy and used a series of legislative actions—and continues to do so—to usher in a different way of funding its public institutions and university research, the Golden State has stagnated in comparison. This is largely due to California’s dated Master Plan, signed into law in 1960.
Over several decades, the California Master Plan built a more segmented and stratified system of higher education. The highly ranked University of California system holds exclusive jurisdiction for awarding doctoral degrees—a cornerstone for not only stimulating innovative research, but also for preparing the workforce to meet increasingly sophisticated industry demands. Meanwhile, the much larger California State University system—of which my institution, San Diego State University, is part—offers very few Ph.D. degrees, all of which require, by state law, a UC or private partner.
So what does this mean, functionally? It means that for the last 60-plus years, with few exceptions, the only way the state’s largest and most diverse four-year university system can offer a doctoral degree is through a joint program, with students being required to enroll in both institutions at different stages of their work, and with the host CSU campus financially compensating their UC or private partner nearly every step of the way.
This barrier is often unknown or unattended to by most at the UC, where I was both a faculty and administrator for 16 years. It is not always a challenge finding UC faculty willing to pursue a partnership with a CSU to offer a joint doctoral program. But when we look at what it takes to harness that willingness from faculty to create a new joint program, too often it is quashed by administrative and financial barriers that would not exist under a stand-alone model. Or, as is increasingly the case, the program cannot advance because the faculty subject matter expertise at the CSU is simply unmatched by any UC or private university. A good example: California’s industries are demanding more manufacturing engineering Ph.Ds. San Diego State has highly ranked programs in this area and research-active faculty eager to open their doors to doctoral students. But without a willing and able partner, they can’t do so. And no UC has indicated interest in a Ph.D. for a degree so “workforce” focused. It’s not in their mission or in their faculty’s interest.
So why does this inequity in academic freedom prevail for CSU faculty, even when California would benefit from greater access to a more highly trained and competitive workforce?
California’s higher education code reinforces its Master Plan at every level, from requiring legislative action each and every time a CSU campus proposes to offer an independent doctoral degree to ensuring that CSU campuses receive no differential funding for their graduate students or faculty research. This creates a pervasive fear of innovation across the CSU. As a result, within the last six years, there have been only two independent professional doctoral degrees allowed for the entire CSU system: occupational therapy (2019) and audiology (2016). The veto threat of the UC system, and subsequent financial punishment of the CSU, looms large.
California has created a monopolized market where most doctoral degrees are limited to students who are mobile enough to relocate to the urban hubs where most UC or private elite campuses are situated. The state has long used the existence of the joint degree program as the scalable solution to this problem: diverse or place-bound CSU students can get access to Ph.Ds. and other high-skill training through a partnership of its public systems. Yet, it does everything it can to disincentivize this pathway. The state’s funding and investment model ensures that only the UC system is to receive funding for the increased cost of graduate programs. Only the UC is to receive funding above and beyond the cost of providing an undergraduate degree, in support of its faculty research. If a CSU campus wants to partner to offer its own students an advanced degree? It too must pay the UC or private partner, not the other way around. This is all true, despite the fact that many Cal State universities like San Diego State are unmatched in the diversity of the graduate students they serve. About 35 percent of our master’s and doctoral students are underrepresented minority students.
To date, the Master Plan has failed to create incentives for strategic investments in research and doctoral training programs in areas where there is the greatest need for growth, like the Imperial Valley and the Inland Empire. California’s focus on doctoral degree–granting institutions in more affluent regions has instead exacerbated educational access and economic inequities. When we look at the overwhelming concentration of research dollars in California, they are concentrated in only five institutions: the University of California, San Francisco ($1.7 billion); the University of California, San Diego ($1.4 billion); the University of California, Los Angeles ($1.4 billion); the University of California, Berkeley ($840 million); and the University of California, Davis ($817 million).
Two things can both be true here: 1) Investing in excellence is a smart choice for California. 2) Actively placing barriers to disincentive or outright prevent others from achieving and offering that same excellence hurts all of California, and especially those regions that are already at an economic disadvantage.
