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Sherine Abdel Wahab calls for help in audio recording – Egypt Independent

Singer Sherine Abdel Wahab’s story seems to have no end, with new developments every week, after she has been admitted into a mental health hospital for weeks.
Sherine appeared for the first time, on Wednesday, on the scene of events, through a leaked recording where she called on her lawyer Yasser Kantoush to help her outside the hospital.
From inside the hospital, in which she has been detained since 20 days, after her disagreements with her ex-husband Hossam Habib and her brother, Mohamed Abdel Wahab, appealed to Kantoush, and asked him to help her get out of the hospital, after she undersigned documents that she did not know what it contained.
Sherine said in the leaked recording, “Good evening, Yasser, please do anything to get me out of the hospital because they forced me to sign a paper that I don’t know what it is.

I want to get out of the hospital. I have become fine…I have been here for over 20 days and I want to come out urgently please Mr. Yasser.
Kantoush published the recording on his official Facebook page, in which he confirmed that the recording was leaked at the request of Sherine.
Yasser Kantoush’s statement
Kantoush published a statement on his official Facebook page saying: “After reviewing the report issued regarding the health condition of the artist, Sherine Abdel Wahab, by a specialized medical committee of the National Council for Mental Health, the report stated that the artist’s health condition was good and stable and did not require a compulsory treatment inside the hospital.”
The report added she was psychologically stable, but despite the report she could not leave the hospital, he said.
“She was forced to sign papers stating she wanted to continue in the hospital, and this is contrary to the truth,” Kantoush statement said.
“The hospital informed the Public Prosecution Office, after this report that required her to be released was issued, that artist Sherine was voluntarily present in the hospital so that [the hospital] does not fall under the law,” he wrote.
“Thus the hospital is detaining a citizen unjustly, and therefore all legal measures will be taken against it for violating Article 10 of the Mental Health Law which stipulates the voluntary admission of a patient, and allows them to make phone calls, meet whomever they want, and leave the hospital at any time,” Kantoush said.
According to Kantoush, Sherine asked him in the recorded call to help her leave the hospital, after her health condition stabilized during the past days. He stressed that the circulating audio recording of her was published upon her request to reassure the public about her condition.
Kantoush said, in a telephone interview with TV presenter Sherif Amer, via MBC channel, saying a medical report that said that her condition was good and did not require her presence in a hospital or treatment. He added Sherine called him and assured him she was in a good health.
“Yesterday, we went to the hospital and they refused to communicate with us. I took the recording from her and she asked me to publish it upon her desire. There is an investigation by the prosecution about her health condition, and the investigations have a surprise,” he added.
Is Sherine Abdel Wahab in Fayoum?
Some sources claimed that Abdel Wahab was transferred to a hospital in Fayoum Governorate after her condition stabilized in the past few days. No official source so far has confirmed this information.

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Sudio E2 Review – PCMag

Overwhelming bass, underwhelming features
I’ve been a contributing editor for PCMag since 2011. Before that, I was PCMag’s lead audio analyst from 2006 to 2011. Even though I’m a freelancer now, PCMag has been my home for well over a decade, and audio gear reviews are still my primary focus. Prior to my career in reviewing tech, I worked as an audio engineer—my love of recording audio eventually led me to writing about audio gear.
The Sudio E2 earbuds boast unbridled deep bass power, but that's not enough to make up for their unbalanced default sound and merely decent noise cancellation.
The Sudio E2 noise-cancelling true wireless earphones ($129.99) stand apart from the competition because of their intense bass response. On one hand, we’re impressed that their drivers can produce subwoofer-level, skull-rattling lows. On the other, they invent bass depth where it doesn’t exist and require a fair bit of EQ work to get anywhere close to a reasonable output. They do offer decently effective active noise cancellation (ANC), but we’re not fans of their finicky on-ear controls or SBC-only codec support. The slightly more affordable Anker Soundcore Space A40 earphones ($99.99) remain our Editors’ Choice winner in this price range because of their balanced sound and superior noise cancellation.
The stem-style earpieces are available in black, gray, green, or sand, with a semi-matte rubber surface that’s easy to grip. Both the build material and the shape of their enclosure help ensure a particularly secure in-canal fit. They don’t ship with any earfins or hooks, but you do get five pairs of eartips in various sizes.
10mm dynamic drivers deliver a frequency range of 20Hz to 20KHz, with an impedance of 16 ohms. The earphones are compatible with Bluetooth 5.2 but support only the SBC codec, not AAC or AptX. We’ve tested other models in this price range that also work only with SBC, but this level of support has become increasingly inexcusable because it means both Android and iOS users are stuck without a better-quality listening option.
