Watch Hawk Howerton, the architecture company responsible for constructing the Bears‘ new stadium in Arlington Park, released a 31-page document outlining the design of the district surrounding the Bears’ stadium. The first part of the plan outlines the transportation services readily available to access the stadium, followed by the dimensions and approximate walking time/distance around the stadium. The Bears have unveiled their âPreliminary Master Planâ for Arlington Park in an open letter. Town hall scheduled for Thursday. pic.twitter.com/TqzZNDUG0E Interestingly, it outlines the geography of each implemented section of the multi-purpose district. These include the hotel, sportsbook, “Bears fit,” the neighborhood park, parking around the stadium and more. It also displays the green and water areas around the stadium. There will be a green area for tailgating, according to the master plan. RELATED:Schrock: Fields is arriving, and now Bears must build around him For the green and water area, the plan attaches current examples around the city of Chicago and across the country of representations they’d like to derive for their areas. The green space in Lincoln Park is a prime Chicago example. The plan details graphics of what the district would look like in real life. The graphics look similar to that of an outdoor mall – filled with stores, buildings and other commercial renderings that can be accessed with walking paths. The mastery plan is extremely detailed with Bears-centric designs and specific insights to each section of the multi-purpose district. The only missing piece of the puzzle is the stadium design. Every sighting of the stadium in the development plan is an opaque outline. However, Hawk Howerton has created the concept for the rest of the stadium district and its specifics, as seen in the plan itself. Click here to follow the Under Center Podcast.
Jim Chanos, founder and president of Kynikos Associates LP, gestures while speaking during the … [+] Bloomberg Invest Summit in New York, U.S., on Tuesday, June 6, 2017. This invitation-only event brings together the most influential and innovative figures in investing for an in-depth exploration of the challenges and opportunities posed by the constantly changing financial, economic and regulatory landscape. Photographer: Misha Friedman/Bloomberg Legendary short-seller, Jim Chanos, who famously predicted book-cooker Enron’s collapse in 2001, is turning a skeptical eye toward Live Nation, International Business Machines and Block for finagling their financials at a potential cost to their owners. In recent years, companies have slapped the word “adjusted” before various financial metrics, allowing them to report their results in ways that may create misleading appearances of success. “This is something the SEC has let go on for far too long,” Chanos told attendees at the first Forbes Iconoclast Summit in New York. “People think they’re buying profitable businesses, when in many cases they’re buying unprofitable businesses. Live Nation produces shows such as concerts and dispenses tickets for events around the world. The company reported 100 million of tickets and $480 million of adjusted operating income in the first half of the year. Chanos is skeptical of those adjustments, which remove some expenses – like depreciated assets – from the equation. He contends that a large amount of expense that was ignored was legitimate and should have been included in the company’s income. Live Nation Total Return year-to-date He shared a similarly critical outlook on IBM’s revenue accounting, adding that he’s concerned that the company’s shares are trading at 15 times earnings. Last year, IBM spun its infrastructure services business into a separate company, Kyndryl, which it saddled with a mandatory contract that will temporarily buoy the former parent’s revenue. This feat of financial engineering will not hold the company up for long and will need to be replaced, Chanos says. “It’s a melting ice cube.” Chanos closed his session by casting a similarly skeptical outlook towards fintech Block (formerly Square) whose stock is down 66% year-to-date. “This is a company that’s inherently unprofitable,” he says.
Producing music is a talent that can take you to new heights, especially when you have the right equipment.