At one time, California’s Master Plan was lauded as a vision of the future for higher education. Many benefited directly from both the efficiency and access it provided in the 1960s, when it was serving a Californian population of 15.7 million, and with only 8 percent of the population identifying as nonwhite. Yet, today, California is home to nearly 40 million, with an increasingly diverse population. We are tasked with educating three million college and university students who are far more diverse and require a more student-centered educational system. Their success is paramount to maintaining the state’s economic competitiveness.
The UC and CSU systems must innovate. We must move on from the models of the past, which served a categorically different California. We must create a more accessible, competitive and responsive system of higher education.
Texas may provide us with good examples of funding models that create greater opportunity for equity and innovation across its systems, and it recognizes the impact of investing in the workforce across all regions of the state. With strategic foresight, Texas developed research incentive programs, industry-aligned funding programs and other initiatives specifically to support low-income students and students of color, no matter which state system they were enrolled in. They also correctly opted to diversify the research and economic opportunities for institutions throughout the state. Today, several state and public land-grant institutions in Texas offer at least one doctoral program, and many have seen incredible growth in their research portfolios and ability to secure external and federal funding in support of this work. Many also have medical schools and schools of allied health sciences. Such investments and incentives, which continue, offer some of the most promising pathways to social capital building and economic mobility in the same ways cities across California demand today.
In such a highly competitive and rapidly changing world, we owe it to the next generation to do everything possible to introduce new models that allow us to meet the needs of this moment—and our future.
Adela de la Torre is president of San Diego State University.
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Studio Three Announces Expansion to Miami's Wynwood – Digital Journal

Hi, what are you looking for?
Chicago, Illinois –
MIAMI, FL – Studio Three, a trailblazer in the boutique fitness industry, has announced its expansion to Miami with a new location slated to open in the heart of the city’s vibrant Wynwood district. Located in Artem (90 NW 29th St.) – a new, 11-story mixed-use apartment community development by LMC, a leader in apartment development and management – Studio Three will encompass over 9,000 square feet of smartly designed, ground-level space that celebrates the Miami community while offering three, state-of-the-art studio experiences under one roof: Interval, Cycle and Yoga.
Founded in 2015 by the principals at BlitzLake – a vertically-integrated real estate company with interests in fitness, hospitality, commodity trading and other strategic investment platforms – the expansion of Studio Three to Miami is preceded by the company’s first three locations in Chicago, IL in the River North, Lincoln Park and Fulton Market neighborhoods. A fourth location will open in a new hotel, residential and retail development in downtown Austin, TX this fall.
Studio Three Miami Wynwood Exterior Rendering
Studio Three unites three of the world’s most popular fitness modalities under one roof. With best-in-class instructors guiding Interval, Cycle and Yoga disciplines, members can take advantage of access to one, two or all three for a balanced cross-training regimen. Earning a fiercely loyal following since inception, the company has been recognized as ClassPass’ “Number One Studio in Chicago”; one of Crain’s Chicago Business’ “Top 100 Places to Work”; and in The Wall Street Journal as an outdoor fitness innovator during the coronavirus pandemic. It has been consistently named one of the best fitness studios by Time Out, Chicago magazine, Bride’s and more. In 2021, Inc. Magazine placed the company at 225 in its annual Midwest 5000 business ranking.
Expansion to the Miami market represents a natural progression for the company, which is poised for continued growth in major U.S. cities in the years ahead.
“We are thrilled to bring Studio Three to Miami, and especially to Wynwood,” said CEO David Blitz. “There is an incomparable creative energy in this city, and its explosive growth in residents, hospitality, culture and tourism is exactly what we’re seeking when it comes to locations that align with our brand. We believe our members-first philosophy and our fun, well-rounded and experiential approach to fitness will draw an incredible community of wellness enthusiasts.”
In the heart of the Wynwood Arts District, Studio Three joins several tenants at Artem, which will offer 189 modern apartment homes. The impeccably designed studio, one- and two-bedroom apartments are slated for delivery Summer 2022. With 324 parking spots available onsite, guests and members of Studio Three will receive validation at each visit.
