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Our latest Global Threat Index for October 2022 reports that keylogger AgentTesla has taken first place as the most widespread malware, impacting 7% of organizations worldwide. There was a significant increase in the number of attacks from the infostealer Lokibot, which reached the third spot for the first time in five months. Also, a new vulnerability, Text4Shell, affecting the Apache Commons Text library, was disclosed.
Lokibot is a commodity infostealer that is designed to harvest credentials from a variety of applications including: web browsers, email clients and IT administration tools. As a trojan, its goal is to sneak, undetected onto a system by masquerading as a legitimate program. It can be distributed through phishing emails, malicious websites, SMS, and other messaging platforms. This rise in popularity can be explained by the increase in spam campaigns themed around online inquiries, orders and payment confirmation messages.
October also saw disclosure of a new critical vulnerability, Text4Shell, (CVE-2022-42889). Based on the Apache Commons Text’s functionality, this allows attacks over a network, without the need for any specific privileges or user interaction. Text4shell is reminiscent of the Log4Shell vulnerability, which is still one year on, one of the major threats, ranking at number two in the October list. Although Text4Shell did not make the list of top vulnerabilities exploited this month, it has already impacted over 8% of organizations worldwide and Check Point will continue to monitor its impact.
We saw a lot of change in the rankings this month, with a new set of malware families making up the big three. It is interesting that Lokibot has climbed back to the third spot so quickly, which shows an increasing trend towards phishing attacks. As we head into November, which is a busy buying period, it is important that people remain vigilant and keep an eye out for suspicious emails that could be carrying malicious code. Be aware of signs such as an unfamiliar sender, request for personal information and links. If in doubt, visit websites directly and find the appropriate contact information from verified sources, and make sure you have malware protection installed.
Our research also revealed that “Web Server Exposed Git Repository Information Disclosure” is the most common exploited vulnerability, impacting 43% of organizations worldwide, closely followed by “Apache Log4j Remote Code Execution”, with an impact of 41%. October also saw Education/Research remain in first place as the most attacked industry globally.
Top Malware Families
*The arrows relate to the change in rank compared to the previous month.
AgentTesla was the most widespread malware this month impacting 7% of organizations worldwide, followed by SnakeKeylogger affecting 5% and Lokibot with an impact of 4%.
Top Attacked Industries Globally
This month the Education/Research sector remains in first place as the most attacked industry globally, followed by Government/Military and Healthcare.
Top exploited vulnerabilities
“Web Server Exposed Git Repository Information Disclosure” remained the most commonly exploited vulnerability in October, impacting 43% of organizations globally. This is followed by “Apache Log4j Remote Code Execution” in second place with an impact of 41% and “HTTP Headers Remote Code Execution” taking the third spot with a global impact of 39%.
Top Mobile Malwares
This month, Anubis held onto first place as the most prevalent mobile malware, followed by Hydra and Joker.
Check Point’s Global Threat Impact Index and its ThreatCloud Map is powered by Check Point’s ThreatCloud intelligence. ThreatCloud provides real-time threat intelligence derived from hundreds of millions of sensors worldwide, over networks, endpoints and mobiles. The intelligence is enriched with AI-based engines and exclusive research data from Check Point Research, The intelligence and research Arm of Check Point Software Technologies.
 

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BEMIDJI — First it was called Log Cabin Court. Then it was Taber’s Bait and Historic Cabins.
The buildings along Bemidji Avenue North at 24th Street have been mostly vacant since owners Ron and Pam Bostic closed the bait business five years ago.
Last week they were torn down to make way for 52 apartment units in two buildings to be constructed by Whelan Properties.
Plans call for one 22-unit building and one 30-unit building. All 52 units will be either studio or one-bedroom apartments, owner Bob Whelan confirmed.
“We’re really excited, Whelan said. “I personally think it’s going to be a huge enhancement for that whole area. It certainly is better than the eyesore that the old Taber property was becoming. As much as that’s got a lot of history in this community, it was at a point where something had to happen there.”
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Whelan said he has been interested in the 1.9-acre Taber’s site for a couple of years, but he considered the asking price too high.
“We’ve got a number in mind whenever we buy property for an apartment building,” Whelan said. “It was just too high of a price. But then they started dropping the price and it got to a point that was within striking distance. So we got to negotiating on it and came up with something that worked. It came together quite fast once we started talking. I think the owners were excited to get a buyer on it.”
Whelan, whose company owns or manages about 500 apartment units in the area, said one-bedroom and studio apartments have been popular with renters in recent years.
“We experimented with studios here a number of years ago and they’ve gone over so well,” Whelan said. “In the process of doing that we’ve discovered that there’s a big population of people that are kind of forgotten, and that’s the single person. We have over 100 studios and singles right now, and they’re the easiest ones to rent, for us anyway.”
Whelan said the 22-unit building is scheduled to be completed in late summer of 2023. He projects rents will be about $750 per month for the studios and $850 for the one-bedroom units.