The outer panel of each earpiece functions as a capacitive touch panel. The default control layout is sensible. Tap once on either earbud to control playback or answer a call (a long press ends a call). Tap twice to navigate tracks (left for backward and right for forward) or three times to adjust the volume (left for down and right for up). Hold for two seconds on the left earpiece to toggle the Dirac Spatial audio effect (we discuss this later) or the right earpiece to cycle through the ANC On, Transparency On, or All Off settings. In testing, the multi-tap gestures were somewhat difficult to pull off—the earpieces often only registered the first tap, regardless of how many times we pressed on them.
The modest IPX4 rating means the earpieces can withstand light splashes from any direction, so neither light rain nor sweaty workouts should be a problem, but you can’t submerge them or place them under a running faucet for cleaning. This rating doesn’t extend to the charging case, so make sure to fully dry the earbuds before docking them. If you need better water resistance, the JBL Reflect Aero earphones ($149.95) offer a fully waterproof and dustproof IP68 rating. The Jabra Elite 7 Pro ($199.99) and the Jabra Elite 7 Active ($179.99) are also strong exercise-friendly alternatives with an IP57 rating and higher-quality active noise cancellation.
The case is average in size, has a flip-top lid, and sports the same grip-friendly coating as the earpieces. The latter quality makes the case easy to open and close without it slipping out of your hands, in contrast to the glossy cases of many competing models. The front has a status LED, while the back has a reset button and a USB-C port. An exceptionally short USB-C-to-USB-A cable ships in the box, but you can thankfully avoid having to deal with it by taking advantage of the Qi wireless charging support. A cloth also arrives in the box, which is handy for cleaning the smudge-prone exterior of the case and earpieces.
Sudio estimates that the earphones can last roughly four hours (with ANC and Dirac spatial audio on) or six-and-a-half hours (without ANC or Dirac spatial audio) per charge and that the case holds between 18 and 30 hours of additional battery life (depending on your use of ANC and Dirac spatial audio). That’s quite a range for the case, but the lower end is pretty weak and the higher end is still just average. Your results will also vary based on your typical listening volume level.
The Sudio Personal Sound app (available for Android and iOS) lets you perform firmware updates and offers an on-screen switch for choosing between the ANC, Transparency, and All Off modes. Beyond that, there’s an adjustable six-band EQ that allows you to save custom presets or select from a range of preconfigured options (such as Balanced, Bass, and Voice). As is now common, you can also generate a sonic profile based on your hearing. The app doesn’t let you customize the on-ear controls, but that’s less of a big deal because our problem is with the sensitivity of the controls, not their layout.
The earphones noticeably tamp down the powerful low-frequency rumble you hear on an airplane, but add a distracting high-frequency hiss (similar to a faint white noise) to the signal in the process. They’re less successful against a recording of a busy restaurant with clanging dishes and boisterous conversation.
For comparison, heavyweights like the Bose QuietComfort II Earbuds ($299) eliminate wide swaths of noise in both scenarios. But, for the price, the active noise cancellation is at least decent.
Before we discuss the audio quality, we have to explain the Dirac Virtuo Spatial Audio effect. Sudio’s website says this feature is exclusive to this model, but we have tested other products with a similar effect, including the Monoprice Monolith M1000ANC ($129.99). As we noted in the Monoprice review, you might enjoy this simple EQ and reverb effect. Yes, it can sound pleasant on certain mixes, but it rarely improves the original audio—few mix engineers are likely to embrace it even if the ostensible goal is to create a more realistic, room-like sonic experience. Note that this doesn’t have quite the same effect as Apple’s spatial audio feature, which uses head tracking to create a sense of the sound source’s location in the room. We turned off Dirac Spatial Audio for testing the audio performance.
On tracks with intense sub-bass content, like The Knife’s “Silent Shout,” the earbuds deliver thunderous bass depth. But the heavily bass-leaning default sound signature is not very accurate. Even bass lovers might want to reach for the in-app EQ to bring a better sense of balance to the mids and highs. The good news is the EQ makes it possible to get a more reasonable sound signature that still has plenty of bass depth.
Bill Callahan’s “Drover,” a track with far less deep bass in the mix, gives us a better sense of the sound signature. The drums on this track sound thunderous, but not quite unnatural. There’s plenty of high-mid and high-frequency presence, which means Callahan’s vocals get some nice treble edge and the guitar strums sound bright. But the drivers scoop the mids, which leads to a slightly muffled sound. The EQ can save the day (again), but we would prefer a more balanced starting point.