Studio Three’s opening in the new mid-rise development represents the first collaboration between BlitzLake and LMC.
“Working with the city of Miami and team at LMC on this milestone expansion for Studio Three has been very rewarding,” added Blitz. “Their desire to offer a valuable combination of luxe living with convenience – starting with this superb location and extending to building architecture, design and creative vision – makes it a win.”
“We are pleased that Studio Three has chosen Artem as its first entrance into the Miami market,” said Michael Pelczar, VP of Development at LMC. “Located at the gateway of Wynwood and Midtown, Artem is an extraordinary community that will exemplify exceptional living. The addition of Studio Three reinforces that notion by catering to Miami’s robust wellness lifestyle and complements our modern, exciting conveniences for our residents and the Miami neighborhood.”
With an interior vision brought to life by the award-winning team at Gensler, Studio Three will emerge as an uplifting, energetic fitness epicenter. Starting with a stunning entry at arrival, and fueled by its vibrant, artistic surroundings, Studio Three’s interiors are crafted with intention, encouraging goal setting, growth and a sense of family among like-minded fitness devotees.
Gensler’s design unites Interval, Cycle and Yoga under one roof. Along with commissioning local artists to create larger-than-life mural installations, well-appointed spaces center around the member, funneling energy and character into three distinct studios. Coupled with the guidance of elite instructors, each studio introduces a mood to match the fitness modality:
Interval. Here, the workout centers around timed bursts of energy, so the room is filled with rowers, treadmills and custom designed S3 benches and weights. Linear lighting – beginning with a deep electric blue – contrasts with a moody interior, steering the mind towards the heart-pumping tasks at hand.
Cycle. The rounded cycle theater focuses rider attention on the instructor – much like the spokes of a wheel – setting the stage for a thrilling ride. Designed to build endurance, speed and overall body strength, cycling at S3 offers the full motivational experience, including best-in-class choreography, dramatic lighting effects and incomparable sound.
Yoga. In this studio, a soft glow envelops yogis from all angles. Natural illumination from the outside washes over the space, while interior fixtures create a canopy of light above. With soft colors and a vibrant green wall, the result is a calm, comfortable space that is further grounded with incorporation of organic materials. Custom mats, weights, bands, blocks and other accessories complement both yoga flow and yoga strength formats.
The customized experience also extends to the equipment that is foundational to Studio Three’s signature workouts. Modern fitness design and technology play an integral role – harmonizing heart and soul with science and performance. Upgraded studio bikes and accompanying software, weights and benches are designed by renowned innovator Eric Villency, whose unmatched expertise places Studio Three in a league of its own. He works closely with the Studio Three team to continually expand and bring new innovations to light.
Members will enjoy an interactive mobile app for discovering new classes and instructors, scheduling, checking in, celebrating milestones and more.
Studio Three Miami is slated to open Spring 2023. The team is currently conducting a search for key leadership positions.
Visit for more information and follow at @studiothree.
About Studio Three.
Studio Three, a leading fitness boutique since 2015, encompasses three premium fitness studios under one roof: Interval, Cycle and Yoga. The first concept of its kind, Studio Three unites these effective disciplines with best-in-class instructors, cutting edge technology, custom-designed performance equipment, striking interiors and a fiercely loyal community. The company has three locations in Chicago (River North, Lincoln Park, Fulton Market); a fourth opening downtown Austin, TX Fall 2022; and a fifth coming to Miami, FL’s Wynwood district Spring 2023.
Studio Three has been recognized as ClassPass’ “Number One Studio in Chicago” in 2020, one of Crain’s Chicago Business’ “Top 100 Places to Work” in 2019 and was recently featured in The Wall Street Journal as an outdoor wellness innovator during COVID-19. Inc. Magazine also placed the company at 225 in its annual Midwest 5000 business ranking in 2021.
Visit and follow at @studiothree.
About LMC
LMC, a wholly-owned subsidiary of Lennar Corporation, is a multifamily real estate development and operating company with a diverse portfolio of institutional quality multifamily rental communities across the United States. As of November 30, 2021, LMC had a 42,000-home pipeline of communities ranging from operating to under pre-development that exceeds $16.4 billion of high-rise, mid-rise and garden apartments.
