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By Alby Gallun
November 2, 2022
The Willis Tower’s revamped front lobby. With a five-story addition that includes restaurants and retail space, the building today is more inviting to outsiders, including neighborhood office workers and residents, than it was in the past. (Garrett Rowland/EQ Office)
Undermanaged and underinvested for years, the newly unveiled, amenity-rich redevelopment appears prescient.
Blackstone Group made a huge bet on downtown Chicago in 2017, the year it launched a $670 million redevelopment of the Willis Tower, the city’s tallest skyscraper. It would have been hard to imagine at the time that a pandemic would sweep around the globe just a few years later, pushing Chicago office vacancy rates well above 20 percent and causing some to wonder whether companies would even need office space anymore amid the new hybrid work models and shrinking space requirements.
It is not a good trend for any property, especially a 4.5 million-square-foot (418,000 sq m) colossus like the Willis Tower. But Blackstone is counting on the skyscraper’s new and improved version to succeed in a post-pandemic market as companies explore ways to draw employees back to the office.
Five years later, the project has transformed a 110-story building previously known mainly for its height into a bustling, amenity-rich real estate mashup that caters to tenants, tourists, and neighborhood office workers and residents. New York City–based Blackstone has added cafés, a bar, lounges, and a large fitness center for tenants and revamped its Skydeck observatory, one of Chicago’s most popular tourist
destinations.
The building’s main attraction is Catalog, a five-level, 300,000-square-foot (27,900 sq m) addition on the south side of the structure that includes restaurant and retail space topped by a landscaped rooftop terrace, all open to the public. Blackstone is also wrapping up a $60 million overhaul of Willis Tower’s antiquated elevators, cutting down on long waits and ride times for tenants traveling to and from the building’s upper floors.
The redevelopment changed Willis Tower “into a leading building based on what tenants and employees want today,” says David Moore, senior vice president and portfolio director of EQ Office, a Blackstone company that manages the private equity firm’s office portfolio.
“The way you get them to come back in is to deliver a commute-worthy experience,” says Bob Chodos, an office tenant broker and vice chairman in the Chicago office of Newmark. “Companies want to find ways for people to come in without compelling them to come in.”
Finding the Right Mix
Building amenities offer one solution. Well before COVID-19, landlords were adding rooftop terraces, bars, lounges, and fitness centers. Those features are even more important now.
“Every building of size now has a real amenity package,” says Danny Nikitas, principal and office leasing director in the Chicago office of Avison Young. “Just to get in the game, you’ve got to have that or you’re not going to even get a tour” with a prospective tenant.
That is one reason Chodos thinks Blackstone’s redevelopment came at a propitious time.
“Without it, I think the building would be struggling hard,” he says. “Frankly, they are better positioned in the market for a post-pandemic recovery. They are way out in front.”
It is too early to say whether Blackstone’s investment will pay off in the long run, but recent leasing activity suggests that the project has given the Willis Tower a competitive edge. In June, IMC, a Dutch trading firm, signed a lease to expand its space in the building to 160,000 square feet (14,900 sq m), up from 110,000 (10,200 sq m). About a week later, Abbott Laboratories leased 100,000 square feet (9,300 sq m) there for a satellite office, an alternative for employees who would rather work downtown than in Abbott’s headquarters in the far northern suburbs.
The building is already 88.8 percent leased, according to real estate data provider CoStar Group. The redevelopment has given Blackstone the power to raise rents, says Brian Whiting, president of Telos Group, a Chicago-based brokerage firm hired by EQ Office to handle office leasing duties at the Willis Tower. Tenants have signed recent leases there for $38 to the mid-$40s per square foot on a net basis, up from about $28 per square foot for the firm’s first lease in the building, he says.
“Without [the redevelopment], it would still be a commodity building,” Whiting says.
The building’s addition includes Atmospheric Wave Wall, an art installation by Olafur Eliasson, near the south entrance of its Skydeck Chicago tourist attraction. (EQ Office)
Evolution
The property has gone through multiple ups and downs since it opened as the Sears Tower in 1973. The high-rise headquarters of the Sears department store chain became an immediate icon as the world’s tallest building, a title it held until 1998. In 2013, the 1,451-foot (442 m) skyscraper lost its standing as the tallest structure in the United States to One World Trade Center in New York City. It took its current name in 2009, when London insurance brokerage Willis Group Holdings signed a lease for space in the building that included naming rights.
The tower’s performance suffered after 9/11 amid worries that it was a target for terrorists, and it could not keep pace with the top office towers in the city under an ownership group led by New York investor Joseph Chetrit.
“The prior owners did not invest in the building,” Chodos says. “They kind of ran it into the ground.”
Blackstone, one of the world’s biggest real estate investors, bought the Willis Tower in 2015 for $1.3 billion, the most ever paid for a U.S. office building outside New York. It was arguably also the biggest fixer-upper in Chicago history.
For years before, the Willis Tower was inward-looking, welcoming its tenants but making a limited effort to attract outsiders, aside from visitors arriving through a separate entrance to its Skydeck observatory. Gensler, the architecture firm that Blackstone hired to redesign the property, has attempted to change that.
Shifting Perspective
Through Catalog—a reference to the building’s past as the headquarters of Sears—and other additions, Gensler has opened up the building to tourists who might want to grab a bite to eat before hitting the Skydeck, or to workers from neighboring office buildings over their lunch hour. Restaurant tenants include Do-Rite Donuts, Sweetgreen, Sushi-San, and Tortazo, a Mexican concept created by well-known chef Rick Bayless. Kindling, a sit-down restaurant, and an Urbanspace food hall are on track to open in the coming months. Event space provider Convene occupies Catalog’s entire third floor, its largest space in the city.
With multiple demand drivers, Catalog can sustain more restaurants than a typical office building could—a bonus for office workers in the tower.
“Having that strong user base really drives a thriving retail environment, which supports the office population,” Moore says. “Each user helps prop the other one up.”
Catalog’s rooftop terrace—a public space that includes beehives and features a summer concert series—is a “sneaky hidden gem,” says Brad Serot, a Chicago office tenant broker.
The renovation gives the building “a competitive advantage coupled with the fact that you have these unencumbered views on its upper floors,” he says.
To boost the Willis Tower’s strength as a tourist destination, Blackstone invested in a new interactive exhibit about the history and culture of Chicago that visitors walk through as they wait for an elevator up to the building’s Skydeck observatory. Capitalizing on the tourist traffic to the Skydeck, Catalog includes another attraction targeting visiting families: Color Factory, an interactive, kid-friendly art museum that lies just steps away.
Going Up
The overhaul of the Willis Tower’s elevator, meanwhile, solves a longtime problem that had become a major liability for the property. High-rise elevator systems typically have a useful life of about 20 to 40 years, but the equipment installed when the building was originally constructed in the 1970s had never been replaced, says Elizabeth Herman, general manager at Otis Elevator, which is installing the new system, including more than 100 elevator cabs. The elevators broke down a lot.
The Willis Tower also was notorious for its slow elevators, keeping tenants waiting for as long as five or six minutes, says Newmark’s Chodos. To shorten wait and ride times, Otis installed a “destination dispatch” system, which groups riders going to the same floor together, eliminating multiple stops. Instead of pushing a button after they step inside an elevator, they push a button on a pad outside the elevator, and the computerized system instructs them which elevator to take.
In addition to reducing maintenance costs, the elevator renovation eliminated a big source of frustration for tenants.
“That was one of the best investments [Blackstone] made,” Chodos says. “It had to be made.”
Doing the Math
The big question is whether Blackstone will get an acceptable return on its roughly $2 billion investment in the Willis Tower.
The property’s recent results are encouraging. Its net operating income (NOI) dropped from $61.7 million in 2019 to $35.9 million in 2020 when the pandemic hit, and revenue from the Skydeck evaporated, according to CoStar data. But the building bounced back in 2021, generating NOI of $86.4 million—a 40 percent increase from its pre-pandemic total in 2019.
Still, the future remains uncertain. Multiple Willis Tower tenants have options to either contract their space or terminate their leases in the next few years. In 2021, the tower’s largest tenant, United Airlines, decided to reduce its space in the building by 150,000 square feet (13,900 sq m). Another tenant, law firm ArentFox Schiff, also wants to shrink its space, offering 59,000 square feet (5,500 sq m) up for sublease last year.
Right now, it is unclear whether Blackstone could even recoup its entire investment in the Willis Tower in a sale. But Moore of EQ Office says that a sale is not in the cards anyway—at least not yet.
“It’s fluid,” he says. “We’re a thoughtful investor that’s not in any hurry.”
ALBY GALLUN is a senior real estate reporter for Crain’s Chicago Business.
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The Willis Tower's $670 Million Makeover – Urban Land Magazine – Urban Land
StreamStudios, music and podcast production studio, opens in Kenosha Saturday – Kenosha News
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Joshua Stephany, right, entertains a crowd during the grand opening event at StreamStudios, located at 4211 43rd St., on Saturday.
Lucas Webb, left, talks with Nick Kiesler during the grand opening event at StreamStudios, located at 4211 43rd St., on Saturday.
Luis Santana, let, talks with studio co-owner Lucas Webb during the grand opening event at StreamStudios, located at 4211 43rd St., on Saturday.
Tony Heathley, a fellow sound engineer, gives a gift to Lucas Webb, right, during the grand opening event at StreamStudios, located at 4211 43rd St., on Saturday, Nov. 11, 2022.
A locally owned and operated music production and podcast studio officially opened Saturday afternoon with a bang.
StreamStudios, 4211 43rd St., held a community grand opening celebration with live entertainment and food. The event also highlighted StreamStudios’ state-of-the-art digital recording studio.
Co-owner Joshua Stephany said it was a first-of-its-kind recording and production space for southeast Wisconsin, offering music production and recording, mixing, mastering, voiceover work and more.
“It’s been a long time coming,” Stephany said. “We wanted to create a place where people could come and do a little bit of everything. We have a photography studio, we have a podcast studio and we have the studio itself and the demo booth. People can rent time, come in and write songs with us. We do everything from production to voiceover work to literally anything audio or video-related.”