On Jay-Z and Kanye West’s “No Church in the Wild,” the kick drum loop receives enough high-mid presence for its attack to retain some of its punch, but the vinyl hiss and crackle from the background get far more attention. The sub-bass synth hits sound almost absurd here, with too much emphasis. As a result, the vocals battle with the sub-bass for space in the mix. Deep bass lovers won’t find much to complain about, but the EQ is available for everyone else who wants a more natural presentation.
Orchestral tracks, like the opening scene from John Adams’ The Gospel According to the Other Mary, sound bizarre. The lows have too much presence and the highs take over in certain areas, while the mids aren’t audible enough. The result is an almost tinny upper-register sound and a tubby bass response. This isn’t an appropriate approach for serious classical listening and you need to use the EQ if you plan on listening to orchestral and jazz music.
The dual-mic array works fine. We had no issue understanding every word in a test recording from an iPhone and didn’t detect any notable Bluetooth artifacts in the mix. You shouldn’t have any issues with calls over a reliable signal.
The Sudio E2 earphones’ capable drivers and useful EQ are points in their favor, but the default sound signature and SBC-only Bluetooth audio overshadow these positives. Nothing else here, from the so-so active noise cancellation to the take-it-or-leave-it spatial audio effect, makes for a compelling experience. It’s hard to top the sheer amount of bass power here, but if you want noise-cancelling true wireless earphones for under $200, the aforementioned Jabra Elite 7 Active and Anker Soundcore Space A40 models offer stronger sound, better active noise cancellation, and wider codec support.
The Sudio E2 earbuds boast unbridled deep bass power, but that's not enough to make up for their unbalanced default sound and merely decent noise cancellation.
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I’ve been a contributing editor for PCMag since 2011. Before that, I was PCMag’s lead audio analyst from 2006 to 2011. Even though I’m a freelancer now, PCMag has been my home for well over a decade, and audio gear reviews are still my primary focus. Prior to my career in reviewing tech, I worked as an audio engineer—my love of recording audio eventually led me to writing about audio gear.
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Sexual Assault Allegation Exposes Self-Policing Prison System – The Intercept

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Robert Adams was heading to lunch when he saw the guards. Eladio Cruz and Nicholas May, a sergeant and an officer, respectively, at Shawangunk Correctional Facility, were berating Anthony Davis for leaving his prison-issued tablet in the recreation area. After another man had picked it up and turned it in, Cruz and May yelled at Davis for sharing possessions, a violation of prison rules. Davis maintained that it was unintentional.
Adams attempted to intervene. But the two officers were angry with him, he said, for his recent refusal to give up the names of people who’d been smoking cigarettes indoors — another rule violation. It was May 19, 2021.
May threw the first punch, Adams testified in a later hearing. Three other men incarcerated at the upstate New York facility confirmed his account. Cruz and another officer then joined in, in full view of the unit, delivering what Adams described as “a flurry of punches to my face and body.”
“They were stomping him, kicking him, slapping him,” Nathaniel Bentley, one of the witnesses, told New York Focus and The Intercept. Men in nearby cells screamed at the officers to stop, recalled another, named Reginald Wilson. “Get off of him! Let him loose! … What are you jumping on him for?”
It made no difference. The guards dragged Adams into a sally port, pinned him to the ground, and beat him, he and a witness recounted. When they hauled him to his feet, Adams testified, Cruz pulled Adams’s pants partway down and repeatedly sodomized him with his state-issued baton. New York Focus and The Intercept obtained a transcript and audio recording of the hearing through Adams’s attorney.
In the hearing, Adams repeated Cruz’s words as he remembered them: “This is what happens to faggots like you.”
The New York State Department of Corrections and Community Supervision declined to comment on Adams’s allegations but said that it has a zero-tolerance policy for physical and sexual abuse. May and Cruz did not respond to repeated requests for comment. Last December, the department’s Office of Special Investigations informed Adams that the case was closed and that the allegations of sexual assault were found unsubstantiated. But after New York Focus and The Intercept contacted DOCCS in October 2022, investigators interviewed multiple witnesses about the incident. Asked if the case had been reopened, a department spokesperson wrote that “the Office of Special Investigation is reviewing all the allegations made and DOCCS has no further comment on them at this time.”