It can be overwhelming for a beginner because there is a list of equipment you need to create the beats you want. As a novice music producer, some essential tools and equipment will help you with your journey, and the list below can be a good start for you. Computer Modern music production requires a computer with upgraded requirements for the software you also need to make music. It can be a desktop or a laptop. If you’re a beginner, you don’t need a new one as long as your operating system is acceptable for the app. A separate computer is more luxurious, but you can dedicate one to music production if you can afford it. If you are planning to purchase a new computer, you can browse through reputable shops similar to Rupert Neve Designs Shelford Channel for the best equipment you can find. Studio Headphones These specific headphones will give your ears high-quality sound for accurate frequencies when listening to your work. They are also made with comfortable materials if you require listening to music for long hours. If you also want to do an overdub-style recording, you will need the artist to sing along with the background music. Good quality studio headphones are what you need because you’re designing, mixing, or mastering different sounds. You might want to try something along the lines of Focal Pro Listen Professional Headphones with the best crystal-clear sound producers need to create their best tracks. Digital Audio Workstation Also known as DAW, it is a software app crucial for editing, recording, and making audio files. It is your base and the foundation you need to create music. You’ll be recording your music using manual audio recorders if you don’t have one. There are many digital audio workstations to choose from, with various features a music producer can utilize. A DAW typically has staple features, including pitch or tempo modification, recording multiple tracks, and filtering. You can find them in different brands. Think of DAW as the canvas for your painting. It is where you could put together the sounds in music production. Audio Interface Consider it the bridge between your microphones and instruments and the computer. Audio interface for beginners can cost under USD$200. Once you get the hang of producing and feel that you can work with something that has more features, you will find audio interfaces that you can work with based on your newfound skill. For now, you want to look for the following in your audio interface: How many microphones of XLR (External Line Return) can you connect to the audio interface? It then leads you to the question if you want to record multiple things simultaneously. You will need more budget for an audio interface with multiple microphone inputs if you do. How will it connect to your computer? Your PC or laptop must be able to accommodate the audio interface you’ll choose. Many interfaces will connect to the USB port. Some will require Thunderbolt or Firewire ports. Does your interface have Phantom Power? You will need to be specific and ask for microphones that work with interfaces with Phantom Power. It is the process that some microphones need to receive electric power. You can look into certain electronics brands that offer a wide range of music production equipment, including audio interfaces. They have fields for professional studios and less expensive options, including breakout cables and other accessories. MIDI Keyboard You can think of it as a blank keyboard where you can dedicate various sounds through your computer. Today’s most in-demand MIDI (Musical Instrument Digital Interface) controller allows producers to play the sounds you set up through your computer. If you’re into computer-based music recording, you will need this. The MIDI keyboard sends MIDI data to the computer or other devices that activate sounds from a separate external source. The source can be a digital instrument from your DAW or another hardware. VST Plug-Ins VST means Virtual Studio Technology, which is the digital sounds from your computer. Think of drums, FC strings, keyboards, choirs, and more that are the ingredients to the music you want to create. Many producers today use VST audio instead or real musical instruments. People say that advanced technology makes the sounds so real that you won’t be able to tell the difference to some extent. In Conclusion These are the essentials you need if you’re a beginner wanting a home studio. You can upgrade your equipment when you’re finally accustomed to producing music. There are other types of equipment you will need if you’re working to have a professional studio. But the mentioned ones are the ones you need to get started with your music production journey.
Washington Property Co. has opened a luxury apartment community in downtown Silver Spring, Md. Solaire 8200 Dixon is a 27-story building featuring 403 units. Resident move-ins began in October. The firm broke ground on the $163 million asset in 2020. WPC has invested in and developed some $20 million worth of community infrastructure in the Silver Spring area, including road improvements, sewer pipes and water drainage facilities. The firm delivered its first Silver Spring property in 2012, when it opened the Ripley District’s first multifamily tower, Solaire 1150 Ripley. Since then, WPC has also completed Solaire 8250, a 20-story, 338-unit luxury community in the same area. Formerly a declining industrial zone along the Silver Spring railroad, Ripley District now features more than 1,300 apartments with the addition of the Solaire 8200 Dixon. The asset was developed by WPC in partnership with the Cresset-Diversified QOZ Fund I. The fund, managed by Cresset Real Estate Partners, is the first of three funds the firm has established for real estate projects in qualified Opportunity Zones. There are currently investments in seven assets through the fund. Solaire 8200 Dixon is the tallest building in Silver Spring. Designed by Design Collective and built by the Clark Construction Co., the asset is located on the former site of Progress Place. The Montgomery County-owned facility, which provides aid to the homeless, has since been relocated. WPC partnered with the county to deliver the new Progress Place, which houses nonprofits such as Shepherd’s Table, Mobile Med and Interfaith Works. According to Yardi Matrix data, 60 units in the building are affordable. Approximately 30 percent of the total units have been leased. Designed to achieve LEED Gold certification, the new community has studio, one- and two-bedroom homes. Located at 8200 Dixon Ave., residents are in proximity to the Silver Spring Metro Station. Downtown Washington, D.C., is a 20-minute drive from the property. Community amenities at Solaire 8200 Dixon include a fitness center, rooftop pool, lounge, yoga studio, coworking spaces, club room and pet spa. Residents also have access to bike storage, dry cleaning services and electric vehicle charging stations. Individual homes feature balconies, washers and dryers and floor-to-ceiling windows. The property will also offer Solaire Social, a food and beverage area with nine local dining options, set to open in spring 2023. According to Yardi Matrix data, the building has 15,000 square feet of total ground-floor retail space. The latest multifamily news, delivered every morning.