Stephany, 33, and co-founder Lucas Webb, 33, have 30 years of combined music experience from hip-hop and rock to classical and musical theater. Both are Racine natives and lifelong friends.
“It’s the best, truly the best,” Webb said. “We’ve been doing it out of our homes for so long but now we can come to our place where everything is set up the way it’s supposed to be set-up.”
The duo also create DMCA (Digital Millennium Copyright Act)-free playlists of music for digital video streamers on Twitch and YouTube that creators can use free of charge without fear of their content becoming demonetized.
More information can be found online or by following them on Spotify. To book an appointment or tour, contact 262-748-1033 or [email protected].
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Joshua Stephany, right, entertains a crowd during the grand opening event at StreamStudios, located at 4211 43rd St., on Saturday.
Lucas Webb, left, talks with Nick Kiesler during the grand opening event at StreamStudios, located at 4211 43rd St., on Saturday.
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According to Chief Moore it was Martinez, de León, Cedillo and Herrera who approached the LAPD last Friday and asked for an investigation
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LOS ANGELES – Speaking to reporters at a briefing Tuesday, Los Angeles Police Chief Michel Moore announced the department’s Major Crimes Division was overseeing an investigation into the source of the leaked racist recordings that has thrown the city government into crisis.
Moore acknowledged that the results would be presented to “the appropriate prosecuting agency” for possible criminal charges. “The department has initiated a criminal investigation into an allegation of eavesdropping,” Moore said.
Under California law, all parties must consent to the recording of a private conversation or phone call. Otherwise, the person who made the recording could face criminal and civil penalties.
Disclosure of the racist and homophobic audio recording earlier this month by The Los Angeles Times and Knock LA resulted in the resignation of Nury Martinez, first from her position as council president and then stepping down from her seat. Of the three others heard on the audio recording, powerful labor leader Ron Herrera, the now former president of the Los Angeles County Federation of Labor had offered his resignation which the federation’s executive board accepted.
City councilmembers Kevin de León and Gill Cedillo also heard on the recording have defied demands that they step down from their seats. Councilmember de León has been actively making the rounds of media outlets in the city offering apologies but refusing to consider stepping down, telling Univision’s León Krauze “No, I will not resign because there is a lot of work ahead,” he added; “I feel very bad, I feel very sorry for the damage, for the wounds that exist today in our communities.”
Calls for him and Cedillo to resign have included Los Angles Mayor Eric Garcetti, LA mayoral candidate, Rep. Karen Bass, California Governor Gavin Newsom, President Joe Biden and councilmember Mike Bonin, who along with his minor son, was a target of the racist and homophobic comments heard on the recording.
According to Chief Moore it was Martinez, de León, Cedillo and Herrera who approached the LAPD last Friday and asked for an investigation.
“This (request) was done by the principals – this wasn’t done through some intermediary or otherwise,” he added.
LAPD’s Major Crimes Division detectives have since interviewed the four involved parties about why they believe the recording was made “unlawfully and surreptitiously,” he said.
“We’ll also look, as far as possible, to understand how such a recording was made and identify, if possible, the person or persons responsible,” he said. No suspects have been identified, he added.
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The Iliad Bookshop has been a fixture in North Hollywood for 35 years, the fire is currently under investigation by LAFD arson investigators
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LOS ANGELES – The Iliad Bookshop, located 5400 Cahuenga at the corner of Cahuenga and Chandler Blvds. in North Hollywood, was the target of an alleged arson attack at around 11 p.m. this past Thursday evening.
LA Fire firefighters responded to the blaze in front of the rear entrance which was fully engulfed after an unknown person or persons stacked up books and items left out by the store.
A post shared by Iliad Bookshop (@iliadbookshop)
In interviews with KCBS2 LA, KABC7, and other media outlets, the bookshop’s owner Daniel Weinstein, said that a flyer, which he categorised as “terroristic,” was left at the scene of the blaze. The damage to the building was primarily to the entrance area with noticeable scorch marks, there was smoke damage inside as well. Weinstein added that the store’s iconic two live-in cats, Zeus and Apollo, were not harmed.
There was no information as to the extent of the damages to the store’s inventory.
In a GoFundMe started by the bookshop to repair and recover from the attack, Weinstein wrote:
“We were very lucky: neighbors saw the flames and flagged down a passing firetruck; had the firefighters arrived mere moments later, the entire store would probably have gone up. As it is, we suffered heavy damage to the main entry. The doors (which are metal) are still functional, but will need to be either replaced or fixed. We lost lighting fixtures, signage, and wood framing; we also suffered damage to the mural on the right side of the doors. Smoke filled the interior of the store, but we were able to rescue our two cats Zeus and Apollo and we’re hopeful that the damage to the books and fixtures is minimal.
We have high insurance deductibles so we need to cover the cost of replacing the exterior lights, sign, and trim, and touching up the mural. We expect the funds we’re looking for to be divided between repair costs and a mural artist.”
The Iliad Bookshop has been a fixture in the North Hollywood community for over 35 years. In a March 2019 profile article by Los Angeleno magazine writer Augustus Britton, the shoppe was described as “a cozy mix of librarial reverence and old lore magic. The walls are lined with literary memorabilia, most notably art by R. Crumb and posters of Bukowski alongside author obituaries from days past. An aged photograph showing Weinstein drowning in a pile of hardcovers hangs on the wall.”
Britton goes on to say: “Weinstein’s 10 employees are awesome. There are no better poetic words to describe them. One could say they all look like fictional characters. Grateful Dead fans, Philip K. Dick spies or Stendhal savants eating Chinese food at the counter while the shop’s spunky cats Zeus and Apollo — more nods to Greek mythology — climb over their shoulders.”
The fire is currently under investigation by LAFD arson investigators.
On Sunday, the LAPD issued a brief statement: “Andrew was located and reunited with his family.”
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UPDATED: Monday Nov. 7, 2022 from KABC 7.
A Los Angeles teen who went missing from his home on Halloween night has now returned safely and been reunited with his family, police said Sunday.
On Sunday, the LAPD issued a brief statement: “Andrew was located and reunited with his family.”
Andrew’s mother Anna posted on Facebook that Andrew came home Saturday. She said her son left home voluntarily because he was struggling with some mental-health issues. He then decided to come home on his own volition after about five days of sleeping on the street.
She expressed thanks to the public for providing support and said Andrew saw some of the missing-person flyers “and knows now that he is cared about by so many people.”
LOS ANGELES – The family of 18-year-old Andrew Jason Wright and the Los Angeles Police Department’s Missing Persons Unit are asking for the public’s help in locating him. Wright, an 18-year-old high-school senior, was last seen Monday around 6 p.m. near the 1700 block of Federal Avenue in West Los Angeles.
Wright is described as an 18-year-old male Asian with brown hair and brown eyes. He stands 5 feet 11 inches tall and weighs approximately 190 pounds. He was last seen wearing a black coat, maroon vest, gray pants, and black leather shoes.
His mother told KABC Eyewitness news that Wright has recently been suffering from depression and is extremely worried.
“He went on a walk around 6 p.m.” Anna Wright said. “He was supposed to go trick-or-treating with his little brother and sister at 7. And he never came back.”
Andrew’s father set up a search party where volunteers have been going around looking for him and passing out flyers.
If you have seen, or have any information regarding the whereabouts of Andrew Jason Wright, please contact Los Angeles Police Department, Missing Persons Unit, at (213) 996-1800.
During non-business hours or on weekends, calls should be directed to 1-877-LAPD-24-7 (877-527-3247). Anyone wishing to remain anonymous should call Crime Stoppers at 800-222-TIPS (800-222-8477).
Tipsters may also contact Crime Stoppers by texting to phone number 274637 (C-R-I-M-E-S on most Keypads) with a cell phone. All text messages should begin with the letters “LAPD.” Tipsters may also go to LAPDOnline.org, click on “webtips” and follow the prompts.
The sponsor of this year’s Models of Pride was Glamazon L.A.—Amazon’s LGBTQ+ Affinity Group along with the Los Angeles City College
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LOS ANGELES — Amazon’s LGBTQ+ Affinity Group, Glamazon L.A., celebrated the 30th anniversary Models of Pride youth conference which drew hundreds of LGBTQ+ young people and allies—and special award-winner Trixie Mattel—to Los Angeles City College this past Saturday.
Attendees connected with peers, learned from role models, and got to celebrate with live performances and festivities. Parents and professionals had opportunities to learn from one another, build community, and gain tools to support the LGBTQ+ young people in their lives.
The day’s highlights included drag queen, musician, entrepreneur, and television phenomenon Trixie Mattel accepting the first-ever Model of Pride Leadership Award.
“Right now, we are witnessing drag becoming weaponized by bad actors on the far right. They are banning Drag Queen Story Hours and trying to paint drag queens as enemies of family values,” Los Angeles LGBT Center CEO Joe Hollendoner said in his opening remarks. “This is a disturbing trend happening across America. What we at the Los Angeles LGBT Center know, and what Trixie Mattel’s prolific career embodies, is that drag is powerful. It is a pathway to unlocking new potential for freeing yourselves of the shackles of gender norms and for embracing the creativity that is waiting to be unleashed inside each and every one of you.”
“I didn’t grow up with much representation on television. At most, gay people on TV were allowed to be the snippy gay assistant or the funny makeup artist or, at best, the sexually ambiguous villain,” Mattel said in her acceptance speech. “I think the reason drag is so inspiring is because queer people are told to minimize everything. We’re told to be the friend or the supporting character. Drag makes us think, what if I’m the main character? I want you guys to know that you are all the main character.”
The Rolf/Uribe Models of Pride Leadership Award, given annually to youth and adults who have been models of pride to the LGBTQ community, was awarded to youth activist Alex Flores and PFLAG Los Angeles Vice President Steve Krantz.
The event was attended by more than 500 youth—including more middle schoolers and younger attendees than any previous Models of Pride—as well as more than 200 parents and professionals. Youth, parents, and professionals attended 100 workshops, with the offerings for youth ranging from “Rights of Youth in CA Public Schools” to “Drag Queen Story Hour.” Adult workshops ranged from “When Your Kid Transitions” to “Creating Affirming Spaces for Queer & Trans Elementary-Age Children.”