Ownership records of the property are difficult to find. Although some believe the cabins were built around 1920, the first City Directory listing for Log Cabin Court appeared in 1937 with Roland W. Henrionnet as the owner. The 1946 City Directory listed Arthur O. Braker as the owner. Jim and Betty Warfield bought the business around 1953 and operated the motel until 1960 when Earl and Deloris Taber bought the property. Earl sold the business to the Bostics in 2002.
The Warfield family lived in a small house that also served as the motel office. Son Marshall Warfield, who still lives in Bemidji, shared a story about a pet bear that was given to his father in the late 1950s.
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Jim Warfield’s friend from Blackduck had shot a mother bear and asked if the motel would be interested in having one of three surviving cubs as an attraction.
“So dad built a cage right out front,” Marshall said, “and that was for Smokey. My dad was a strong man, so he would go in the cage with gloves, put a leash on Smokey and bring him out. He was pretty good when he got out of the cage.”
In fact, one day Marshall took the bear to a pet contest at Jake’s Drive-In, a popular hangout at Bemidji Avenue and 15th Street.
“I won the prize for the most unusual pet,” Marshall said. “I won a flashlight. People were feeding him ice cream.”
After Smokey took a swipe at Jim and left a permanent scar, it was time for the bear to go back to the wild.
“So we took him out by Meadow Lake and we turned him loose,” Marshall said. “He was an attraction, but he smelled just terrible.”
Earl Taber started selling bait out of his home at 109 Irvine Ave. S. in 1951. He built a couple of minnow tanks behind the house.
“The business kind of grew there,” said his son Dave Taber, an orthodontist in Winona, Minn. “We serviced probably 75 resorts in the area.”
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Several years later, Log Cabin Court came up for sale, and Earl’s wife Deloris suggested it would be a better location for the bait business.
“Dad said, ‘That’s a great idea, Deloris, but I don’t have the money for the down payment,’” Dave recalled. “She said, ‘Well, I do.’ She had socked some money away.”
The bait building was constructed in the summer of 1960, and the Tabers and their three children moved into the motel office house that August. They added an apartment above the bait shop a few years later and moved there.
In addition to the bait business, Taber’s became known as a place to buy flocked Christmas trees. That part of the business dates back to Earl’s high school years when he would venture into cedar swamps, cut down trees and sell them door to door in town from his toboggan, Dave said.
The business grew after the family moved to the Bemidji Avenue location. Earl bought modern flocking equipment and sold trees to individuals and businesses around town. His holiday trees also adorned the David Park House for many years.