By Jeff Niesel on Mon, Nov 7, 2022 at 8:33 am Martha on the Fly in Tremont Adds Lunch Service and Expands Days of Operation By Douglas Trattner Town of Chickasha, Oklahoma Somehow Builds 50-Foot-Tall Leg Lamp Statue Before Cleveland By Vince Grzegorek Subscribe now to get the latest news delivered right to your inbox. New Heavy Music Festival Slated to Take Place on December 3 at Beachland By Jeff Niesel Paramore To Play Rocket Mortgage FieldHouse in 2023 By Jeff Niesel Mushroomhead’s Ryan ‘Dr. F’ Farrell To Give Graduate Recital on November 19 By Jeff Niesel Singer-Songwriter Marc Lee Shannon To Release His First Book on November 10 By Jeff Niesel Paramore To Play Rocket Mortgage FieldHouse in 2023 By Jeff Niesel Trans-Siberian Orchestra Drummer Discusses the Tour Coming to Youngstown and Cleveland By Jeff Niesel Rebelution To Bring Good Vibes Summer Tour to Jacobs Pavilion at Nautica in July 2023 By Jeff Niesel Yo La Tengo To Play Beachland Ballroom in March 2023 By Jeff Niesel View more issues Read our sister publications 737 Bolivar Road Cleveland, OH 44115
The Observer Media Group Inc. respects your privacy and values the relationship we have with you. We use technology to collect information that helps us enhance your experience and our products and services. The cookies we use help us understand what information and advertising are most useful and valuable. Please take a moment to review our Cookie Policy and Privacy Policy. By clicking “Accept,” you agree to our use of cookies and similar technologies. There was a time, not too long ago, when a $5 million residential listing in the Sarasota-Manatee condo market was like a Florida cool breeze in September: rare, but not unheard of. Winds, of late, are starting to swirl with more frequency. A trio of projects at varying stages of development on Longboat Key and Lido Key are delivering 149 condos with prices starting at $2 million and reaching as high as $22 million. Multiple units have already sold for over $10 million, and one, in a lower price point, has already been resold at 50% appreciation — before it’s even finished. Officials with all three projects cite a high quotient of supply and demand dynamics, combined with pristine waterfront locations, to explain the sales flurry. “This is a product that hasn’t been (built) on Longboat in a long time,” says PMG Managing Partner Dan Kaplan, talking specifically about Sage Longboat Key Residences. That could be said for the other two projects, Rosewood Residences Lido Key and St. Regis, too. Details on each project include:
Developer: Naples-based luxury real estate developer The Ronto Group and Wheelock Street Capital, a Greenwich, Connecticut-based real estate investment firm. Location: Site of two former adjacent hotels on Benjamin Franklin Drive on Lido Key. The Ronto Group paid $15 million for Coquina on the Beach in June 2021 and $24.5 million for the Gulf Beach Resort Motel in February 2021, Sarasota County property records show. On a combined 3.5 acres, the properties were demolished to make room for Rosewood. Units: 65 residences, from 3,300 square feet to 5,000 square feet. Amenities: Private restaurant and chef services for in-residence dining and catering; fitness center with options for private training and yoga sessions; outdoor pools; private guest suites with housekeeping service; a lounge featuring a library and game room and a 24-hour concierge managed by Rosewood. Also, every unit has unobstructed views of the beachfront, says sales associate Julia DeCastro. Price points: $5.9 million to $15.3 million. Sales: Through early September the project had sold 10 units, DeCastro says, totaling about $100 million in sales volume. Buyers are from Kentucky, Dallas and Phoenix, among other locations. Expected completion: Fourth quarter of 2025 or first quarter of 2026. Behind the scenes: From Rosewood Hotels and Resorts, a unit of Hong Kong-based Rosewood Hotel Group, the project marks the first time the Rosewood brand will have a standalone residential project not connected to a hotel. It’s also the first significant development on Lido Key since 2005, DeCastro says. More information: ResidencesLidoKey.com
Developers: New York City-based Property Markets Group, which also has an office in Miami, and Sarasota-based Floridays Development Co. PMG helped develop The Concession in Lakewood Ranch. Location: Former Sun ‘n’ Sea Cottages and Apartments at 4651 Gulf of Mexico Drive. Developers paid $13.25 million for the property, on 3.4 acres, in September 2020. Units: 16, all at least 4,000 square feet. Interiors include 12-foot ceilings, 8-foot entry doors, floor-to-ceiling windows and expansive private terraces. Amenities: Include large modern gym and yoga studio, elite concierge service, lap pool and spa and beach service. Price points: Mid-$4 millions to $6.3 million. Sales: Project sold out as of summer 2021. One buyer, says PMG Managing Partner Dan Kaplan, already resold his unit for 50% higher than what he paid for it. Buyers are from Orlando, Tampa, Chicago and Boston, among other spots. Expected completion: First quarter of 2023. Behind the scenes: Kaplan says while some considered the price points “aspirational” in early-planning stages, the explosive real estate market helped the project outperform even the lofty price structure. Kaplan cites the location, amenities and Sage’s strategy of building the units like a single-family home, down to the individual elevator entrance for each residence, as major factors in the success. More information: SageLongboatKey.com