Entertainment highlights included performances by the Trans Chorus of Los Angeles, Gay Freedom Band of Los Angeles, The Voice finalist Hailey Mia, Mayhem Miller of RuPaul’s Drag Race, DJ Brynn Taylor, and Mike Xavier. Attendees also enjoyed a continental breakfast, a catered backyard BBQ lunch, and a dessert extravaganza.
Models of Pride is the world’s largest free conference for LGBTQ+ youth and their allies, filled with life-enriching workshops, entertainment, resources, and more to help attendees to build confidence and self-esteem while developing valuable life skills. The conference also offers family members, educators, professionals, and all other LGBTQ+ supporters the opportunity to attend the Parents and Professionals Institute at Models of Pride, which offers tailored workshops, a resource fair and celebratory reception.
Tuesday’s agenda included discussion of holding a special election to fill the seat of Nury Martinez who resigned from the council
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LOS ANGELES – The Los Angeles City Council was again meeting in-person Tuesday after a week of virtual meetings due to COVID-19 exposure and were joined in city council chambers by dozens of protestors.
The protestors angered that Councilmembers Kevin de León and Gil Cedillo have defied widespread calls for their resignations after a leaked 2021 audio tape of them and former councilmember Nury Martinez with a former labor leader were heard making racist and homophobic comments, continued chant and shout as newly installed Council President Paul Krekorian continued to conduct business.
KABC 7 Eyewitness News reported that on Monday, Krekorian wrote a letter to de León denying his request to be excused from attending meetings, returning a letter that de León sent last week in which he asked for time to focus on the healing process and take professional sensitivity training. De León has conducted numerous television interviews over the last few days stating that he will not resign.
“There is no path forward that includes your continued participation in this council,” Krekorian said.
Tuesday’s agenda included consideration of holding a special election to fill the former seat of Martinez. She had resigned a few days after the recording was leaked.
The election would take place on April 4, 2023 at the earliest, with a runoff — if necessary — taking place on June 27. The council was set to discuss calling a special election at Tuesday’s meeting and allocating $7.65 million for the two elections.
Univision’s León Krauze interviewed Los Angeles City Councilmember Kevin de León in which de León says he intends to remain in office
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LOS ANGELES – Los Angeles City Councilmember Kevin de León told Univision’s León Krauze that he intends to remain in office in an exclusive interview that aired Wednesday evening at 6:30 p.m. ET on Noticiero Univision.
“No, I will not resign because there is a lot of work ahead,” De León told Krauze, then he added, “I feel very bad, I feel very sorry for the damage, for the wounds that exist today in our communities.”
De León’s statement follows widespread calls for his resignation, including Los Angles Mayor Eric Garcetti, LA mayoral candidate, Rep. Karen Bass, President Joe Biden and councilmember Mike Bonin, who along with his minor son, was a target of the racist and homophobic comments on an audio recording released and reported by the Los Angeles Times, in which de León and Cedillo were present.
That 2021 audio conversation was secretly recorded between the two men, then-Council President Nury Martinez and a now former labor official.
On Monday, then-acting City Council President Mitch O’Farrell stripped De León and Councilman Gil Cedillo of the council committees that they oversee in an effort to pressure them to resign.
10 members voted unanimously for him to take over the council presidency after former council president Nury Martinez resigned in disgrace
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LOS ANGELES – The Los Angeles City Council has selected 2nd District councilmember Paul Krekorian as its next president, with the 10 members present voting unanimously for him to take over the council presidency after the resignation of former council president Nury Martinez who resigned in disgrace last Wednesday.
“I congratulate Councilmember Paul Krekorian on his election as the first Armenian American to serve as President of the Los Angeles City Council. As I hand the baton to Council President Krekorian, I have full faith and confidence that he will help guide our city with the experience, steady hand, and unifying voice that these challenging times require,” councilmember Mitch O’Farrell who had been the Acting Council President said in a statement.
“With today’s unanimous vote to move forward with my Charter reform initiative that will increase representation and redistricting that is completely independent of this elected body, I know the Council President will help ensure we directly address the very issue that has caused such devastation and harm. I am eager to work with Council President Krekorian and all of my colleagues to expeditiously move this imperative forward.”
A leaked audio recording of a meeting reported on by The Los Angeles Times two weeks ago that has plunged the Los Angeles city council into chaos and is being met with outraged Angelenos calling for the resignations of Kevin de León and Gil Cedillo, who are also heard on the recording with along with former councilmember Nury Martinez and former labor leader Ron Hererra making racist and homophobic remarks, that has now also triggered an investigation by California Attorney General Rob Bonta over redistricting which was the reason for the meeting.
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I don’t like to be boxed in: Sarodist and composer Alam Khan on his new album – The Sunday Guardian
Indian classical sarod player and composer Alam Khan.
Described as a ‘powerful rumination on our changing world’, Mantram is the new album released by renowned Indian classical Sarod player and composer Alam Khan. Son of the late legendary Sarod maestro Ali Akbar Khan, Alam was born in the San Francisco Bay Area, and has performed all over the world. He is regarded as a torch bearer of the Maihar Gharana, who also composes his own brand of music by blending different musical styles, cultures and moods. The release of his new album Mantram is accompanied by an official music video made by acclaimed photographer and director Avani Rai, as well as a Web 3.0 NFT release with mysterious.xyz. On the occasion, he joins Sunday Guardian Review for an exclusive chat. Excerpts from an edited interview:
Q. Please tell us about your journey in this field so far.
A: I was born into this rich lineage and was trained in Sarod and vocal music by my late father. I also learned to play the guitar in my youth as well as the art of music production which I use today as well.
Over the years, I have released the following albums: Shades of Sarode, Immersion, Vignettes, Solace, Grand Tapestry, Tides and now Mantram. They are all available online.
My music has influences of Hindustani classical, contemporary classical, contemporary instrumental, experimental, world, global, and I’m sure there are other categories it fits in too! But I don’t like to be boxed. My musical creativity stems from tradition but goes outside it by pushing the limits and bending genres.
Q. What is your new album about?
A: I arrived at this sound by mixing my Sarod playing skills with many years of production / composition experience. This created fresh sonic elemental landscapes. I believe I am pushing the envelope of Sarod playing by using what stems from a background of traditional Hindustani classical training into the sphere of modern musical creation. Though I’m going outside of tradition, I cannot discount it as I come from tradition and a great part of my life is rooted and even exists entirely in that tradition. To make this contemporary music, I feel one must know traditional forms first in order to stretch, bend, and go beyond them.
While some of the pieces are closely based on Ragas, the album is a departure from the classical genre. It is made with more of an open approach. The music was originally composed for a contemporary Kathak dance production with the Chitresh Das Institute in the San Francisco Bay Area where I live. I had pictured what I thought the visual elements of the dance would look like and created the cinematic soundscapes to that vision. The dance was choreographed almost entirely to my music, and I never saw any of the choreography until after my music was created. So, in that sense I had always envisioned the music as being a standalone album as well as the score for the dance production.
Q. What was the experience of shooting the video like?
A: The video of the song Akash is shot in Mumbai, and it captures a day in the life of a child who is enchanted by life as he looks to the sky in wonder. Even with mundane activities like riding in auto rickshaws and taking local train rides, everything is fresh, beautiful, and filled with possibility in a child’s eyes.
Our director Avanis father Raghu Rai had photographed my father Ustad Ali Akbar Khan many times over the years and is a great admirer of my father’s music. I found Avani when I was looking up her father’s work. We connected online with the intent of collaborating and ultimately ended up working on a series of NFT videos which are being released soon through mysterious.xyz. After making this series of videos for select tracks on Mantram, we decided to do one more full-length video for Akash which has been released through Snakes x Ladders along with the album.
I had already made my music, so all the visual elements came afterward and were set to my music. Avani has a great eye just like her father, and I requested her to just go with what she felt. Through the shorter NFT video shoots, a type of style and feel came into focus which is how we approached the full-length video for the song Akash. Conceptually I may have my individual thoughts and feelings about the music, but visually it can take on a different creative tone when working with another person, which is what I wanted her to explore. I would see what she had made, offer feedback, and after some editing together we would find a harmony between the sound and the imagery.
Q. Why did you decide to release an album in this day and age when everyone prefers singles or smaller EPs?
A: I have released both albums and EPs in the past, and I don’t think one is favoured over the other as its about personal preference. Some works of music deserve more time to tell a story. The singles and EP trend is not always conducive to creation. Sometimes I like to tell stories through my music which gradually unfold during the course of an album. Mantram is like that. Most songs of the album act as standalone singles too.
Q. What are you working on next?
A: Next, I’m working on an ambitious contemporary release between Indian classical instruments and a western classical string quartet. I also have a few other ideas for projects I am developing. Numerous things are always in the pipeline.
Noor Anand Chawla pens lifestyle articles for various publications and her blog www.nooranandchawla.com.
© SUNDAY GUARDIAN LIVE 2022 | DIRECT NEWS PRIVATE LIMITED | ALL RIGHTS RESERVED.
Akiko Tokuoka to Present WAKASHU – TIMELESS BEAUTY OF THE THIRD GENDER at The Secret Theatre – Broadway World
Performance Artist Akiko Tokuoka‘s new work, “Wakashu – Timeless Beauty of the Third Gender” will premiere in Queens this November. The work, made possible in part by a $3,000 grant from Queens Council on the Arts (QCA), will be staged at Secret Theatre on November 12 and 13. More information and tickets are available at https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2207678®id=6&articlelink=https%3A%2F%2Flinktr.ee%2Fwakashu?utm_source=BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1.
This dance and performance piece celebrates gender freedom in a mashup and cultural exchange that merges the lush beauty of Edo period erotic illustrations with Glam and Club aesthetics. The cast of queer-positive talent from the world-renowned Iconic House of Ninja vogue to traditional Japanese melodies and perform Kabuki to house beats.