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The architect and planner Richard Bender, Dean Emeritus at UC Berkeley and a longtime resident of Berkeley, died of old age in Oakland on Oct. 8, 2022, at the age of 92.
When I first met him, he was already well known as a planner of new towns, an advisor on affordable mass housing experiments underway in New York City, and a professor at Cooper Union. Bender moved to Berkeley in 1969 to join the faculty at the College of Environmental Design (CED) and launch research programs funded by the National Science Foundation and the National Bureau of Standards. They led to U.S. Department of Energy-funded research, shared with Lawrence Berkeley Lab, and the creation of CED’s Center for the Built Environment.
Bender served as CED Dean from 1976 to 1988. He added Donald Terner, an innovator in urban low-income housing in New York City, to the faculty. Tapped by Alan Stein, California’s housing czar during Jerry Brown’s first term, Bender helped Stein set up and nurture Bridge Housing Corporation, the Bay Area’s largest nonprofit developer, with Terner as its first director.
Bender’s real monument at UC Berkeley is its campus, endangered by unmanaged growth. Enlisting Chancellor Albert Bowker, he explained the campus to itself and helped its community plan it to preserve its sense of place. He added design review to the process by which new buildings were proposed, sited, and developed. His Campus Planning Study Group studied existing buildings and outdoor settings, developing plans and guidelines for each precinct. Among its staff was Emily Marthinsen, FAIA. As campus architect, she extended this work.
Born in Brooklyn in 1930, Bender studied civil engineering at the City University of New York; building construction engineering at MIT; and architecture and planning at Harvard, where his studio leaders included the mid-century modernists Walter Gropius, Serge Chermayeff, and José Luis Sert. Bender and his wife, the former Sue Rosenfeld, then moved to Zurich to help plan CERN, the European nuclear research campus, with his lifelong friend Peter Steiger, a sustainable architecture pioneer who later taught at CED and at TU Darmstadt in Germany. Returning to New York, he joined Sert and Paul Lester Wiener to plan new towns in Latin America and teach at Cooper Union. 
Bender’s friendship with Professor Shigeru Ito led to a Visiting Chair at RCAST in Tokyo, part of Tokyo University, in 1989, sponsored by Japan’s five largest contractors. That led in turn to research and study tours those companies funded. At their urging, he set up the Urban Construction Laboratory, a think tank focused on urban issues, as a vehicle for this work.
Bender was tapped by the Getty Trust’s John Walsh to help select the architect of the Getty Center in Los Angeles — a process that involved a world tour of art museums with the Getty’s trustees. At the James Stirling-designed Stuttgart Museum, he recounted later, one of the trustees noted its unusual green stair railings. “Just like his socks,” another trustee said testily.
From the late 1980s through the early 2000s, Bender consulted or advised on master plans and area plans for five UC campuses — Berkeley, Davis, Merced, San Diego, and Santa Cruz. The UC San Diego Campus Master Plan, done with SOM’s John Kriken and his studio, built on his work at Berkeley. It looked at the adjoining, fast-growing city, and set out a higher-density framework for campus growth that preserved valued open space.
The Benders were world travelers, staying at the American Academy of Rome, where they met the postmodernist and CED alumnus Thomas Gordon Smith, who later revived Notre Dame’s architecture school as a training ground for budding neoclassicists. Planning the expansion of Nanyang Technological University took him to Singapore. He became an advisor to the Tokyo developer Minoru Mori, helping him establish the Global City Power Index, a measure of urban competitiveness. He and the planner Kei Minohara worked with a Buddhist sect in Japan to remake a Nissan Factory on former agricultural land outside Tokyo as a sustainable campus.
In France, Bender was long associated with the planners of the Cergy-Pontoise new town, including Bertrand Warnier, François Ascher, Philippe Jonathan, and others. He regularly joined their summer/fall institute sessions, often with the SOM planner Philip Enquist. He also helped revive the town of Apt after the military air base that anchored its local economy shut down.
The Slow Movement, championed here by Alice Waters, informed his thinking about towns and cities. A paper on Slow Urbanism, given at a conference in Rome, was published in Italy, as were his recollections of the community planner Giancarlo de Carlo, who brought Urbino back to life.
Invited by Anthony Teo, a senior advisor to three leading public universities in Singapore, Bender coauthored papers for the Univer-Cities conferences they sponsored. As his writing partners, Marthinsen and I joined him in Singapore in 2013. In 2016 and 2019, we spoke without him in Newcastle, NSW, Australia and again in Singapore. Teo included our papers as chapters in the Univer-Cities series he edited, published by World Science.
Bender had a favorite analogy, “clocks and clouds.” Another favorite was “elephants and sled dogs,” extolling the latter’s flexibility and self-sufficiency. Optical illusions that showed how our preconceptions blind us to the fuller nature of many things often illustrated his talks. For his 1970s book on factory-built housing, The Crack in the Rearview Mirror, he enlisted Forrest Wilson to make the memorable drawings that underline his points. He was a visual thinker.
Late in their lives, the Benders moved to St. Paul’s Tower, giving up their beloved house on Santa Barbara Road, a landmark for so many of their friends. They remodeled their apartment in mid-century modern style, noting that it was the same size as the house Bender designed for Sue and their children in Amagansett, where they counted artists like Tino Nivola as neighbors.
Sue Bender, a ceramicist and painter, did her masters in social work at UC Berkeley and then wrote a bestseller, Plain & Simple, based on her fieldwork in Amish communities in Indiana and Pennsylvania. (She enlisted her husband to make the book’s wonderful drawings.) She survives him, as do their sons, Michael Bender of Seattle and David Bender of Oakland. His loss is also felt by a worldwide network of friends, many his former students from CED and Cooper Union.
John Parman is a visiting scholar at UC Berkeley CED. Bender was his advisor in graduate school. Their 50-year writing partnership was joined by Emily Marthinsen in 2012. He lives in Berkeley.
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To hear frontman Cleto Cordero tell it, the inspiration behind Flatland Cavalry's new EP, Songs to Keep You Warm, seems a little bit divine.
It was the end of a long touring weekend earlier in 2022, and when Cordero finally got back home to his own bed, he was immediately struck by a near-fully-formed vision for what he wanted the group's next project to be. "It was like — fall EP — Songs to Keep You Warm — you have that song with Bruce Robinson already, just keep at it," Cordero recounts to The Boot.
That was "Mountain Song," a co-write of Cordero's that dates back to a 2017 tour jaunt through the Pacific Northwest, which he liked at the time, but didn't immediately plan to record. "I didn't think anything of it until we got into the studio one day with Bruce, and the recording came out magic," Cordero explains. So much so that it wound up being one of the first and most essential pieces of the Songs to Keep You Warm puzzle — "Mountain Song" is one of the EP's leading tracks, but maybe even more importantly, recording it with Robinson at the helm established a sound that Cordero and the band would continue to chase throughout the record-making process.
"I freaking love the way that studio sounds. It's so pure and warm," he explains. So when he got the idea to create a collection, he started assembling tracks — some he'd written earlier, some outtakes of other projects, some new — and sent them over to Robinson.
"I remember learning long division in elementary school, and it's like, you have remainders sometimes. I don't think they should be cast away, you know?" Cordero notes, speaking about his decision to salvage songs that he'd written for other projects, but never wound up putting out. Once he came up with the vision, the songs that would be right for the project immediately floated to the top of his mind. "And I sent Bruce more than [what ended up on the final track list of Songs to Keep You Warm], there were maybe two extras. It was pretty close."
Culled from a variety of different writes, project outtakes and life phases over the past few years, the tracks on Songs to Keep You Warm all represent different aspects of the chill of winter, from the visual-driven "Mountain Song" to songs like "If We Said Goodbye," which Cordero says contains more personal memories of weariness and melancholy.
"I wrote that back when we were quarantining in 2020, and I had just caught COVID," he remembers. Cordero came honestly by the exhaustion and dreariness that radiates from the song: He was feeling sick when he wrote it, so sick in fact that he started off the write with just fragments of a verse. But the experience taught him the important lesson that even tiny musical snippets can be fleshed out into something more substantial. "That one taught me not to give up on any little fragment of a song, not to be afraid to bring anything to the table. Because that song could have been never written," he notes.
Not that weariness and exhaustion are the only characteristics of a winter-themed track. Songs to Keep You Warm has coziness and community to share, too underscored by two guest singer-songwriters — Ashley Monroe and Kaitlin Butts (who is Cordero's wife) — providing backing vocals to "Parallel" and "How Long," respectively. Cordero got to know Monroe through co-writing, he explains, and took a chance on asking her to sing on "Parallel" after he realized what a great match they made in the writers room. Meanwhile, Butts is a frequent guest star in Flatland Cavalry's work, and Cordero says she's "kind of a piece of the DNA" of the band, adding that his producer, Robinson, described her as a "secret weapon" the first time he heard her singing on a Flatland Cavalry track.
And while the songs in this collection might be themed around the hunkered-down winter months, they'll still have a life live onstage, even once winter passes and the weather warms up again. Flatland Cavalry have a robust touring calendar on the books for 2023, including dates supporting Parker McCollum and Luke Combs, and Cordero says he could see several of these songs finding a place in their live set.
"'Parallel' is kind of universal to anything we've played forever. It just seems like an upbeat, catchy song," he relates. "And I wanna start off with 'Damaged Goods.' I'm trying to continue to grow as an artist…people come to the show, and they wanna hear their favorite songs, but the artist in me also wants to play what's current as well."
He also says he thinks of Songs to Keep You Warm as a kind of halfway point between Flatland Cavalry's last album, Welcome to Countryland (which came out in the summer of 2021) and their next full-length project.
"We have plans to get into the studio in March," Cordero hints, "start working on record No. 4."
8 Texas Country Artists You Need to Hear ASAP:

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A school pupil could legitimately film a teacher’s activities without the latter being aware of it, in some cases, for example when proof was required of a teacher bullying the student, Chancellor of Justice Ülle Madise says, with reference both to European Union regulations and to domestic precedent.
One individual had approached the Chancellor of Justice expressing concerns along the opposite lines, ie. where several teachers had allegedly been intimidated by parents after students had secretly made such recordings in class, while the parents had later “maliciously used this recording against the teacher”, ERR reports.
The applicant asked Madise whether the student was allowed to record a class and whether this is in line with the rights of the teacher and the other pupils.
Madise acknowledged in response that such a situation can be particularly disturbing. 
She wrote in her response that: “In order to achieve peace of mind in school classes and to minimize the tension that clandestine recording of lessons can cause for teachers, the school can establish rules for the use of mobile phones or other recording devices in its code of conduct. Students will be obliged to follow the school rules.”
She also stressed that apart from establishing these rules, schools could also consider explaining to students and parents the principles of personal data protection and the reasons for establishing rules. “In this way, one can contribute to the adoption of a mutually respectful communication culture in a school. The school, as the teacher’s employer, must stand up for that teacher’s safe working environment. Among other things, an employer must implement measures to prevent health damage resulting from psycho-social risk factors,” the chancellor added.
At the same time Madise added that recording in a school class is not necessarily illegal.
“An audio recording on which an individual can be identified is classified as personal data. However, if the student uses this recording solely for personal purposes and does not distribute or publicize it in an unauthorized way, for example on social media, then these personal data protection rules do not apply,” Madise said, referring to point 11 of the EU’s General Data Protection Regulation (GDPR).
According to the GDPR, in certain cases the legitimate interest and the need to prove harassment may outstrip the data subjects’ right to privacy.
Madise also pointed to domestic precedent (link in Estonian) which she said demonstrated secret recordings can be used to assert a person’s rights.
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Wednesday evening sees us host Brighton & Hove Albion in the Carabao Cup, in front of a packed house at Emirates Stadium.
And if you’ve not got your hands on a ticket, Gooners can stay on top with the action by heading to Arsenal.com and the official app from 6.45pm UK time and tuning into Breakdown Live.
With the game not being broadcast anywhere in the world, our matchday show is the best place to keep up to date with the goings-on in N5, with live pre-match build-up and exclusive match commentary.
Nicole Holliday and Adrian Clarke will be pitchside an hour before kick-off analysing Sunday’s victory at Stamford Bridge, as well as discussing where we can secure victory against the high-flying Seagulls.
They’ll also chat with inspirational Gooner Steve Salmon, who recently broke his own world record in the London Marathon for the fastest time registered in a non-racing wheelchair, as well as former Team GB boxer Chev Clarke who will join us in the My Arsenal Rewards box to talk about his preparation ahead of his fight on the Dillian Whyte vs Jermaine Franklin undercard at OVO Arena Wembley.
Then from 7.45pm, you won’t miss a kick of the action, with exclusive live commentary from Dan Roebuck and Jeremie Aliadiere.
It’ll be a must-watch wherever you are in the world, so just log on to Arsenal.com or the official app from 6.45pm!
If watching on the app, please ensure you’ve updated to the latest version for the best possible experience – iOS / Android
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Chelsea Rose stars as Maria in the Arts Club Theatre Company’s 2022 production of “The Sound of Music,” at Stanley Industrial Alliance Stage in Vancouver starting Nov. 10. (Submitted photo: Emily Cooper)
Newton-raised performer stars on Arts Club’s Stanley stage, sings with metal band Ophelia Falling
From community theatre productions in Surrey to a big stage in Vancouver, Chelsea Rose has taken steps toward stardom over the past two decades.
The Newton-raised actor/singer stars as Maria in “The Sound of Music,” an Arts Club Theatre Production set to fill Vancouver’s storied Stanley Industrial Alliance Stage with familiar Rodgers & Hammerstein songs for a fall run.
Rose got her start doing shows in Surrey with Fraser Valley Gilbert & Sullivan Society (now Fraser Valley Musical Theatre), and also acted, sang and danced at Sullivan Heights Secondary years ago.
“I was about 12 or 13 years old when my dad (Tim Tucker) saw an audition posting in either the Now or The Leader, one of the papers, for the Fraser Valley Gilbert and Sullvan Society’s production of ‘The Pajama Game,’” Rose recalled.
That was back in 2001.
“He suggested we both audition, and we both got into the ensemble,” Rose added. “It was absolute blast, I loved it, and I knew that was something I had to continue doing. So I continued doing shows with them, and my dad as well, and he’s still the musical director there.”
This fall, Tucker helps bring Fraser Valley’s musical panto “Sleeping Beauty” to the stage at Surrey Arts Centre (Nov. 23 to Dec. 4), while daughter Chelsea keeps very, very busy with “The Sound of Music” in Vancouver, from Nov. 10 to Dec. 24.
The musical is legendary, of course. In pre-Second World War Austria, Maria teaches and cares for the seven von Trapp children before eventually falling in love with their widowed father, Captain von Trapp (Damien Atkins). Many iconic songs are sung, including “My Favorite Things,” “Do-Re-Mi,” “Climb Ev’ry Mountain,” “Edelweiss” and, of course, the title track.
For Rose, the role of Maria is a dream come true.
“I grew up with ‘The Sound of Music’ and remember the first time I saw the movie,” she recalled. “And Julie Andrews, if I ever had an icon or star, a hero of mine, it would be her. This role is one of those bucket-list kind of roles.”
It’s also a demanding one.
“There’s a lot going on,” Rose noted, “and every moment I’m offstage I’m changing and getting ready for the next scene, so there’s not much downtime for Maria.”
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In life, there’s not much downtime for Rose, who sings in the symphonic metal band Ophelia Falling when not acting on stage.
“We’ve been together since 2017, so five years-ish,” she reported. “It’s something I love to do, and the goal of the band is world domination, according to my guitar player,” she said with a laugh.
“It’s very difficult, actually, to split my time and my passion between theatre and acting and the band,” Rose continued. “I sometimes feel iike I have a split personality. I’ll be playing a big metal gig at the Rickshaw Theatre until one in the morning, then the next morning I’m doing a children’s play, playing a sasquatch — yes, that actually happened,” she laughed.
Rose plays a sasquatch in Axis Theatre’s “Th’owxiya: The Hungry Feast Dish,” a “deliciously dark Kwantlen First Nations fable” that played Surrey Arts Centre’s Studio Theatre just prior to the pandemic, in February 2020.
”I’ve worked with Axis Theatre over the past six years doing a few projects, including that one,” Rose explained. “We filmed it and it’s gone on tour again, and this is the first year I’m not involved in it, with a new cast.”
As for Ophelia Falling, the band rehearses every Monday, even with Rose’s commitments to “The Sound of Music” production.
“It’s a lot, but we have a gig coming up called The Bowie Ball, a cancer fundraiser, and we’ll be doing four songs, I think,” Rose noted. “That’s January 7 at The Rickshaw.”
Last fall at the Stanley, Rose was among cast members in “Dolly Parton’s Smoky Mountain Christmas Carol,” and now returns to star in a large-cast production of “The Sound of Music,” directed by Ashlie Corcoran, who was born and raised in White Rock and is the artistic director of the Arts Club company.
It’s Corcoran’s second time directing the show, first staged by the Arts Club in the fall of 2019.
“This is one of the most beloved musicals of all time and one of my most favourite productions to work on,” Corcoran said. “I am thrilled that we will be once again celebrating the festive season with this piece and am so excited to be working with this extraordinary team.”
Show tickets start at $43 on artsclub.com, or call 604-687-1644.
Elsewhere, other Arts Club shows this month include “Mom’s The Word: Talkin’ Turkey” comedy at the Granville Island stage. At BMO Theatre Centre, the new “Me Love Bingo!: Best in Snow” sure sounds like a fun “immersive” show that spins “the ol’-timey game of luck into an unexpected journey filled with guest performances, silly prizes, and nuanced storytelling. Join your drag-clad host, Kyle Loven, and his pals for a reality-blurring experience of community and camp.”
CLICK HERE to read more stories about Chelsea Rose in the archives of surreynowleader.com.
CLICK HERE to read an interview with Rose about the band Ophelia Falling, on volatileweekly.com.