Developer: Orlando-based Unicorp National Developments Location: North side of the former Colony Beach & Tennis Resort on Longboat. Unicorp paid $22 million for one portion of the land — the Colony’s 17.6-acre recreational property — which it bought during a settlement agreement in 2016, a company official says. The company declines to disclose the total price paid for the land. Units: 69 condos in three towers and a 166-room luxury hotel. Floor plans range from one to four bedrooms, many with sweeping Gulf of Mexico views. Amenities: Includes two restaurants, a beach grill and three bars, in addition to a variety of features under the St. Regis brand. One of those, says Unicorp Development Manager Zack Justice, is a saltwater lagoon, where users can scuba dive, snorkel and more. “It’s everything you expect in a St. Regis hotel,” Justice says. Price points: $2 million to $22 million. Sales: The condo side of the project is totally sold out, says Justice. Buyers came from as far away as Texas and California, and as close and Sarasota and Orlando. Expected completion: July 2024. Behind the scenes: Justice says the company and the project’s builder, Moss Construction, took a proactive approach to supply chain issues plaguing the industry. To wit: it rented a 25,000-square-foot warehouse in Sarasota to store some 200 bathtubs. This way, when the bathrooms are ready, the builder doesn’t have to wait. “It just made sense for us to buy those now,” says Justice. More information: SRResidencesLongboatKey.com Join the Neighborhood! Our 100% local content helps strengthen our communities by delivering news and information that is relevant to our readers. Support independent local journalism by joining the Observer’s new membership program — The Newsies — a group of like-minded community citizens, like you. Be a Newsie. View the discussion thread. Verified Audit 1101 Fifth Ave. Ste, 270 San Rafael, CA 94901 (415) 461-6006 www.verifiedaudit.com
Partly cloudy skies. High 47F. Winds N at 5 to 10 mph.. A few passing clouds, otherwise generally clear. Low 29F. Winds light and variable. Updated: November 8, 2022 @ 5:23 am Singer-songwriter Lionel Richie poses in the press room during the Rock and Roll Hall of Fame Induction Ceremony in Cleveland on Oct. 30, 2021. (Dustin Franz/AFP/Getty Images/TNS)
Singer-songwriter Lionel Richie poses in the press room during the Rock and Roll Hall of Fame Induction Ceremony in Cleveland on Oct. 30, 2021. (Dustin Franz/AFP/Getty Images/TNS) Lionel Richie can now say hello to another illustrious award. The chart-topping singer-songwriter will receive the “Icon” honor at this month’s American Music Awards to recognize his decades of influence, organizers announced Monday. “I’m immensely grateful for a career that has taken me to places I never imagined that I’d go, from arenas worldwide to studio sets to the AMA stage,” Richie said. “I can recall one of the first times I got to perform at the AMAs. It was to sing ‘We Are the World’ among the most iconic musicians of my generation, so it is surreal to be receiving this recognition 36 years later.” The award will be the 18th that Richie has received from the AMAs, with previous honors including favorite pop/rock male artist in 1985 and 1987. The 73-year-old has released 10 studio albums and earned a dozen No. 1 hits, including “Hello,” “All Night Long (All Night)” and “Dancing on the Ceiling.” He has starred as a judge on the ABC singing competition “American Idol” since 2018. The AMAs introduced the “Icon” award in 2013, naming Rihanna was the first recipient. The honor is designed to recognize a body of work that’s had “a global influence over the music industry,” organizers say. Richie will be on hand to accept the honor at the Nov. 20 ceremony at the Microsoft Theater in Los Angeles, which ABC will broadcast live. Carrie Underwood, Imagine Dragons and Pink are among the show’s performers. ———