“Wakashu” – 若衆 (roughly translated to English as “beautiful youths”) originated in the Edo period of Japan, when certain young men who had reached puberty but had not yet attained full-fledged manhood, became eligible for sexual relations with both women and men as a “third gender. This performance was originally inspired by New York Japan Society’s exhibit, “Wakashu: Beautiful Youths in Edo-Period Prints and Paintings.”
In the west, since the 1980s, Queer and creative young people have been obsessed with Japanese culture. At the same time, in Akiko’s world, her Japanese peers who lived outside the norm, were fascinated with American culture. The “Wakashu, Timeless Beauty of the Third Gender” performance bridges those worlds while creating something new. The accompanying music are Japanese melodies, played on shakuhachi, koto, and shamisen and overlaid with house beats. The choreography blends styles from Kabuki to Vogueing.
Akiko Tokuoka is a New York-based choreographer and actress, originally from Kyoto, Japan. She has more than 15 years of experience as an artist performing vogue, ballet, contemporary dance, kabuki dance, baton twirling, and her specialty, freestyle dance. She is a cast member of BATSU! NYC, an authentic Japanese themed dining experience with interactive entertainment, since April of 2019. Her first original performance piece, Tanabata, debut in 2021 at Theatre for the New City and Kogame thanks to a grant from the City Artist Corps Grants program, presented by The New York Foundation for the Arts (NYFA) and the New York City Department of Cultural Affairs (DCLA).
The cast of Wakashu includes Akiko’s collaborators from the Iconic House of Ninja – starring dancers Javier Madrid (aka ICONIC Javier Ninja) and John-Deric Mitchell (aka Star Ninja); DJ/Music Production by Steve Gonzalez (aka DJ Chip Chop), with Stage Direction by Melanie Johl.
This performance is made possible in part by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
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Powerball Jackpot Increased to World Record $1.6 Billion for Saturday Drawing – The Southern Maryland Chronicle
The Southern Maryland Chronicle
When News Matters, It Matters Where You Get Your News.
The Powerball® jackpot that started rolling three months ago has become the world’s largest lotto prize ever. Game leaders increased the Powerball jackpot estimate Friday morning to a record $1.6 billion for the Saturday, Nov. 5 drawing. The jackpot has a cash value of $782.4 million.
Saturday’s estimated jackpot surpassed the world record amount previously set by Powerball in 2016 when tickets in California, Florida, and Tennessee won a $1.586 billion jackpot.

“This Powerball game is delivering exactly what our players want,” said Drew Svitko, Powerball Product Group Chair and Pennsylvania Lottery Executive Director. “We are witnessing history in the making with this $1.6 billion jackpot! What’s also exciting is that this run has already created millions of winners, including nearly 100 players who have won prizes worth $1 million or more.”
The next Powerball drawing will take place at the Florida Lottery draw studio in Tallahassee at 10:59 p.m. ET on Saturday, Nov. 5. Ticket sale cut-off times vary by jurisdiction. Still, they typically occur 1-2 hours before the scheduled drawing.
“There’s a lot of anticipation and excitement leading up to Saturday’s drawing,” noted Svitko. “We would like to remind players that winning only takes one ticket. Please, play responsibly.”
Saturday will be the 40th Powerball drawing since the jackpot was last won on August 3 in Pennsylvania. If no one wins the jackpot in Saturday’s drawing, it will tie the game record for the number of consecutive drawings without a grand prize winner. The longest jackpot run in Powerball history ended on Oct. 4, 2021, when a ticket in California won a $699.8 million jackpot on the 41st drawing.
Powerball tickets are $2 per play. Tickets are sold in 45 states, the District of Columbia, Puerto Rico, and the U.S. Virgin Islands. More than half of all proceeds from the sale of a Powerball ticket remain in the jurisdiction where the ticket was sold. Powerball drawings are broadcast live every Monday, Wednesday, and Saturday at 10:59 p.m. ET from the Florida Lottery draw studio in Tallahassee.
Jackpot winners may receive their prize as an annuity, paid in 30 graduated payments over 29 years, or a lump sum payment. Both advertised prize options are before federal and jurisdictional taxes. The overall odds of winning a prize are 1 in 24.9. The odds of winning the jackpot are 1 in 292.2 million.
Top 10 Powerball Jackpots
1. $1.6 Billion (est.) – Nov. 5, 2022
2. $1.586 Billion – Jan. 13, 2016 – CA, FL, TN
3. $768.4 Million – March 27, 2019 – WI
4. $758.7 Million – Aug. 23, 2017 – MA
5. $731.1 Million – Jan. 20, 2021 – MD
6. $699.8 Million – Oct. 4, 2021 – CA
7. $687.8 Million – Oct. 27, 2018 – IA, NY
8. $632.6 Million – Jan. 5, 2022 – CA, WI
9. $590.5 Million – May 18, 2013 – FL
10. $587.5 Million – Nov. 28, 2012 – AZ, MO
David M. Higgins was born in Baltimore and grew up in Southern Maryland. He has had a passion for journalism since high school. After spending many years in the Hospitality Industry he began working in… More by David M. Higgins II, Publisher/Editor
The Southern Maryland Chronicle(SoMDC) is an all-digital news source for SoMD. We cover all of Charles, Calvert, and St. Mary’s Counties; along with the Southern portions of Anne Arundel and Prince George’s County. SoMDC covers every aspect of the SoMD Region and will continue to grow with the community. SoMDC appreciates all feedback from the community, along with tips, pictures, articles contributed, and support.
Chattanooga music camp provides real world skills for writers and producers – Chattanooga Times Free Press
November 5, 2022 at 4:37 p.m.
by Barry Courter
When local music writer/producer/performer Carl Cadwell signed up for a producing and writing music camp in Chattanooga last month, it meant missing the premiere of a ballet he’d written that was being presented in San Diego at the same time.
But forgoing the premiere in favor of the camp was an easy decision, Cadwell said in a telephone interview.
“These opportunities are about networking and the experience,” he said by phone. “And I’m always looking for something interesting.”
The camp was similar to others presented around the nation, bringing in established producers, writers and musicians for an intense five days of work.
About a dozen attendees from around the nation spent the time writing and recording demo songs that will be shopped to established artists. The camps are also about teaching people such as Cadwell how to work intentionally and quickly, said Vurdell “VScript” Muller, a songwriter and producer.
Muller’s credits include three Grammy nominations for his work with artists such as Justin Bieber, Eric Bellinger, Moneybagg and H.E.R.
Muller worked locally with Dynamo Studios Executive Director Kessler Cuffman to present the camp, which was funded in part by the city of Chattanooga and the Bobby Stone Foundation.
(READ MORE: Music census partners looking to plan for the future)
Cuffman and Dynamo Studios have created a program for area students at Howard Connect Academy, Dalewood Middle School and Chattanooga Community Centers (Watkins Street Center) that includes education, the arts and technology.
The program works with students teaching photography, marketing, songwriting and music production. Cuffman and his students have worked with local and regional artists in the past who have come to Dynamo Studios to record music, but he said this was “next level.”
“This was easily the most exciting thing I’ve been a part of,” Cuffman said by phone. “Watching it all come together was incredible. It went so well, we are planning another one for the first of the year.”
Muller said he approaches each camp with a clear idea of who the songs created during the camp will be shopped to.
“It’s very intentional,” he said by phone.
It’s an approach that helps keep campers and producers focused. He said the formula has worked as well in Chattanooga as it has elsewhere and that he feels the music produced here will find a home with a recording artist in the near future.
“This one was great,” he said. “Kessler had brought some of the people from the local scene so we could show them how things are run on the high level.
“They saw how fast we move and how intentional we are. We create songs to pitch to big artists, and I can say that for every camp that I’ve thrown, 100% of the time, something comes out of it.”
(READ MORE: Barrelhouse Ballroom, Whiskey Cowgirl bring larger music venues to town)
Muller said he has several artists who all fit into a certain musical “lane” in mind when he begins a camp and that he has done some research ahead of time to know what sort of vibe or sound they are looking for.
“If one says no, I pitch it to the next person,” he said. “For the camp, we try to stay in the same lane, and that is the beauty of the camp.”
He said H.E.R.’s hit song “Exhausted” and Bieber’s “There She Go” were created at a recent camp he led. Eric Bellinger’s entire “New Light” album was produced by members of a previous camp, he said.
The camps are usually conducted in a home or Airbnb to create a more comfortable environment. An Airbnb on Lookout Mountain was home for the Chattanooga camp. Cuffman outfitted four full studios in the space, and the campers, along with other invited guests, rotated throughout spaces over the five days.
Muller said the teams were churning out between five and 10 songs a day. Cadwell said it was inspiring to see the amount of work done in such a short time.
“For me and (fellow local producer Jared White), it was our first time doing a big-time camp,” Muller said, “and the main thing we saw was the work being done. It was very educational, but a lot of work.”
(READ MORE: Holiday festivals and events are popping up in the Chattanooga area)
As part of the camp, Muller and several of the camp leaders visited Howard Connect and Dalewood to talk to 30 to 40 students about what it takes to work in the music industry. Grant Knowles, director of innovation and fine arts with Hamilton County Schools, helped coordinate the visits and said the 30 or so students at Howard and the nearly 50 kids at Dalewood got to see how professionals work and think.
The professionals interacted with the students on works they were creating and gave real — and sometimes harsh — advice on how to make it better, he said by phone.
“The students were getting authentic feedback on the work they’ve put their hearts and souls into,” Knowles said. “They got real authentic feedback.”
He said that kind of interaction can be especially important for students.
“Middle school can be a tough time for students,” Knowles said. “They are trying to figure out who they are and what their strengths are, so for these pros to give their time, not a, ‘Hey that’s great, thumbs up,’ or ‘Hey, hand me the mouse and let me do this for you,’ was amazing to watch.
“They asked hard questions and pushed them to think.”
Knowles said the other message the professional creatives stressed was the importance of being well-balanced in your education. Math, English and communication skills are just as important as being able to sing or play an instrument, he said.
“It’s a process and it’s about developing good skills and habits.”
Contact Barry Courter at [email protected] or 423-757-6354. Follow him on Twitter @BarryJC.