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November 8, 2022, 10:59 AM
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The God of Mischief finally got his own series, Loki, back in 2021 on Disney Plus which was met with great acclaim. When it came to inspiration for one of the villains of the show, the art department got a little help from a beloved Japanese franchise.
The monster that devours all things at the end of time, Alioth, was inspired by one of Studio Ghibli’s most famous movies, Princess Mononoke.
In Marvels Loki: The Art of the Series, visual development artist Alexander Mandradjiev talked about the process behind designing the terrifying devourer of all things.
“They wanted it to be smoke, but the smoke is not just smoke, it needed to feel like there’s something inside of it that’s alive. So that triggered some ideas. After the first designs I did, Head of Visual Development at Marvel Studios Ryan Meinerding came to me and was like, ‘They want to see it have more of a creature shape, but Alex, don’t do creature. It needs to still feel random and nature-like, but it’s constantly twisting and kind of shifting shape.’”
It was through this direction that Mandradjiev’s mind turned towards the Ghibli film, one full of spirits and demonic powers.
“I immediately thought of Princess Mononoke—the first boar demon and the wormlike effect with the many legs. I was wondering how I could get that across with clouds, and I did that. I used that feeling and that image from Mononoke to capture a squatting god.
“I wanted this guy to feel like he’s on the ground, on his knuckles, but if he was to stand up it would be just a huge, weird thing that probably also dissolves into a much more massive cloud shape. There was also lightning that would surge through. And something that could feel like a face, hinting at just eyes.”
In Princess Mononoke, the demon boar attack is one of the creepier moments in the film, where the boar god Nago, becomes corrupted by an iron bullet that is lodged inside after it has been shot. Black ooze seems to seep out of it, turning it into a rabid-like being, with multiple legs and red eyes.
Though Alioth is more smoke-like and much larger, you can certainly see how the characters share similarities, as primordial beings.
It is uncertain if we will ever see Alioth again after both Loki and Sylvie managed to make their way past him to get to the Citadel and meet with He Who Remains. The last we saw of Sylvie she was still there, though after seeing photo’s from the set of Loki season two we know that she managed to find her way out, perhaps passing by the beast once more.
The second season of Loki will debut on Disney Plus in the summer of 2023.

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Updated: November 9, 2022 @ 5:03 pm
Lindsay Wolfington attends the 7th Annual Guild Of Music Supervisors Awards at The Theater at Ace Hotel on Feb. 16, 2017, in Hollywood, California. Wolfington is a freelance music supervisor who is advocating for a union election at Netflix. (Rachel Murray/Getty Images for Guild of Music Supervisors/TNS)