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Advertisement Supported by The Long Island jury convicted Michael Valva of second-degree murder for killing his 8-year-old son, Thomas, who contracted hypothermia when he was made to stay in a freezing garage. Send any friend a story As a subscriber, you have 10 gift articles to give each month. Anyone can read what you share. By Chelsia Rose Marcius A Long Island jury on Friday convicted a former New York City police officer in the death of his 8-year-old son, an autistic boy who died from hypothermia nearly three years ago after his father forced him to sleep in a freezing garage. The former officer, Michael Valva, 43, of Center Moriches, Long Island, was found guilty of second-degree murder and four counts of child endangerment after a six-week trial at Suffolk County Court in Riverhead, Long Island. The jury returned its unanimous verdict after about seven hours of deliberations, the Suffolk County district attorney’s office confirmed on Friday. The case cast a harsh light on Suffolk County’s child protection agency. The principal and teachers at East Moriches Elementary School, where Thomas Valva had been in third grade, had made at least two dozen calls to child protective services in the three years leading up to his death. Suffolk County prosecutors said that Mr. Valva had physically and verbally abused two of his sons for years before Jan. 17, 2020, when Thomas, who went into cardiac arrest, died from hypothermia, according to an autopsy report from the Suffolk County medical examiner. Raymond A. Tierney, the district attorney, said he was satisfied with the jury’s decision, but it could do only partial justice. “This guilty verdict will not bring back 8-year-old Thomas, who suffered immense cruelty at the hands of his father,” he said. Mr. Valva, he said, “will now pay for cutting short the life of a young, innocent, defenseless boy who had a lifetime ahead of him.” According to testimony and text messages between Mr. Valva and his former fiancée, Angela Pollina, the couple had for months repeatedly locked Thomas and his then 10-year-old brother, Anthony, who is also autistic, in an unheated garage at their home at 11 Bittersweet Lane. Ms. Pollina, 45, has also been charged with second-degree murder and child endangerment, and will be tried later. Both Mr. Valva and Ms. Pollina pleaded not guilty to the charges. Mr. Valva showed little emotion during closing arguments on Thursday. He looked away when a photo of his son in the morgue was shown on a small screen at the defense table. About 70 people had packed the small courtroom, taking up nearly every seat. About a dozen residents from the community who had been there for almost every day of the trial had also come to watch. John LoTurco, Mr. Valva’s lawyer, conceded to the jury that his client was guilty of all four counts of child endangerment. But he asked jurors to consider lesser homicide and manslaughter charges that carry significantly less prison time. He argued that for prosecutors to prove Mr. Valva had committed second-degree murder, they would have to show that he exhibited “depraved indifference” toward his son. Prosecutors, he said, wanted to paint Mr. Valva as a “coldblooded monster, a werewolf with no love in his heart, who did not shed a tear over the death of his son.” “You’d have to believe that he had utter disregard for Thomas’s life, that he simply did not care whether Thomas would die. And that’s absolutely not true,” Mr. LoTurco added. But Mr. Valva’s treatment of his children had been a longtime concern. Teachers filed reports that the brothers arrived to school with bruises and abrasions on their bodies. Instructors saw Thomas and Anthony eat crumbs on the floor and food out of the trash. The children were constantly cold, according to the testimony, and they wore Pull-Ups because they were incontinent due to stress and to long bouts of not using a bathroom while at home. On Jan. 17, 2020, Thomas, who was in the garage, had urinated and defecated on himself just after 8 a.m., according to an audio recording from a security camera in the home. Mr. Valva told Ms. Pollina that he should make the boy eat the feces. He berated his son, using expletives as he screamed at Thomas for soiling his pants before school. He then ordered Thomas to strip down, according to the recording. The boy went to the backyard so that Mr. Valva could douse him with cold water. Thomas fell as he walked, striking his head on the concrete, video footage from a neighbor’s security camera shows. “You can’t throw an 8-year-old out into 19-degree weather naked after having him sleep on a cold garage floor and not expect that the child is going to be hypothermic,” said Kerriann Kelly, a Suffolk County prosecutor. About 8:50 a.m., Mr. Valva, who had brought his son back into the garage, can be heard on an audio recording from a security camera swearing as he tells Ms. Pollina that Thomas is catatonic. He repeatedly yells “Wake up! Are you alive?” and slaps Thomas each time. After trying a warm bath Mr. Valva called 911 at about 9:40 a.m. before performing cardiopulmonary resuscitation. Doctors at Long Island Community Hospital took Thomas’s temperature. It was only 76.1 degrees. He died at about 10:30 a.m. “This is depraved-indifference murder by a man who had an utter, complete disregard for the life of his child. And he did nothing that day but lie, and treat his child in a cruel, inhumane way,” Ms. Kelly said in her closing arguments on Thursday. She showed the jury the last known photo of Thomas, taken by his teacher on Jan. 16, 2020. Thomas, who wore a dark gray long-sleeve shirt, was smiling as he gave her a thumb’s up. Ms. Kelly then showed a photo from the next day. It was the one taken at the morgue. Thomas was pale and his lips were blue, with his dark eyelashes standing out against his snow-white skin. Advertisement