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Navigating the Storm: Key Technology Capabilities to Master | – Spiceworks News and Insights
Here’s why data, automation and security make up the holy trinity for success.
Besides building resiliency in their business model, navigating successfully through the turbulence will require maturing and mastering technology capabilities in three key areas, shares Shanker V Selvadurai, VP & CTO at IBM. Discover why data-driven insights, automation at scale, and securing all touchpoints are crucial to success.
More than two years ago, something unexpected occurred. The COVID-19 pandemic accelerated digital transformation essential to the survival of businesses and organizations during the crisis. This year, in the wake of rapid shifts in the macroeconomic and geopolitical environment, leaders of enterprises are facing a confluence of structural uncertainty – supply chain disruption, labor and skills shortage, rising energy prices, and inflationary pressure – each reinforcing the other. Organizations, big and small, have entered a potentially long and perfect storm. It will be critical to continue the digital transformation that held them in good stead during the pandemic.
With growing market volatility and competitive pressures, access to the right data at the right time is crucial to recognizing trends early to mitigate risks, as well as to seize new opportunities. However, data that is complete, current, and accurate data is imperfectly accessible in most organizations. Utilizing incorrect data can lead to legal actions, compromised security or biased decisions with severe consequences.
See More: Decision Intelligence and the Future Beyond BI
According to Capgemini, The Data-Powered Enterprise, 2021, 73% of business executives are unhappy with their data quality, and 61% of organizations are unable to harness data to create sustained competitive advantage. Real-time decisions and actions require data hosted in multiple locations, stored in different formats and sometimes only available through intermediaries under restrictive conditions. Data sprawl in a hybrid and multi-cloud environment is a reality for most organizations. Additionally, rising nationalism across the world is also driving stricter regulatory requirements on data sovereignty and residency.
Addressing these challenges will require rethinking where and how data is captured, processed, and stored. A data management architecture that supports consistent data capabilities across the organization’s network – on-premises and multiple cloud environments – is needed. The right data should be available “on the tap” at the right time and place. There should be no expensive movement of data to perform analytics; different business units should own and manage their own data without having to consolidate platforms, and decisions can be made more in real-time and closer to the point of interaction or engagement. Instead of point-to-point connections or costly and complex single-hub style data collection, a data fabric will “span” a virtual or logical net across disparate and hybrid data sources. The virtual net is established through an intelligent knowledge catalog that leverages active metadata, knowledge graphs, semantics, and machine learning. Managed centrally but distributed across the landscape, the catalog orchestrates when and how data is delivered, as well as what is visible to whom to ensure privacy and trust.
Key complexities enterprises need to navigate
Digital acceleration during the pandemic also saw organizations piling on more technical debt as they needed to act quickly. Fractured digitization on a disaggregated IT landscape has increased the complexity with not just siloed data but also disconnected processes across the application estate. According to IDC, 83% of organizations estimate they will have up to 1,000 applications in their portfolio in five years. It is increasingly challenging for humans to manage this complexity on their own effectively. In addition, the workforce has also been significantly impacted by the Great Resignation, as well as the millions of workers dealing with the long-term effects of the virus. Employers and employees are dealing with challenges related to immigration disruptions, shifts in workers’ expectations and mental health issues. This labor volatility is having a direct impact on organizational productivity and economic growth.
Organizations that build capabilities using intelligent automation are poised to address the risks associated with labor uncertainties and talent supply. The infusion of AI enables the scaling of automation in industries forced to rely on a reduced workforce or intentionally trying to minimize human interaction. Intelligent automation systems understand signals from data in a way that is similar to humans but can consume data with far greater speed. They can also learn from interactions and respond accordingly to automate workflows that link processes end-to-end, straddling siloes and cutting across functions to expose new outcomes that differentiate an organization from its peers. IBM Institute for Business Value expects 80% of intelligent automation early adopters to outperform their competitors significantly. Automated workflows impact revenue by enabling businesses to meet customer needs seamlessly and consistently, particularly during periods of uncertainty.
When the pandemic began, millions of employees started to work from home and are continuing to do so. Every work-from-home employee or hybrid worker connecting remotely represents an expansion of an organization’s attack surface and creates new openings for threat actors. The increased digitization of products and services by organizations during this period has further added potential entry points for cybercriminals. A growing number of siloed constituents are accessing resources – employees, suppliers, partners, and customers – all using multiple devices from distributed and remote locations. Perimeter-centric security models cannot cope with the dynamic nature of this incredibly large attack surface. In addition, these attacks move fast and infect machines in seconds. The problem is exasperated with multiple security tools in the organization that generate alerts on the same attack, making it difficult to understand the incident.
Organizations need to modernize their threat detection and response capability. Silos need to be eliminated to gain visibility across data sources – from the cloud to core systems. Workflows must be unified without the need to pivot between tools. A zero-trust framework is required to help organizations manage the risks of a disconnected business environment while still allowing users access to the appropriate resources. This approach uses context to securely connect the right users to the right data at the right time under the right conditions while also protecting the organization from cyber threats. AI and analytics continuously validate connections between users, data, and resources. The IBM, Cost of a Data Breach Report, 2022, found that organizations that adopted zero trust saved nearly USD 1 million in average breach costs compared to organizations without zero trust deployed.
See More: What Is Data Transformation? Types, Tools, and Importance
The COVID-19 pandemic taught us that the digital economy could present substantial growth opportunities for organizations as well as provide resiliency against threats to the traditional customer journey. Strengthening core data, automation and security capabilities will be critical for companies to serve customers better and find new sources of value during periods of change and uncertainty.
These competencies are also the foundation for accelerating innovation by leveraging other exponential technologies like 5G, edge computing, Web3 and quantum computing. And they are equally important to support new business imperatives like sustainability challenges. These are extraordinary times, and it is important that we consciously and purposefully rethink architectural and technology decisions, not just to weather the storm but to come out better and stronger.
Are you focusing on data, automation and security? Tell us about your journey on Facebook, Twitter, and LinkedIn.
Vice President & CTO, IBM Asia Pacific
On June 22, Toolbox will become Spiceworks News & Insights
Lafayette Master Chorale to perform in Queen Elizabeth II's honor – Journal & Courier
LAFAYETTE, Ind. − The Lafayette Master Chorale will open its 58th season with “Platinum Jubilee” at 7:30 p.m. Saturday at St. John’s Episcopal Church.
The Lafayette Master Chorale consists of 55 singers from the Greater Lafayette area. The members consist of all age ranges and membership to the group is based on auditions.
“All are bound together by a love of choral music,” the Master Chorale’s website says.
“Platinum Jubilee: In Memorium” will feature music from the coronation of queen Elizabeth II.
“The concert had been planned long before the queen’s death in September,” artistic director Michael Bennett said in a release. “But it seemed fitting to continue with the performance as a memorial to her 70-year reign as the monarch of the United Kingdom.
“For so many of us around the world, Queen Elizabeth II is the only British monarch we ever knew,” Bennett said. “It feels appropriate to celebrate her longevity with this beautiful music that is so identified with England.”
In addition to feature music from the queen’s coronation, “Platinum Jubilee” will also feature music from Byrd, Parry, Elgar, Vaughan Williams and other composers who known for British choral tradition, according to the Master Chorale.
The performance will take place at 7:30 p.m. Saturday at St. John’s Episcopal Church, 600 Ferry Street.
Tickets are $22 in advance and $25 at the door for adults, $10 for students and free for children under 18. Tickets are available at lafayettemasterchorale.org or by calling 765-429-5151.
Margaret Christopherson is a reporter for the Journal & Courier. Email her at [email protected] and follow her on Twitter @MargaretJC2.
October 2022 (9/15 – 10/12) Nielsen Audio PPM Ratings Day 4: Record High In Raleigh – RadioInsight
The fourth and final day of Nielsen Audio’s PPM releases for the month bring Austin, Raleigh/Durham, Indianapolis, Nashville, Milwaukee, Providence, Norfolk, Jacksonville, West Palm Beach, Greensboro/Winston-Salem, Memphis, and Hartford.
All the numbers can be found at RadioInsight.com/Ratings.
Waterloo Media Variety Hits “103.5 Bob-FM” KBPA rises 9.8 to 10.6 to hold an over four share lead. Public News/Talk 90.1 KUT-FM is up 5.7 to 5.9. Audacy AC “Majic 95.5” KKMJ trends down 6.7 – 5.9 – 5.2. Waterloo Regional Mexican “La Z 107.1” KLZT trends up 4.3 – 4.7 – 5.0 and their News/Talk 590/99.7 KLBJ rises 4.2 to 4.9.
Waterloo Media Hot AC “Lucy 93.3” KGSR jumps 1.7 – 2.3 – 3.4 for what Ratings Expert Chris Huff notes is its highest share since September 2015 under its former AAA format.
iHeartMedia Country 100.7 KASE is down 4.8 to 3.4, while sister CHR “96.7 Kiss-FM” KHFI trends down 3.8 – 3.5 – 3.1. University of Texas AAA 98.9 KUTX continues its slide 4.9 – 3.5 – 2.8.
Genuine Austin Radio Sports “104.9 The Horn” KTXX trends up 1.4 – 2.5 – 2.9, while sister Alt Country 98.5/99.3 KOKE-FM rises 1.1 to 1.6.
iHeartMedia Conservative Talk “Talk 106.1” WTKK rises 8.8 to 9.1 which Huff notes breaks the format high set last month and is the highest on the frequency since Winter 1982. Public News/Talk 91.5 WUNC-FM rises 7.4 to 7.9. Radio One Adult R&B “Foxy 107.1/104.3” WFXC/WFXK dips 6.7 to 6.6. Capitol Broadcasting AC “Mix 101.5” WRAL-FM continues to trend down 10.2 – 8.7 – 7.4 – 6.3. iHeartMedia Classic Rock 100.7 WRDU rebounds 5.9 to 6.2.
Capitol Broadcasting Sports “99.9 The Fan” WCMC-FM trends up 1.3 – 2.0 – 2.5. iHeartMedia Classic Hip Hop “95.3 The Beat” WDCG-HD2 rises 1.9 – 2.0 – 2.5.