Lindsay Wolfington attends the 7th Annual Guild Of Music Supervisors Awards at The Theater at Ace Hotel on Feb. 16, 2017, in Hollywood, California. Wolfington is a freelance music supervisor who is advocating for a union election at Netflix. (Rachel Murray/Getty Images for Guild of Music Supervisors/TNS)
LOS ANGELES — It was one of the most memorable moments in Netflix’s “Stranger Things 4”: Max running away from the murderous monster Vecna, fueled by Kate Bush’s soaring song, “Running Up That Hill.”
Music supervisor Nora Felder was instrumental in selecting and securing approvals for the hit 1980s song, which catapulted to No. 1 on several musical charts after its airing on “Stranger Things.”
Yet, despite their increasingly important role in suggesting such songs and curating music for shows, music supervisors say they aren’t getting the pay and benefits shared by their unionized peers.
“We are currently a group of gig workers who have to get our own insurance and have to figure out our own pension,” said Lindsay Wolfington, a freelance music supervisor. “Almost everybody on set in Hollywood is paid through a union and supported through a union and has their rates and payment schedules standardized through a union. So we’re just looking to be on par with our colleagues who we work with.”
To remedy that, Wolfington and other freelance supervisors recently took a key step to join the International Alliance of Theatrical Stage Employees, the union representing crews on film and TV productions. They requested a union certification election with the National Labor Relations Board.
IATSE said it is focusing its organizing efforts around Netflix because it is the largest employer of music supervisors in the industry.
“Despite this cultural influence, music supervisors are joining together to set standards and address longstanding issues for those in the craft,” IATSE said in a statement.
Music supervisors requested Netflix and the Alliance of Motion Picture and Television Producers voluntarily recognize their union earlier this year, which would have skipped the step of a formal election, but they declined. IATSE said that more than 75% of music supervisors supported joining their union, which represents camera operators, set decorators, makeup artists and other technical jobs on sets.
The alliance rejected IATSE’s request “because we believe that employees should have a free choice in deciding whether they wish to be represented by a union,” said AMPTP spokesperson Jarryd Gonzales.
“Our position means there will be an election if the union files a recognition petition with the National Labor Relations Board, allowing each employee to cast a vote,” he said.
Netflix declined to comment.
The unionizing efforts comes as music supervisors have become more prominent culturally and professionally. In 2018, music supervisors could qualify to win Grammys in the compilation soundtrack album category. Felder, who suggested “Running Up That Hill” for “Stranger Things 4,” won an Emmy for music supervision.
“Placed music has been a huge driving factor in the music industry for a long time,” said Michael Peters, an attorney at Ramo Law PC. “We have a great demonstration to point to the cultural impact that supervisors can have and the creative value of their services. They have the momentum right now to try and get organized and try and get recognized as a union.”
Manish Raval, a 48-year-old music supervisor who worked on the Netflix film “The Gray Man” and shows like NBC’s “This is Us,” supports the union effort.
Tensions with music supervisors have escalated amid the boom in streaming, which has shortened TV seasons. Pay for music supervisors is typically a fee that can be negotiated per episode or for an entire project like a series or film. The payment comes out of the series’ or film’s budget.
When shows were based on a network’s TV season, the payments were on a more regular schedule, with a show having 12 to 18 episodes per season, which could take about six to eight months of work, said Robin Urdang, who has worked as a music supervisor on Netflix series including “The Baby-Sitters Club” and Amazon’s “The Marvelous Mrs. Maisel.”
Shows on streaming platforms, however, are not necessarily timed to certain seasons. A series could have an average of seven to 10 episodes and span more than a year of work, Urdang said.
“You’re working for the same amount of money on less episodes for a longer period of time, which means that you ultimately make less money per hour,” Urdang said.
Some music supervisors described instances where their payments were delayed after they had completed their jobs.
Raval said he did the final mix for a Netflix movie in November 2020 only to learn that the studio planned to not pay him the tens of thousands of dollars he was owed until about six months later, closer to when the movie would be released. His wife, an art teacher, was also not teaching because of the pandemic, putting a strain on their finances.
“Our payments are being held under some arbitrary idea that it’ll paid out at the absolute last possible moment,” said Raval, who lives in Culver City. “We’re fighting that industrywide at this point.”
He said Netflix later agreed to pay him half the money he was owed in January 2021 and the remainder in March of that year. A person close to Netflix said final payments are typically made when a movie has finished postproduction.
“We’ve seen the cultural impact of the right song in a scene,” said Wolfington, a 43-year-old music supervisor who has worked on Netflix projects including “To All the Boys I’ve Loved Before.” “Netflix as a company seems to value music, which I think is a great thing, and all their viewers get to enjoy it too. But we’re in this situation where our standards are not what they should be, so we want to remedy that.”
Studios are reluctant to voluntarily accept music supervisors as part of a union in part because they view them as independent contractors.
A source close to Netflix said the music supervisors it contracts with run their own businesses and some have their own employees. Those supervisors also do services for different studios at the same time, the source said.
In 2009, a group of music composers and lyricists tried to organize under the Teamsters, but two years later, gave up on those efforts when AMPTP would not voluntarily recognize their union.
Boosting IATSE’s case is the fact that most other Hollywood jobs, including actors and writers, are unionized, said Catherine Fisk, a professor of labor law at UC Berkeley School of Law.
“There are lots of cases involving workers who work somewhat autonomously who have nevertheless successfully unionized,” Fisk said.
In the 1930s, studios argued that writers shouldn’t be unionized because they worked independently, sometimes out of their apartments or hotel rooms and weren’t under a direct person’s supervision, Fisk noted. However, the NLRB rejected that argument because the writers were subject to the control of the studio, Fisk added. Writers today are unionized under the Writers Guild of America.
Other areas of audio and music are also attempting to unionize. Last month, writers, producers, engineers and editors at podcast network Pineapple Street Studios requested its owner Audacy recognize its 40-member group as a union, and music content operations workers at YouTube have filed a request for a union certification election. Audacy declined to comment. Google, YouTube’s parent company, did not immediately return a request for comment.
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The Professional Standard for Pitch Correction Is Faster Than Ever
SANTA CRUZ, Calif., Nov. 9, 2022 /PRNewswire/ — Antares Audio Technologies, creators of the iconic Auto-Tune®, releases Auto-Tune Pro X, a major update to the flagship vocal tuning software. The new Auto-Tune Pro X is faster than ever and includes dozens of new workflow improvements and enhancements.
Among the key new features in Auto-Tune Pro X is a streamlined Graph Mode which makes extremely precise pitch correction effortless. Auto-Tune Pro X also features native support for Apple Silicon processors for lighter CPU consumption, enabling faster performance on the latest Apple hardware.
Antares Audio Technologies, releases the new Auto-Tune Pro X, featuring dozens of enhancements. 