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Submitted Photo Silver Creek Middle School will present a musical performance of “James and the Giant Peach” — a classic tale of love, wonder and what it means to be a family by Roald Dahl — in the district auditorium at 1 Dickinson Street on Wednesday and Thursday at 6 p.m. “We are SO excited to share all of our hard work and dedication with the community and would love to see a full house both nights!” says music teacher Phillip McMullen. “We are looking forward to seeing you there!” The community is warmly welcome to enjoy this production featuring 100-plus students involved from singing to acting and from stage crew to set design. Tickets cost only $5 at silvercreekhs.seatyourself.biz. Today’s breaking news and more in your inbox The Veterans Remembrance Ceremony at the State University of New York at Fredonia will be on Thursday at 3:30 p.m., … COFFEE CLUB TO MEET The Roblin Steel Coffee Club will meet at 8:30 a.m. Friday at Demetri’s in Dunkirk. … The 1891 Fredonia Opera House Performing Arts Center continues its History Lecture Series on Thursday at 7 p.m., … For over a decade, the Small Business Development Center (SBDC) at Jamestown Community College has hosted the Women … MONDAY, NOV. 7 Darwin R. Library presents: “Preschool storyhour” All children are welcome to come to the … Today’s breaking news and more in your inbox
Narc. Magazine Online Reliably informed Ali Welford talks to the bedroom-pop artist-turned-producer ahead of her new album release By Ali Welford on Monday, November 7th, 2022 A living, breathing embodiment of the bedroom-pop aesthetic, Alice Rowan’s creative musings as Mayshe-Mayshe are an ever-dependable delight; a sonic shelter where an aptitude for perfect pop meets exquisitely tuned low-key intimacy. “Songwriting has always been like a diary for me,” she confides. “It’s a way of expressing what I’m going through and what my thoughts are – kind of like self-therapy, for processing the state of the world.”
To that end, it’s little wonder new album Indigo marks a departure in tone from Alice’s 2019 debut Cocoa Smoke, grappling as it does with a triple-layered shit sandwich of mental health, politics and the environment following a period where society’s wrongs have been magnified like never before. “People have quite often seen my music as twee and light-hearted and I do enjoy making things sound cheery and poppy, but this album goes to some darker places in a thoughtful and fun way. I enjoy the juxtaposition; it almost jars, but in a way which I love.”
Based in York, Alice has been a regular visitor to the North East in recent years (this month’s album launch tour includes no less than three local dates), with plenty of DIY show regulars already acquainted with her knack for a sugary synth loop and earworm chorus. Many will delight at the return of her trademark hairdryer over the stuttering bobble of Eczema, yet perhaps the record’s most striking, immediately accessible moment is Dark Mountain, a lead single whose origins stem from a Moomin tale concerning an ant nest, a perfect glade of grass and a can of gasoline.
this album goes to some darker places in a thoughtful and fun way. I enjoy the juxtaposition “That song’s a stream-of-conscious outlet of where we are environmentally,” she reveals. “I’m constantly hitting against ethical dilemmas within society and the systems we live under. The clothes we wear. The food we buy. Whether I drive to a gig. Whether I get on a plane to see my friends in America… It’s overwhelming, so my response has always been about my little world and what I can do to make it better, rather than focusing on the bigger picture.”
While the core components of melody and lyricism will stand out to most listeners, it’s clear Alice is no less enthused by the nuts and bolts of music production. “I learned how to use an audio interface in Ableton just a few months before I recorded Cocoa Smoke, so I’ve 10-times the experience now. It’s been so empowering to turn the sonic landscapes in my head into tangible things that I can share with people. It’s something which, as a younger artist, I had no idea would be possible. I thought that to do that you’d have to be thoroughly trained, have worked in a studio for 20 years and probably be a bloke!