A bad trend for Top 40 as iHeart’s “G105” WDCG slides 3.3 – 2.7 – 2.4 (which Huff notes is the lowest on the frequency since Fall 1977) and Curtis Media’s “Pulse-FM” 102.5 WPLW/96.9 WWPL is down 2.4 – 1.8 – 1.5.
Cumulus Media Classic Hits 104.5 WJJK rises 11.2 to 12.0 to extend its lead. Radio One News/Talk 93.1 WIBC slips 9.9 to 8.8. Radio One AC “B105.7” WYXB inches up 7.9 to 8.0. Cumulus Country 95.5 WFMS rises 5.8 to 6.7. Sarkes Tarzian AAA 92.3 WTTS dips 5.4 to 5.2.
Following its move from 96.3 in August, Radio One Hip Hop “Hot 100.9” WHHH jumps up 1.9 to 3.3. iHeartMedia’s relaunched Classic Alternative “Indy 103.3” WOLT continues to rise 2.0 – 2.6 – 2.7.
Classical 88.7 WICR drops 3.0 – 2.3 – 1.2.
Midwest Communications Variety Hits “96.3 Jack-FM” WCJK continues to slide 10.4 – 9.6 – 9.0 – 8.3. Cumulus Sports “104.5 The Zone” WGFX surges up 3.5 – 6.1 – 7.9 with the start of the football season and Huff noting is just two tenths off the station record set in October 2015. Cumulus Classic Country “95.5 Nash Icon” WSM-FM rises 6.2 to 7.6. Midwest AC “Mix 92.9” WJXA inches up 6.8 to 6.9. iHeartMedia Country “The Big 98” WSIX trends up 5.9 – 6.4 – 6.6.
iHeartMedia Hip Hop “101.1 The Beat” WUBT see-saws 5.9 – 4.9 – 5.7. Cumulus Media News/Talk “99.7 WTN” WWTN slips 5.9 to 5.0. Public News/Talk 90.3 WPLN-FM drops 5.4 to 4.3.
iHeartMedia Conservative Talk 1130 WISN reclaims its market lead up 9.6 to 10.6. iHeart Classic Hits “95.7 Big-FM” WRIT slips 9.4 to 8.5. Saga Classic Rock “Hometown Rock 96.5” WKLH rises 7.6 to 8.3. Good Karma News/Talk 620 WTMJ falls 10.0 to 8.1. iHeartMedia Country “FM 106.1” WMIL is up 6.9 to 7.1.
Saga Rock “102.9 The Hog” WHQG jumps 5.4 to 6.7. Audacy Hot AC “99.1 The Mix” WMYX rises 5.0 to 4.4. iHeartMedia Hip Hop “V100” WKKV trends up 2.9 – 3.5 – 4.3, while Sports “97.3 The Game” WRNW-FM is up 1.1 – 1.3 – 2.1.
iHeartMedia Rock 94.1 WHJY slips 10.2 – 9.8 – 8.7 to just hold onto the Providence lead. Cumulus AC “Lite 105.1” WWLI is off 8.9 to 8.6. Hall’s “Cat Country 98.1” WCTK moves 8.2 to 8.1. Cumulus CHR “92 Pro-FM” WPRO-FM holds at a 6.9 share, while sister News/Talk 630 WPRO/99.7 WEAN trends up 4.8 – 5.5 – 6.4.
iHeartMedia Classic Hits “B101” WWBB falls 5.9 to 4.7. Beasley’s “98.5 The Sports Hub” WBZ-FM Boston trends up 3.5 – 3.7 – 4.7.
Hall Classic Hits “Big 101.3” 1340 WNBH surges up 0.6 – 0.8 – 2.5.
Audacy Adult R&B “95.7 R&B” WVKL rises 9.2 to 9.7. Saga Rock “FM 99” WNOR trends up 5.9 – 6.3 – 7.1. iHeartMedia Hip Hop “103 Jamz” WOWI surges 4.0 – 4.4 – 6.6. Audacy AC “101.3 2WD” WWDE dips 7.3 – 6.7 – 6.3. Saga Classic Rock “106.9 The Fox” WAFX is off 6.0 to 5.9.
Sinclair Media News/Talk 790 WNIS trends up 3.8 – 4.1 – 5.0 for its highest share since November 2012. Max Media Country “97.3 The Eagle” WGH-FM rises 3.8 to 4.8. Max Media’s recently launched Urban Adult Hits “100.5 The Vibe” WVBW trends up 2.1 – 2.6 – 3.2.
Sinclair Variety Hits “93.7 Bob-FM” WNOB trends down 6.4 – 6.1 – 4.8, while sister Country “US 106.1” WUSH is down 6.4 – 6.3 – 5.8. Audacy Hot AC “94.9 The Point” WPTE trends 4.7 – 4.4 – 3.9. Max Media AC “92.9 The Wave” WTWV-FM slides 4.4 – 3.5 – 3.2.
iHeartMedia Country 99.1 WQIK holds its lead as it falls 11.6 to 10.6. Renda AC 96.1 WEJZ trends up 8.4 – 9.4 – 9.8. Cox News/Talk 104.5 WOKV-FM inches up 7.8 to 7.9. Cox Classic Rock “96.9 The Eagle” WJGL slides 10.0 – 8.6 – 7.8. iHeartMedia Hip Hop “93.3 The Beat” WJBT rises 6.0 – 6.4 – 6.7.
iHeartMedia Adult R&B “V101.5” WSOL rises 6.0 to 6.5. Cox Adult R&B “Hot 99.5” WOKV-HD2 rises 1.8 – 2.2 – 2.5 and sister Alternative “X106.5” WXXJ is up 1.6 – 2.2 – 2.3.
Cox Soft AC “Easy 102.9” WEZI slips 7.2 to 6.5. iHeartMedia Rock “107.3 Planet Radio” WWJK falls 5.5 – 4.9 – 4.5. Renda’s “99.9 Gator Country” WGNE dips 5.3 – 4.7 – 4.2.
Hubbard takes four of the top five slots. Hot AC 97.9 WRMF drops 10.5 to 8.9. iHeartMedia AC “Kool 105.5” WOLL is down 7.1 to 6.6. Hubbard’s Classic Hits “Sunny 107.9” WEAT rises 5.8 to 6.4, while Adult R&B “X102.3” WMBX dips 6.2 to 6.0 and “New Country 103.1” WIRK rises 4.0 to 4.3.
Hope Media Group Christian AC “88.1 Way-FM” WAYF jumps up 1.6 – 1.8 – 3.4. iHeartMedia Spanish CHR “Mia 94.3” WRLX rises 1.3 to 2.3.
iHeartMedia Classic Rock “Gater 98.7” WKGR falls 5.3 to 4.2.
Audacy takes the top three spots in the Triad. Adult R&B 97.1 WQMG rises 10.9 to 11.0. Variety Hits “98.7 Simon” WSMW jumps 7.7 to 9.3. Country “93.1 The Wolf” WPAW-FM dip 8.3 to 8.2. Dick Broadcasting Classic Rock “Rock 92” WKRR trends down 9.1 – 8.4 – 7.4 which ties iHeartMedia AC “Mix 99.5” WMAG as it rises 5.7 – 6.8 – 7.4.
After setting a PPM record for highest non-Christmas music share last month, Cumulus Adult R&B 103.5 WRBO comes back to earth 16.7 to 12.5. iHeartMedia Adult R&B “V101” KJMS trends up 9.4 – 10.4 – 10.8. iHeart Gospel “95.7 Hallelujah-FM” WHAL-FM rises 8.0 to 9.1. iHeart Hip Hop “K97” WHRK is up 6.8 to 7.0. Audacy AC “104.5 The River” WRVR holds at a 6.1.
Flinn Hip Hop “Hot 107.1” KXHT trends up 4.3 – 5.2 – 5.7. Cumulus Media Country “Kix 106” WGKX rises 3.2 – 3.7 – 4.7, while sister Rock “98.1 The Max” WXMX is up 3.3 to 4.2.
Audacy AC “Lite 100.5” WRCH maintains its lead down 12.1 to 11.2, while sister Hot AC 96.5 WTIC-FM holds in second 9.5 to 8.6. iHeartMedia Country 92.5 WWYZ rises 6.9 to 8.0. iHeart Classic Hits “105.9 The River” WHCN dips 7.3 to 7.1. Public News/Talk 90.5 WNPR-FM falls 8.8 – 8.5 – 6.1.
Full Power Radio Classic Rock “102.9 The Whale” WDRC-FM rises 4.8 to 5.5. Audacy News/Talk 1080 WTIC rises 3.6 to 4.7. iHeartMedia Sports “97.9 ESPN” WUCS trends up 0.6 – 1.0 – 1.4.
Lance Venta is Owner and Publisher of RadioInsight.com. Lance also advises stations, talent and brands on digital content strategies, programming integrations, and brand extensions.
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Master P's Daughter Tytyana Miller's Cause of Death Confirmed – Entertainment Tonight
Five months after Master P’s daughter, Tytyana Miller, died, the Los Angeles County Medical Examiner-Coroner’s office has confirmed the cause of her death.
According to the official coroner’s report released on Tuesday, Miller died from fentanyl intoxication on May 27, confirming reports that the 25-year-old had died as a result of drugs.
Master P first took to Instagram on May 29 to announce that his daughter, whom he shares with ex-wife Sonya C, had died.
The former actress was one of Master P’s nine children, eight of whom he shares with Sonya C, including Romeo, 32, Itali, 23, Inty, 29, Vercy, 30, Hercy, 20, and Mercy, 16. The 52-year-old music mogul is also dad to 25-year-old daughter, Cymphonique, from a previous relationship.
In July, Master P sat down with Gayle King for CBS Mornings to open up about his daughter’s untimely death, and explained how he has been working to spread awareness on mental illness and substance abuse.
Tytyana had been battling addiction for nearly a decade and shared her struggles while starring on Growing Up Hip Hop with her father and brother, Romeo Miller.
“It’s hard. Coming from poverty, you would think that you would outlive your kids and that was the mission,” Master P, born Percy Robert Miller Sr., told King. “I feel like, going to my daughter’s funeral, I went to my own funeral.”