LMC creates extraordinary communities where people can live remarkably.
For: Studio Three’s website:
Contact: Robin Diamond at Robin Diamond Public Relations via email: [email protected].
For more information about Studio Three, contact the company here:
Studio Three
Janet Isabelli
[email protected]

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Press Releases – Google Cloud

Istanbul, Turkey – April 13, 2022 – Google Cloud announced today an ongoing collaboration with Call Center Studio, a call center software-as-a-service provider with headquarters in Chicago and an R&D center in Turkey, over the establishment of a cloud-based call center platform, built on Google Cloud. With the introduction of this cloud-native call center software, Call Center Studio has become one of the first call center software in Turkey built on Google Cloud, enabling it to cater to more than 600 customers in 34 countries. Currently, Call Center Studio processes two million minutes and over one million messages per day via its services.
The collaboration with Google Cloud has enabled Call Center Studio to integrate artificial intelligence (AI) into its call center platform and use Google Kubernetes Engine (GKE) to power a highly scalable, reliable, and AI-powered contact center solution—enabling high-volume workloads.
Born on Google Cloud, Call Center Studio is able to handle high levels of traffic on a global scale, providing its customers advanced services with low latency, thanks to the strong connectivity options powered by Google Cloud’s stable and secure infrastructure. This has proven to be especially beneficial during high-traffic periods such as the holidays, as Call Center Studio has been able to scale quickly and seamlessly based on demand.
Call Center Studio is also using BigQuery to gain insights with real-time and predictive analytics, which allows the organization to make better-informed decisions for business growth. BigQuery ensures users can easily access and share analytical insights within the organization in a secure manner.
Onder Guler, Country Manager Turkey, Google Cloud said: “Our collaboration with Call Center Studio is an example of the acceleration in digital transformation we are witnessing in Turkey today. We set out with Call Center Studio to build a platform that would allow their customers to migrate from its legacy systems with ease, and enable the company to offer its services quickly in any part of the world. We are delighted that this project has led to the creation of one of the most technologically advanced call center platforms, and we look forward to collaborating with companies such as Call Center Studio, whose vision supports Turkey in becoming a digital economy and transcends beyond that to the rest of the world”.
Idris Avci, Chief Technology Officer, Call Center Studio added:“We built Call Center Studio to help businesses complete their digital transformation and achieve a level of efficiency that they could not with legacy systems.As we succeed in achieving our goal and transforming hundreds of call centers worldwide, Google Cloud has been a steady and trusted supporter in helping us complete these transitions in the most cost-efficient, timely, and seamless way possible.”
For a deeper dive into how Google Cloud is working with Call Center Studio to offer advanced call center services powered by the cleanest cloud in the industry, please visit ( insert customer case study link).
About Google Cloud
Google Cloud accelerates every organization’s ability to digitally transform its business. We deliver enterprise-grade solutions that leverage Google’s cutting-edge technology – all on the cleanest cloud in the industry. Customers in more than 200 countries and territories turn to Google Cloud as their trusted partner to enable growth and solve their most critical business problems.
About Call Center Studio
Founded in 2018 and headquartered in Chicago with offices in  Banbury, Bucharest and Istanbul, Call Center Studio provides multichannel cloud software for contact centers—replacing conventional on-premises contact center solutions, which are complex, inefficient, and costly to install and operate.
The flexibility of Call Center Studio’s model allows for fast deployment of any number of agents based on the requirements of the business and irrespective of their geographic location—having access to a computer, and an Internet connection is sufficient for the agents to get going. The Company has made it into the prestigious Red Herring North America Top 100 list in 2020.
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The Halo Show Let Master Chief Have Sex, and Now the Planet's Doomed – Gizmodo

It’s been some time since we checked on Paramount’s Halo show. When it first premiered, we thought it was an interesting, strange, interestingly strange adaptation of the Xbox shooter franchise that had some potential, but it’s understandably rubbing a lot of folks in a couple of different ways. The biggest shakeup the show offers is in how it chooses to explore Master Chief (Pablo Schreiber). Rather than being a simple killing machine who speaks more with his actions, the show’s Chief is pretty vocal and takes off his armor in a way that gives the impression that the show wants to give the character some humanity. As the Covenant threat looms across the galaxy, much of this season has seen Chief—or John, rather—attempt to dig into the past he had before ultimately becoming a child soldier brought into a larger intergalactic conflict.