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The film stars Varun Dhawan and Kriti Sanon in lead roles Music composer duo Sachin-Jigar released their track ‘Apna Bana Le’ from the Varun Dhawan and Kriti Sanon-starrer ‘Bhediya’ on Saturday. The track, a love song, has an interesting back story to it as the composers travelled to Dubai to conceive it. Sachin and Jigar told IANS: “We wanted to stick out our neck for this song because love songs always enjoy a longer shelf-life. Sometimes, they outlive the film that they belong to. We went to Dubai with Dinesh Vijan, Amitabh Bhattacharya, and director Amar Kaushik, to seek inspiration away from the hustle bustle of Mumbai and it did happen.” Describing how the song came into existence, Sachin said: “Jigar sang something from top of his head during that trip and Amitabh went crazy saying, ‘Lock that lock that! That’s our song’. So, I feel a song has its own destiny about where it comes from and where it lands.” The composers approached this song from a different angle as they merged the elements of Indian classical with an edgy music production for the song. Explaining the idea behind taking this different route for the song, Sachin said: “For the texture and the fabric of the production of ‘Apna Bana Le’ we wanted to keep it edgy and as relevant as possible. The essence of the song lies in the sweet pain that comes with the feeling of falling in love.” Jigar further told IANS: “The tune also has an Indian vibe to it with semi-classical texture. But, we diluted the heavy Indian influences of the song with edgy music production of the track. I feel a soulful melody always travels to the heart of a listener compared to other tunes.” ‘Apna Bana Le’ has been crooned by Arijit Singh. The duo have earlier worked with Arijit for songs such as ‘Valam’ from ‘Made In China’ and ‘Meet’ from the Kangana Ranaut-starrer ‘Simran’. Interestingly, both the composer duo and Arijit have assisted music director Pritam. Talking about collaborating with Arijit once again, the duo said: “He is a true artist, a genuine musician and extremely humble. The best quality about Arijit is that he knows how to get right into the composer’s mind. And hence, the last four lines of this beautiful love song are commendable. We have had the best times of our lives working together on this song and we how this association blossoms and many more hit songs are made in the future.”
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You are here: byMaxance Vincent Executive music producer Ian Eisendrath was tasked to work closely with songwriters Benj Pasek and Justin Paul on Lyle, Lyle, Crocodile‘s vast array of highly memorable songs. Via Zoom, the executive music producer described the job as taking responsibility for “the whole musical product and supporting the songwriters, the directors, the studio, the actors, and mixers in evolving the film. I aim to get each song to its ultimate place, what it should be, and how it can serve the story. But we also want them to be a really great song. I worked on the album after that, in which you take the songs from the film and figure out the best way for them to live on an album, which sometimes involves adding an ending, making some cuts, and expanding some things that we might have had cut from the film.” The film’s songs are pre-recorded by the actors before they perform them on set, which Eisendrath describes as “a great process because we’ll already have rehearsed the song for the actors. We’re in the studio, the directors are there, and they can explore and come up with options for what the song could be. I think that is a great opportunity for everyone to get on the same page. Because we put together a concrete plan for the directors, they’re able to say, “Well, I actually wished that he sounded a little more tortured on this word,” or “I’m missing his optimism at this moment. “ We end up with a document that describes what everyone thinks the song should be before the shooting. And when you get on set, and the camera starts rolling, what the song becomes is sometimes different than what you thought it should be in the studio. We then record the actors live on set. We’re making sure that they are singing things in a way that is in sync with the tempo, the rhythm, and the melody of the songs, but also sometimes asking for things that might be different than what was originally recorded so that we have that option as well. In post-production, we then figure out what is the greatest version of the songs now that we know what’s going to be on the film, and we know what the actor is going to look like. We know what their intention is. We know what the structure of a song is because we might start with a song that’s five minutes, and then it used to be cut down to two and a half minutes for the picture.” On rehearsing songs with the film’s main cast, Eisendrath explained that everyone he worked on the project had a different approach: “You have Shawn Mendes, who has obviously spent a bit of time singing. That process was less of, “Let’s get you really comfortable singing,” and more of “Let’s get you in the studio, and let’s throw some paint in the wall and have you give us all of these versions.” What was really fun with Shawn was that he always makes great musical and vocal choices. And he is also an actor, as a signer. You listen to his songs, and you hear him acting in his pop songs. He’s not playing himself or a character that he’s written. He’s playing Lyle, who has a specific set of needs, wants, and things to communicate. It was really fun exploring that with him in the studio, the sort of moment-to-moment, dramatic beat of each song and how to accomplish that, not only musically, but in a way that will be compelling in the mouth of a CGI character on screen. Then you have someone like Javier Bardem, one of the great actors of our time. He has had singing experience in the past, but I don’t believe he would call himself a singer first and foremost. With someone like that, I will spend hours and hours looking at the song as a monologue. Javier actually