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Grand opening for Broad and Main on 7th in Marion set for Nov. 10 – Corridor Business
A grand opening celebration and open house for Broad and Main on 7th in Marion, part of the Broad and Main neighborhood, has been set for Thursday, Nov. 10 from 5 to 7 p.m. at 1107 Seventh Ave.
The event will feature a tour of several residential units, along with new commercial storefronts.
Broad and Main on 7th is the first of two new buildings that will make up the Broad and Main neighborhood. The location is historically significant in that it was the original location of the train depot at “the corner of Broad and Meridian streets” in the late 1800s. The name “Broad and Main” pays homage to this history, and train station motifs can be found throughout the neighborhood.
Broad and Main on 7th is a $13 million mixed-use property made up of six first-floor retail storefronts, three first-floor food and beverage storefronts, a second-floor office and 35 residential rental units.
Businesses occupying the retail and office space include Staged Dwellings, Purple Wagon, Amelia Jane, Planet Smoothie, and MEDCO.
“Broad and Main on 7th brings a new opportunity for existing and new businesses to grow in Uptown Marion,” said Mark Kittrell, CEO/developer of Eagle View Partners. “Micro retail storefronts are designed for folks who have a great idea for a business to open a brick-and-mortar storefront with low overhead and risk.”
The property’s two anchor commercial spaces are designed for food and beverage users. The largest of these spaces features a sidewalk café for dining outside and has the option for a beer hall or large outdoor patio overlooking the future Uptown Marion public plaza.
“We believe the combination of food, beverage and community will bring a lot of energy and excitement to the area, especially in combination with the surrounding Uptown merchants and future public plaza,” said Kayla Toale, vice president of properties for Eagle View Partners.
The property’s residential units are comprised of studio, one-bedroom/one-bathroom, luxury one-bedroom/one-bathroom, and two-bedroom/two-bathroom floor plans. The units are outfitted with high-end finishes, including floor-to-ceiling windows and balconies to maximize views of Uptown and connect residents with the activity below. Residents also enjoy use of community amenities including a bike storage room, package concierge system, lobby with coffee service, and a ride share waiting area.
Leasing continues for both the commercial and residential units.
“We are proud to announce that we have only two remaining commercial bays available, our residential units are 80% leased and demand continues,” Ms. Toale said. “We take this as a good sign that this type of development is a good next step for growth in Marion.”
Shive-Hattery Architecture served as the architect for the project, DCI Group served as the general contractor and construction managers, and Jeanne Matthews and Brian Rosteck with Skogman Realty are serving as the commercial brokers.
The Broad and Main on 7th redevelopment was made possible through a development agreement with the City of Marion and a partnership with the Marion Economic Development Corp. (MEDCO), Marion Chamber of Commerce and Uptown Marion.
More information about Broad and Main on 7th and future phases of development can be found at www.broadandmainmarion.com. The second phase of the development, Broad and Main on 6th , is underway and expected to open in 2024.
Cedar Falls-based Eagle View Partners develops, manages, and invests in real estate properties in Midwest communities. Areas of expertise include real estate development, property manager, hospitality management and asset management.
Critical business news, thoughtful analysis and valuable strategic insights for business leaders in the growing Cedar Rapids / Iowa City Corridor.
Copyright ©2022 Corridor Media Group, Inc. All Rights Reserved.
What We Learned Live: Buckeyes survive at Northwestern – 247Sports
Well, so much for having the game in hand by halftime and getting the backups a lot of game reps. Ohio State was tied at halftime and had to survive 21-7 at Northwestern on Saturday amid windy and wet conditions. We talk all about it on our postgame podcast, What We Learned Live. The show is hosted by Dave Biddle and he is joined early in the proceedings by Jonah Booker. Then later in the show Patrick Murphy and Steve Helwagen hop on live from Ryan Field in Evanston.
Sit back, relax and enjoy What We Learned Live.
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Bettina – The Brooklyn Rail – Brooklyn Rail
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A message from Phong Bui
Publisher and Artistic Director
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In 1966, the interdisciplinary New York-based artist Bettina began to create photographic portfolios of her works, including her sculptures, abstract photographs, and serial geometric drawings. Bettina pasted her carefully composed photo-documents onto black paper and labeled each page in white pencil with neatly blocked letters. After a studio fire destroyed all of her work and killed her cat, these photo-album portfolios became a way for Bettina to preserve her work and assuage her anxiety of losing it once again. The desire to archive her own work, which undergirded the philosophy of much of her photographic practice, became a necessity and a means of surviving as an artist after the tragedy of the fire. A selection of these portfolios are reproduced in Bettina and their sleek, simple design style informs the zine-like feel of this expansive book.
Bettina is the first monograph devoted to the artist who died in 2021 at the age of 94 while this publication was in progress. Like many women artists of her generation, Bettina’s work largely remained unseen during her lifetime. Her first solo-exhibition was in 1980 at the O.K. Harris Gallery in New York and she did not have another until this year, when Les Rencontres de la Photographie—an annual photography festival in Arles, France—mounted Bettina. A Poem of Perpetual Renewal. The exhibition in Arles is a companion to the book and was organized by the editors—the artist Yto Barrada and Gregor Huber—after the book won the Luma Rencontres Dummy Book Award in 2020 (which financially enabled its publication). In an artist’s career, a forty-year gap is a long one, and the story of what did, or did not, happen in those years for Bettina is certainly the sub-text of this publication. What becomes clear in sifting through almost 250 images of the artist’s work is that Bettina believed in the merit of her creations, preserving them for a future audience that awaited her.
Since meeting Bettina in 2015, Barrada has been the shepherd of her rediscovery. In her text in the book, she describes the evolution of their relationship. In their initial meeting, Barrada found Bettina dwarfed by the boxes and books that filled the artist’s Chelsea Hotel studio. “One sees Bettina and understands that some disaster has taken place, long ago,” Barrada writes. This sense of disaster had been the focus of two documentary films—Sam Bassett’s “Bettina” (2007) and Corinne van der Borch’s “Girl With Black Balloons” (2010)—and it is to Barrada’s credit that she pushed past the artist’s initial claim that all her artwork had been destroyed. Over time, Bettina began to unbox her archive and, in 2019, the two began to work on the book. Bringing on Gregor Huber as a designer, the three set out to create a monograph with “a punk energy [that would] reflect Bettina’s raw elegance.”
Bettina opens with a section on her Xerox works, another method of duplication that propelled her creative output. In the first Xerox, a large line drawn circle is at the page’s center with the text “SANCTUARY protect the magic” at its top. The edges of the Xerox are visible in its reproduction, which preserves a sense of the work as an object that exists beyond the page. This untitled Xerox, like much of Bettina’s work, is conceptually driven and demonstrates her kinship with other artists in the 1960s and ’70s who were similarly working with image and text to catalogue information. But this work is also evocative of the spiritual registers Bettina sought to conjure within her artworks.
The overlap between a rigorous conceptualism and an interest in mystical phenomenon is best illustrated by a series Bettina began in 1977. For The Fifth Point of the Compass / New York From A to Z, Studies in Random Constant, Fixed Focus-Time Lapse, Bettina photographed random occurrences on the sidewalk below her balcony. “I looked over the balcony, and I saw these people walking below me,” the artist recalls. “And I thought… I’d like to capture that. You find mystical coincidences when you concentrate on something hard enough.” The artist would continue the series for eight years, creating photographic typologies of pedestrians’ activities, organized from A to Z. A selection of the photographs from this series are reproduced in the section on photography, where the editors successfully use the book format to create a sequence of related images that unfold with the turn of each page. In the group “READER,” photographs of people walking and reading are printed in varying sizes, creating a rhythm that brings forth the magical synchronicity of New York City, always there if you take the time to look.
Like many of Bettina’s other projects, this series expands from one media—photography—into others, including film, Xerox, and conceptual texts. As the artist Robert Blackburn observed in 1986, “[Bettina’s] photography, film, sculpture are as one, for the photographic medium is employed not only for documentation, but as an endless source of inspiration from which other disciplines emerge-and merge.”1 In spite of the fact that Bettina often flowed from one media to the next, the book sections are separated by media, making each section feel like an unsuitable container for what it holds. Works derived from The Fifth Point of the Compass, for example, are displayed in the sections on Xerox, Photography, and Film. A chronological structure may have been a more successful approach for clearly laying out the evolution of Bettina’s hybrid practice.
Sometime in 2020 when it seemed like the book might never be completed, Bettina wrote to Barrada: “I NEED MY FIRST BOOK TO BE LESS COMPLETE LESS EXPENSIVE AND MORE AVAILABLE TO MORE PEOPLE.” With this mandate, the editors produced a book that privileges access to a wide-range of Bettina’s artworks. This democratic selection invites us to explore Bettina’s radical faith in paying attention.
Noa Wesley is a masters student in Art History at Hunter College, where she studies postwar American art with a focus on photography.
Critical Perspectives on Art, Politics and Culture
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A message from Phong Bui
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Director James Gunn, Peter Safran to co-lead DC Studios – Bay News 9
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James Gunn, the writer-director who made the “Guardians of the Galaxy” household names for Marvel and revived “The Suicide Squad,” will soon be responsible for the future of Batman, Superman and the entire DC Universe for Warner Bros. Discovery. The studio on Tuesday named Gunn and veteran executive Peter Safran co-chairmen and CEOs of the newly formed DC Studios.
The roles will have Gunn and Safran developing a long-term plan for the company’s DC Comics properties, in film, television and animation. Both will continue to also produce, develop and direct individual projects, the studio said.
“We’re honored to be the stewards of these DC characters we’ve loved since we were children,” said Gunn and Safran in a written statement. “Our commitment to Superman, Batman, Wonder Woman, Aquaman, Harley Quinn, and the rest of the DC stable of characters is only equaled by our commitment to the wonder of human possibility these characters represent. We’re excited to invigorate the theatrical experience around the world as we tell some of the biggest, most beautiful, and grandest stories ever told.”
Safran has produced many films for Warner Bros. and New Line Cinema, including Gunn’s “The Suicide Squad” as well as “Aquaman,” “Shazam” and the horror films in “The Conjuring” universe.