Running parallel to John’s story is that of Makee (Charlie Murphy), a human woman who was taken in by the Covenant as a child and since become a key player in their efforts to find the Halo ring that will decide the fate of the galaxy. The pair finally crossed paths in episode six, but it was this week’s past episode, “Allegiance,” that their relationship took a turn that many are finding hard to accept.
As you’ve no doubt probably heard by now, Chief and Makee end up having sex during the episode; John removed a pellet that was suppressing his emotions earlier in the season, and he’s been more emotionally open as a result. As for Makee, she’s begun to feel a camaraderie with him due to their similar ability in being able to decipher the visions left by the Forerunner artifact, and they had a shared vision of the Halo ring in episode six. Thus, the two give into their apparent feelings and hook up, an event made even stranger by the fact that John’s AI partner Cortana (Jen Taylor) is watching the two as this happens.
While characters having barely PG-13 sex is pretty rote on TV at this point, Halo is a franchise that is—despite the many jokes surrounding Master Chief and his suit—overall fairly sexless. The only other time the idea of sex has really been touched upon in any official capacity was towards the end of the 2007 novel Contact Harvest by Joseph Staten. But the Halo show has had no trouble playing around with the idea that underneath that bulky armor, John’s a good looking man, as evidenced by the fact that he’s played a man some would consider good-looking. Just generally speaking: if you put someone in a suit of armor all the time, folks are going to think that the person underneath is hot and run with that in their fan works, regardless of if it aligns with the canon or not.
Lest you think that the Master Chief is so good a lover that Makee may be on the verge of switching sides, Halo doesn’t let this moment of intimacy linger long enough for it to be anything more than a springboard to one of the larger franchise’s key moments. Having learned of John and Makee sleeping together by Cortana, John’s surrogate mother Dr. Halsey (Natascha McElhone) orders the two to be captured by his fellow Spartans. Having been found out as a mole, Makee snatches up artifact and escapes, but not before apologizing to John and sending a signal for the Covenant to attack the planet Reach.
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In the game’s fiction, the UNSC established Reach as key in the military force’s fight with the Covenant. It’s basically the planet you have to go through before reaching Earth, and its fate in the games is to get invaded by the Covenant and ultimately destroyed. The original Halo game opens with Chief and Cortana fleeing the planet’s destruction, and 2010's Halo Reach—the final game in the series by original developer Bungie—provides a more intimate look at what went on during the planet’s final days. Chief was a vital player during the Fall of Reach, but the Reach game puts him to the side to focus on a different group of Spartan supersoldiers who greatly contributed to Chief and Cortana’s escape and the pair’s discovery of the original Halo ring that began the entire saga. (We probably won’t see Noble Team in the finale, but it would be nice if they were acknowledged.)
For better or worse, knowing that Reach’s end will be brought about due to a momentary fling rather than the Covenant’s dogged obsession with Forerunner artifacts feels cartoonishly silly. Perhaps the actual Fall of Reach will feel appropriately epic and tragic in the show, or maybe there’s another weird, massive curveball waiting to make itself known. Either way, this sex scene probably won’t even be the strangest thing to happen in the show once all is said and done. There’s shades of humanity in moment, but in the end, it comes across more like a way to get events in place for a cataclysmic season finale.
Halo’s first season will conclude this Thursday with the episode “Transcendence.”
Want more io9 news? Check out when to expect the latest Marvel and Star Wars releases, what’s next for the DC Universe on film and TV, and everything you need to know about House of the Dragon and Lord of the Rings: The Rings of Power.


Alito’s Master Stroke, Between Precedent and Original Meaning – The Wall Street Journal

Alito’s Master Stroke, Between Precedent and Original Meaning  The Wall Street Journal