Auto-Tune Pro X includes dozens of exclusive artist presets and a new time-saving Presets Manager that lets you save your most commonly used settings for a quick start on any project. Additionally, with our new Multi-View feature you can edit multiple instances of Auto-Tune from a single window, speeding up your workflow on more complex sessions.  
Auto-Tune Pro X continues to deliver industry-standard pitch correction with fully adjustable Retune Speed, Flex-Tune, and Humanize parameters, and the iconic Auto-Tune Effect.
Key Auto-Tune Pro X Features:
Redesigned Graph Mode
A simplified note-object view and streamlined user interface make Graph Mode even easier to use.
Apple Silicon Native
Built to run natively on the newest Apple hardware for increased speed and plug-in efficiency.
Artists Presets and Presets Manager
An exclusive collection of artist presets and a new Presets Manager to fast-track creativity.
Multi-View
Quickly switch between separate Auto-Tune tracks in a single window to edit multiple vocals, faster.
For the first time, the Auto-Tune Pro X upgrade will include a full year of Auto-Tune Unlimited, the premium subscription service that includes everything you need to produce professional-sounding vocals, including every current edition of Auto-Tune, the recently released plug-ins Auto-Tune Vocal EQ, Auto-Tune Slice, Auto-Tune SoundSoap, Auto-Tune Vocodist, and 11 more essential vocal production tools.
Auto-Tune Pro X is also included with Auto-Tune Unlimited. Both Auto-Tune Pro X owners and Auto-Tune Unlimited subscribers will be first in line to get the free forthcoming update with ARA2 support for select DAWs.
Auto-Tune Unlimited subscribers get free updates to all included plug-ins, plus free access to select future plug-ins from Antares and free video tutorials to help them get the most from their software.
Steve Berkley, CEO of Antares Audio Technologies, says, “There is no question that Auto-Tune transformed music, and today almost all popular music produced with vocals uses Auto-Tune. We understand how essential Auto-Tune is to our users, that’s why we’re so excited to deliver Auto-Tune Pro X to them today. We’ve listened to what our users have asked for and created the fastest and most streamlined version of Auto-Tune Pro ever.”
Download Free Trial of Auto-Tune Pro X here
Availability: Available now to Auto-Tune Unlimited subscribers or as a perpetual license.
Auto-Tune Pro X Press Images
Auto-Tune Pro X Page
Auto-Tune Pro X Reviewers Guide
Auto-Tune Pro X Teaser Video
Antares Audio Technologies is the creator of Auto-Tune®, the leading software for vocal production. As “the sound of the 21st century,” Auto-Tune has revolutionized the music industry and is used in the vast majority of The Billboard Hot 100 tracks. In 2020, Antares released Auto-Tune Unlimited, one of the music industry’s fastest growing and most influential subscription offerings. Antares’ mission is to be the global leader in vocal processing for music, podcasting, gaming, social, and other spoken word applications. The company was founded in 1997 and remains at the cutting edge of technology and culture, with over a million copies of its software sold to date.
SOURCE Antares Audio Technology (Auto-Tune)
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Highlights from Landmark Production of Lena Horne: The Lady and Her Music  broadwaydirect.com
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sonible has introduced a Metering Bundle featuring true:balance and true:level. They say that these new metering tools boast sonible’s intuitive interface design, interactive visualization and straightforward, no-fuss approach: While true:balance precisely monitors the spectral balance of any track, true:level enables users to keep an eye on the interplay of loudness and dynamics.
The impressively named CMO and co-founder sonible GmbH, Alexander Wankhammer, told us, “Adding the dedicated metering plug-ins true:balance and true:level to our portfolio of intelligent processing tools seemed like the logical next step in providing postproduction software that allows users to focus on their creativity rather than leaving them to second-guess technical decisions.”
Here’s more direct from the company…
sonible’s new metering plug-ins, true:balance and true:level, radically improve and streamline audio workflows. Both plug-ins feature a range of target-oriented reference options that draw from a vast amount of audio data and hands-on mixing experience. Catering to the practical needs of users with varying levels of expertise, these reference options are designed for maximum consistency and efficiency.
true:balance – Keeping tabs on spectral distribution
With true:balance, users have access to all the information and guidance they need for a well-balanced mix. An adjustable spectrum analyzer displays both the real-time spectrum of the input signal and the average spectrum over time. To meet listening expectations, true:balance allows to compare the spectral distribution of a mix in reference to either different genres or custom reference tracks.
 
The plug-in’s ability to display level-values–in the lows, mids, and highs–relative to the chosen reference, lets the user focus on the overall balance of their mix and avoids the distraction of too many details. At a quick glance, target indicators show whether input signal levels are close to the suggested values of the reference. For those who appreciate additional guidance, a Balance Check suggests what actions to take in order to achieve a distribution similar to the chosen reference. For precise insight into the proportion of the left and right channels and consequently the mono compatibility of a mix, true:balance also sports a channel data section with all the essential info concerning stereo width and correlation values.
true:level – Closely monitoring loudness and dynamics
By popular demand, sonible has developed true:level as a stand-alone metering plug-in based on smart:limit’s extensive loudness and dynamics monitoring section. Its unique visualization of the interplay between loudness and dynamics makes true:level a revolutionary metering tool for finding just the right trade-off between these qualities in a track.
 
When finalizing a track for publication, users can draw from a range of common references, including the loudness values required for different streaming platforms and the dynamics appropriate for various genres–or they can upload custom reference tracks. With a final Level Check, the plug-in then suggests any necessary actions to achieve the specifications of the reference. Additional features, such as loudness and dynamics histograms, give users a detailed but coherent overview of the audio material’s overall quality.
 Key Features – Metering Bundle with true:balance and true:level
 
·       Dedicated focus on spectral distribution and loudness and dynamics
·       Real-time metering with insightful visualization
·       A vast range of reference options for an efficient workflow
·       Straightforward and intuitive user interface
·       Balance and Level Checks for reliable changes
 
About sonible
From mixing engineers, FOH engineers, and music producers to AI experts, software developers, DJs and musicians – the sonible team is an eclectic mix of highly skilled engineers and creative individuals. We put all of our vast audio experience and user-oriented focus into developing AI-assisted audio plug-ins, designing and implementing 3D audio systems and building audio hardware – sound in all its complexity is our passion.
 
We transform technological possibilities into tools for audio production that are characterized by their incredible sound, intuitive usability and workflow-enhancing features – in short, tools that inspire creativity.
Pricing and Availability:
Metering Bundle: Regular price: € 99,- (incl. VAT) | Introduction price (until December 9, 2022): € 69,- (incl. VAT)
true:level Regular price: € 69,- (incl. VAT) | Introduction price (until December 9, 2022): € 49,- (incl. VAT)
true:balance regular price: € 69,- (incl. VAT) | Introduction price (until December 9, 2022): € 49,- (incl. VAT)
More information:
 
 