Starting Nov. 1, Gunn and Safran will report directly to David Zaslav, the president and CEO of Warner Bros. Discovery, who praised their “singular and complementary talents” in a statement.
“Their decades of experience in filmmaking, close ties to the creative community, and proven track record thrilling superhero fans around the globe make them uniquely qualified to develop a long-term strategy across film, TV, and animation, and take this iconic franchise to the next level of creative storytelling,” Zaslav continued.
For the past four years, Walter Hamada headed what was previously called DC Films but officially departed the studio last week, ahead of the theatrical launch of “ Black Adam.”
Zaslav had promised a “reset” to the studio’s DC operations in an overhaul to implement a more Marvel-like 10-year structure and improve quality, and with that, bring in a more centralized creative executive, akin to Marvel’s Kevin Feige. Some in Hollywood were surprised Tuesday when, instead, two were named.
Unlike Marvel, DC has several different threads operating simultaneously in its films with Todd Phillips’ “Joker” sequel and Matt Reeves’ “The Batman,” in addition to the films of Henry Cavill’s Superman, who made an appearance in “Black Adam.”
Gunn, the rare filmmaker to have active projects with both main superhero powerhouses, is also wrapping up his “Guardians of the Galaxy” trilogy, which is expected in May, and he’ll have a “Guardians” holiday special on Disney+ in November too — the trailer was revealed just shortly before the DC announcement.
Mike De Luca and Pam Abdy, co-chairpersons and CEOs of Warner Bros. Film Group, said in a joint statement that, “to have them both committing to work together to forge this new era for DC is a literal dream come true. We all share a very similar sensibility and passion for this universe and the stars couldn’t have aligned any better."
Copyright 2022 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
Is the Yamaha NS-10 still relevant in modern music production? – Gearnews
Is the Yamaha NS-10 still relevant? · Source: Veikko Venemies / Unsplash / Yamaha
Since its introduction in 1978, the Yamaha NS-10 series of passive loudspeakers has had an unprecedented impact on the music industry with over 300,000 units sold to date.
For a failed bookshelf speaker, becoming the global standard studio monitor was completely unintentional but nevertheless, it was religiously adopted by top engineers like Bob Clearmountain, Andy Wallace, and Manny Marroquin.
When it was eventually discontinued in 2001, there were a total of six different models of NS-10 speakers, each offering a slightly different feature set to the original NS-10M.
Over this time, the NS-10 series polarized opinions continuously as it does today. In fact, the voices questioning its relevance have grown louder in recent years, and for good reason.
The way we consume music has completely changed since the NS-10 rose to fame, and the sonic hallmarks of pop music have shifted somewhat. Is there still room for the NS-10 in the landscape of modern music? Or is it more of a novelty?
The HS-5 is the entry-level model of the popular HS series of active monitor speakers launched back in 2014. It’s an affordable 5″ monitor that is relatively neutral sounding and can produce good results in smaller listening environments.
The fact that these have a relatively similar approach to the NS-10 style of monitoring without requiring an amp is probably why they are so popular. That being said, active speakers project sound in a different way to passives. So keep this in mind.
The Yamaha HS Series.
Yamaha HS 5
With the help of superstar mix engineer and longtime NS-10 user, Chris Lord-Alge, Avantone reincarnated the NS-10 in the form of the CLA-10. This is as close as you’ll get to the original in a modern day monitor.
Like the NS-10M , it’s passive, which means you don’t get that hyped sound that we often associate with active monitors. Moreover, Avantone has a reputation for creating unforgiving monitors like the Mixcubes with excellent translation properties.
Avantone CLA-10
Avantone CLA-10
As you know, passive monitoring performance is largely reliant on the amp you have driving your speakers. The Auratone A2-30 was developed in collaboration with Bettermaker as a compact solution for passive near-field monitors.
It’s a comparably affordable way to drive your NS-10s in a reliable and uncoloured way. Designed for the 5C passive Sound Cubes, you can be sure that translation is the prime directive here.
Auratone A2-30
Auratone A2-30
A truly modern remake, the CLA-10A brings the NS-10 monitoring experience in an active monitoring format that is far better suited to home recording setups. With 200W amplification, it’s more than enough power to produce accurate mixing levels.
If you’re wondering what the Variable Tissue Paper Control knob on the rear panel does, it allows you to simulate your favourite NS10 models. At over $1000 a pair, the CLA-10A is entering pro monitor territory, so you must really want the NS-10 sound.
Avantone CLA-10A
Avantone CLA-10A
Those who didn’t stockpile NS-10 drivers were heartbroken when Yamaha stopped producing them. Luckily, these days, you can continue using your favourite monitors forever, as you can now replace the woofer, the crossover, and even the tweeter.
These Avantone will fit the NS-10M perfectly, and the installation is simple enough to DIY. What’s more, many users have even reported that they prefer the sound of the modern replacement cones. Go figure.
Avantone AV-10
Avantone AV-10 Woofer
Are you an advocate of the NS-10s and if not, what are your favourite active or passive alternatives?
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Never could see any reason to call these e monitors. They are not neutral . They are not even flat in frequency response. There is no standard of bad There are a myriad of ways to be wrong. So poor Translation
no. hs series is not much better.
I loved my NS10M’s. They sounded great to my non-professional ear and looked absolutely fantastic in my little bedroom studio. Bought brand new in 1998 but foolishly sold them 10 years later to help fund the purchase of the new Korg M3. I did manage to sell them for a small profit.
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· Thanks for this article, big help. I have tried guitar fetish too, good stuff.
· Yeah, G&L are pretty decent, though can be a bit hit-and-miss in terms of quality for the price. Especially outside the US
· G & L ASATs in either US or Tribute versions kill all of these.
Happy BoA day: 4 top songs of the ‘Queen of K-Pop’ feat ‘Only One’, ‘Woman’ and more – PINKVILLA
On this joyous occasion, let’s take a look at some of the best tracks created by BoA, the artist that paved the way for K-Pop as we know today. Read ahead to know more.
BoA is a South Korean singer, songwriter, dancer, record producer and actress. One of the most successful and influential Korean entertainers, she has been dubbed the ‘Queen of K-pop’. Born and raised in Gyeonggi Do, South Korea, BoA was discovered by SM Entertainment talent agents when she accompanied her older brother, a music video director, to a talent search in 1998. She trained for two years and made her debut in August 2000. BoA has released twenty studio albums, including ten in Korean, nine in Japanese, and one in English.
On television, she appeared as a judge on the reality competition show K-pop Star (2011–2013), as an actress on the television drama Listen to Love (2016), as a host for the second season of Produce 101 (2017), and as a coach for the third season of The Voice of Korea (2020). BoA’s ability to sing in Japanese, English and Mandarin has helped her find commercial success beyond South Korea, in China, Japan, Taiwan, and Singapore. With the release of her debut Japanese studio album, Listen to My Heart (2002), BoA became the first South Korean pop star to break through in Japan following the fall of barriers that had restricted the import and export of entertainment between the countries since the end of World War II.
She is the only foreign artist with three albums that have sold more than one million copies in Japan and one of only three female artists with six consecutive number-one studio albums on the Oricon charts since her debut, the others being Japanese singers Ayumi Hamasaki and Hikaru Utada.
She has created some absolutely legendary tracks and here’s are curated list of it :-
1. Only One
For the choreography of her title track, ‘Only One’, she enlisted the help of Nappytabs who also contributed to the choreography on her upcoming dance flick Make Your Move 3D. The title track ‘Only One’ was released digitally on July 22, 2012. It entered the K-pop Billboard Hot 100 at number 12 and peaked at number 2 on its fourth week. It remained in the top 3 for four weeks. It stayed in the top of the Gaon charts for weeks, and has sold about 2 million singles as of October. The physical album was released on July 25, 2012, and sold over 28,000 copies on its first six days of release. Since August 2012, the album has sold more than 34,000 copies in total. The album also got more than 934,059 digital downloads according to Gaon Chart. The album is her best selling Korean album so far with the combination of digital and physical sales. The song was the most 2012-like song with the pretty pop coupled with the silky vocals of BoA and the best choreography as expected by the Queen of K-Pop.
2. No.1
It is a dance song that incorporates stylistic elements from europop. The version released by BoA was written by Kim Young Ah, while arrangement of the track was handled by Ahn Ik Soo. The original was created by a Norwegian producer. It was met with positive reception in both South Korea and Japan. In Mnet’s Gayo Best 27 half-year ranking of the top 100 popular songs, ‘No. 1’ ranked at number three, placing behind Shinhwa’s ‘Perfect Man’ and Lee Seung-hwan’s ‘Wrong’. The song was dubbed as not only a milestone in [BoA’s] career as a transnational idol star, but also proved the viability of SM Entertainment’s export strategy. It was the first time the company gained chart success in Korea and Japan with a song licensed from Europe.
3. Woman
The track shows Boa’s idea of a real woman and depicts how women can do better than just competing against each other. The singer embraces her womanhood and inspires other women to do so as well by urging them to be comfortable in their own skin and set their own standards for themselves. The music video further emphasizes this point, exhibiting a diverse group of women from different ages, sizes and racial groups. The accompanying choreography for the title track went viral following the record’s release for the ‘upside-down walk’ that was utilized in the introduction. Woman additionally received a nomination for Best Pop Album at the 16th Korean Music Awards in 2019.
4. Better
It is an alternative R&B written and arranged by longtime collaborator Yoo Young Jin. Alongside music production by Aston Rudi, and Jay-Keyz, the song also contains a sample of ‘Like I Do’ by Swedish singer AWA, who was given songwriting credits for the song. The song received critical acclaim from critics upon release, with several publications listing Better in their rankings of best albums of 2020. It was ranked at number six on Metro UK’s list The 20 Best K-Pop comebacks of 2020 and at number one on Billboard’s The 10 Best K-Pop Albums of 2020. It described the album as one of BoA’s strongest records to date, and it’s filled to the brim with songs that present her as someone assured in her artistry – its excellence is obvious.
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Which song is your favourite? Let us know in the comments below.