has an amazing voice, because he has sung before. We weren’t starting from scratch. But we started to add some pitches, and rhythms, and get him in the center of the interior life of every lyric and the character from moment to moment during the song. That frees him to use his voice, as an actor, to accomplish what his character needs to accomplish. At the same time, every actor works with vocal coaches. So while I’m coaching the songs, and how we want them to sing each phrase, and the articulation through the style and all of that, I’m very much doing that in tandem with great vocal coaches who are working out their voices and strengthening the muscles and the instruments so that they can be at their most flexible place in the studio, so that we can have all options open.” Eisendrath praised Benj Pasek and Justin Paul’s work on the movie because they are great dramatists: “They’re always thinking about story and characters. They will often be like, “We’re not ready to write a song until we really understand what is happening on screen, and what the beat of the story is the song covering.” When they write, they aren’t just writing melodies. They aren’t just writing accompaniment, they aren’t just thinking about music production. They’re thinking of how the character would say, and sing each of these lyrics. Their rhythms tend to be incredibly specific. A lot of my job is to figure out, what they want, why they wrote what they wrote, and then how to work with the actor to get that. Both of them are also great singers. So they just have a very clear sense of what they’re after with these songs, and what the singer needs to do in each song.” Pasek and Paul are songwriters who “have found a way to write pop songs that can stand on their own, be universal, and something that every single person can see and hear their own story. They also create something that is completely functional within the story. The goal is always both. But in a film like Lyle, with a song like “Take a Look at Us Now,” it’s a very specific style sung by a specific character in a specific location. While that story is character-driven, they still wrote a song that you could believe as a pop song of that character’s era and of that character’s world. That is something that anyone could sing and hum and find really great. But then you go to songs like “Carried Away” or “Top of the World.” If you were to encounter those songs outside of Lyle, Lyle, Crocodile, I would put money on the fact that you would not think that the song is sung by a crocodile on a rooftop showing his new friend the wonders that await him. You would only think that it’s a great song, written by a singer, and is about an expression of what it means to be human. But when you put that in the context of the story, every single lyric relates to a specific aspect of that character, their present situation, what they are longing for, hoping to accomplish, or sharing. And that character can play and express a dramatic objective, which we always look for in narrative-driven songs, especially in the first-person tense. We need to know why they are singing, what they are trying to accomplish, and the point of delivering these words. It can never just be because we need a song there.” On working with directors Josh Gordon and Will Speck, Eisendrath described the process as being wonderful: “We all worked really closely with them. They would first meet with Benj and Justin, and they would talk about what the vibe of the song might want to be or what it might want to accomplish. Benj and Justin really want to understand what the directors are envisioning, what they’re looking for, what’s going to be on camera, and what the action is so that they can figure out, what the tempo is, what is the hook, what does the song feel like, how it evolves, where it starts story-wise, and where it ends. From there, they would go and write, and then come up with their first draft. They present that back to the team and get feedback. Pretty soon after that, we head into a demo, where we will get the movie scored out and get a small group of musicians, some demo singers to work on the song in the studio to help realize what it’s going to be, which then becomes a sort of rehearsal document until we get our actual cast on those records.” Eisendrath also described his collaboration with composer Matthew Morgenson, who praised him for “such a beautiful job at creating a score that feels like it leads us from song to song. I think what Matt did so beautifully was pulling those themes from the songs, turning them on their heads, and figuring out how to use the motifs and language of these songs in a way that will tell a story and connect everything into one giant musical texture. Not to mention with a million ideas of his own, but I respect the fact that he did find really artful and subtle ways to fold in thematic material from the songs to help develop character and the dramatic intensity of a situation.” Eisendrath also worked on Spirited with Benj Pasek and Justin Paul, which releases in select theatres on November 11 and on Apple TV+ on November 18. The movie is described by Eisendrath as “a modern retelling of the classic Charles Dickens story, A Christmas Carol, starring Will Ferrell, Ryan Reynolds, and Octavia Spencer. It’s a giant musical. It exists in sort of a fantastical space where the ghosts sing, and dance. It’s extra-musical theater. It’s fun, absurd, but also really moving. And it’s just really incredible to see Ryan will and Octavia sing these songs and tell a timeless story.” Lyle, Lyle, Crocodile is now playing in theatres everywhere.
Loading… filmian eisendrathInterviewInterviewslyle lyle crocodileMusic Maxance Vincent is a freelance film and TV critic, and a recent graduate of a BFA in Film Studies at the Université de Montréal. He is currently finishing a specialization in Video Game Studies, focusing on the psychological effects regarding the critical discourse on violent video games. See more SUBSCRIBE TO ALWAYS BE ON OUR RADAR
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Maxance Vincent 