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By D.C. Witness Staff – November 7, 2022
Court | Daily Stories | Homicides | Shooting | Suspects | Victims |
During a Nov. 7murder trial, DC Superior Court Judge Marisa Demeo initially delayed the start of the proceeding to await the arrival of two members of the jury. 
Derek Turner, 31, and Ronnika Jennings, 44, are charged with first-degree murder while armed, possession of a firearm during a crime of violence, and conspiracy in connection to the shooting of 28-year-old Andrew McPhatter on March 5, 2017, on the 3500 block of Wheeler Road, SE. 
The third co-defendant, 33-year-old, Duan Hill, is charged with conspiracy and obstruction of justice in this matter.
Turner is also charged with first-degree murder while armed for allegedly shooting 23-year-old Devin Hall on Jan. 7, 2017, on the 3500 block of 6th Street, SE.
As parties awaited the arrival of the two missing jurors, Judge Demeo asked counsel members if they had any motions or arguments that needed to be presented.
Defense attorney Michael Madden notified Judge Demeo that he planned on bringing in a witness that would only be available on Nov. 8 due to his involvement in another case. 
The prosecution had no complaints with Madden’s witness. 
The prosecution also indicated that a witness would testify about Turner’s jail inspection. The prosecutor said there was video and audio evidence that would be vital to connect Turner to having contact with Jennings. 
Judge Demeo asked all members of the defense if there were any objections to the prosecutors introducing the video and audio recording of a conversation held between Turner and Jennings. 
There were objections from Jennings’ defense attorney Russell Hairston regarding a phrase she said to Turner that was not mentioned in court. Hariston said it would violate her fourth amendment right to privacy.
Judge Demeo told Hairston to review the audio and video recordings with the prosecutors to take out all parts of the clips that are in violation of Jennings’ amendment rights.
Judge Demeo let all members of the jury go home for the day.
The next day of the trial is scheduled for Nov. 8.
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Western media lies exposed… again. Listen to a leaked audio recording of BBC Persian TV's Senior Presenter, Iranian-British journalist Rana Rahimpour, unknowingly revealing the real purpose of provoking the riots in Iran recently.
Al Mayadeen is an Arab Independent Media Satellite Channel.
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Michigan governor cites audio difficulty during live TV interview
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Citing a technical difficulty, Michigan governor Gretchen Whitmer on Monday bailed on a live television interview immediately after the host asked a question about the Democrat’s pandemic record.
“Do you have any regrets,” the Fox 2 Detroit anchor asked Whitmer, who in response stared blankly into the camera. The governor then asked someone off-camera if she botched the audio by moving her AirPod, to which the person replied, “It’s okay.”
Whitmer, who frequently disobeyed her own COVID-19 rules, lied about the number of deaths in Michigan nursing homes after she required facilities to take patients who tested positive for coronavirus. The number of deaths first reported was 5,675, until the state’s auditor general found in a January report that the number was 42 percent larger at 8,061.
Her refusal to defend this record comes two weeks after Whitmer falsely claimed that Michigan students were only out of school for three months. A Washington Free Beacon investigation found that some schools used remote learning for more than a year.
Whitmer will face off against Republican Tudor Dixon in Tuesday’s gubernatorial election.
Published under: Gretchen Whitmer, Michigan, Pandemic
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From synths to reverbs, guitar amps to modular, Plugin Boutique is offering incredible discounts on 25 Softube plugins and bundles
Softube has become one the biggest and most respected names in music production software. This is largely down to the company producing some of the best emulations of hardware in software. Model 72, for example, is one of the best software recreations of the iconic Minimooog synth, while Drawmer 1973 Compressor and TubeTech Collection recreate some of the greatest outboard devices the studio world has known. 
But the company also produces plugins based on its own designs; Parallels, for example, is an amazing, award-winning synth. All of these titles and a lot more are available in a huge Plugin Boutique pre-Black Friday sale (opens in new tab), where you can snap up some incredible Softube bargains, with up to 67% off! Here are just a few highlights…
Amp Room: Marshall Edition: €/$499, now €/$195 (opens in new tab)
Amp Room is Softube’s pro guitar and bass platform, featuring emulations of legendary compressors and EQs, classic amps and cabinets, vintage pedals and mics. There are several editions and an incredible 10 Amp Room deals in Plugin Boutique’s Black Friday sale, with the Marshall Edition currently the best deal at more than €/$304 off! You get four classic Marshall amps – Plexi, Silver Jubilee, JMP 2203, & Bluesbreaker 1962 – and eight cabs from the Marshall Cabinet Collection. Softube is the only officially licensed Marshall plug-in developer so you know the quality here is top notch, as is the discount, an incredible 66% off.
Model 72 Synthesizer System: €/$159, €/$79 (opens in new tab)
Softube’s Model 72 is a faithful recreation of the 1972 Moog Minimoog, the most influential synthesizer ever created. It was used by the likes of Kraftwerk and Jean-Michel Jarre and has gone on to become a legendary instrument in music production. Softube’s emulation is one of the best, with the company’s component modelling emulating the original machine’s characteristics down to circuit level. You also get modern flourishes, like a doubler and presets, making this an essential synth for your desktop studio. And at half price, this is a Plugin Boutique deal not to be missed. 
Parallels Synthesizer: €/$149, €/$100 (opens in new tab)
Softube is not just well known for its recreations of classic gear. In Parallels the company has created a completely new synth with some incredible features and sounds. It’s a synth that we described as one that “goes way beyond the usual virtual analogue plugin territory” as it really does deliver something entirely new. With an incredible 67% off – the best discount deal in the Plugin Boutique sale – there’s never been a better time to visit this Parallels dimension.
These Softube deals are just a small selection of those in the Plugin Boutique sale. There are also amazing discounts on recreations of classic Tubetech and Drawmer outboard gear, a great saving on Softube’s Modular synth set-up and more great Amp Room bargains. This is a pre-Black Friday sale that won’t be around forever so if you want to experience some of the best software emulations going, head on over to Plugin Boutique now (opens in new tab). 
And don’t worry too much if you miss out on this, as we’ll be sharing all the best Black Friday plugin deals we can find across Cyber weekend.
Andy has been writing about music production and technology for 30 years having started out on Music Technology magazine back in 1992. He has edited Future Music, Keyboard Review, MusicTech magazines and currently runs Computer Music which he helped launch back in 1998. He owns way too many synthesizers.
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