Adams first contacted New York Focus and The Intercept in June 2021, the month after the incident. In the nearly a year and a half since, he spoke to reporters by phone over a dozen times. What follows is drawn from those conversations, as well as from interviews with three witnesses, Adams’s written grievances, staff disciplinary records produced by DOCCS, a recording of his disciplinary hearing, and other prison records.
The investigation paints a portrait of a prison system in which complaints of sexual assault are suppressed, testimony by incarcerated people is discounted, and accountability remains elusive. Adams’s witnesses were scattered to prisons across the state, many to solitary confinement cells, in what they say amounts to a cover-up. One said he was beaten in retaliation for reporting what he saw. Another said he was denied food until he agreed not to testify. Adams said doctors refused to give him a proper rape examination.
The records show that Cruz has repeatedly been accused of physical assault, and that the year before he allegedly assaulted Adams, he nearly lost his job over inappropriate sexual behavior and lying to investigators.
He and May continue to work in New York prisons.

Illustration: Matt Williams for The Intercept
Terrified, Adams at first told prison medical staff only that the guards had beaten him. Medical staff noted that his right eye was red and the right side of his face was swollen.
After discharging him from the clinic, staff placed Adams in solitary confinement and charged him with six rules violations: assault on staff, creating a disturbance, threats, violent conduct, refusal to obey a direct order, and movement violation.
Within days, Adams and six of the seven witnesses were transferred to prisons across the state. (Bentley says he was the only person left at Shawangunk who witnessed the incident.) At the new facility, removed from May and Cruz, Adams reported the sexual assault and requested medical care.
Under the federal Prison Rape Elimination Act, Adams should have received a thorough sexual assault examination and been provided with counseling. He said he was offered neither.
Instead, he was handcuffed and chained at the waist before being escorted to the medical unit. The nurse asked him to pull down his pants and bend over. She shone a flashlight at his anus and told him nothing was wrong. Adams said he asked to be sent to an outside hospital for a thorough rape exam, as required by New York prison system policy implementing PREA. Medical staff told him that they would report his complaints to the prison’s physician and sent him back to his cell.
The following day, Adams saw the physician, who he said did not physically examine him. By his account, when Adams complained that it hurt to go to the bathroom, the doctor replied: “What do you want me to do about it? You’re gay, aren’t you?”
The office of New York’s Democratic Gov. Kathy Hochul, responsible for ensuring that the prison system complies with PREA, did not respond to multiple requests for comment. Governors who fail to maintain PREA compliance risk losing 5 percent of federal grant funding for their state prison systems, but the incentive is weak, and enforcement is lax. In New York, that penalty would be just $2 million out of the prison agency’s $3.4 billion budget.
PREA audit failures are extremely rare. In early May 2021, an auditor with the American Correctional Association, the prison trade group contracted to monitor PREA compliance, visited Shawangunk. Over the course of two days, she reviewed protocols and records and interviewed prison officials, staff, and incarcerated people. Her audit stated that Shawangunk met or exceeded all required standards.
Two weeks after the auditor’s visit, Nathaniel Bentley made an urgent call.
“As soon as I seen the officer hit him, I got right on the phone,” Bentley told The Intercept and New York Focus. As the assault began, he said, “I picked the phone up because none of the officers was looking. And I called OSI.” He was referring to the Office of Special Investigations, a unit within the prison agency responsible for investigating complaints of abuse, including allegations of sexual assault. (Bentley said he witnessed the beating but did not see what transpired once Adams was brought to the sally port.)
Bentley said the operator told him that they were already talking to another witness to the same event and that someone from the agency would contact him later. For over a year, he said, they didn’t follow up.
Eight days later, Adams called OSI too.
He also filed a written grievance detailing the alleged assault, which New York Focus and The Intercept have reviewed. Afterward, he filed a second grievance alleging a lack of medical care and the prison’s failure to allow a sexual assault nurse-examiner to evaluate him.
A committee denied the medical grievance the following month, stating that the doctor said Adams had been examined for trauma, injury, swelling, and blood. “There was no sign of any trauma,” read the response, with no mention of other symptoms.
That summer, Adams also faced a disciplinary hearing by phone for the six rules violation charges for which he was held in solitary confinement. Fighting his charges, he leveled his allegation against Cruz on the record. May testified that Adams had punched him in the face. Davis testified to observing the sexual assault in the sally port.
“After they beaten the hell out of him, I witnessed Sergeant Cruz standing behind him, pull his pants down and shove his stick up his rectum,” Davis told the hearing officer. He testified that he used his tablet like a mirror, angling it to witness what was happening in the reflection.
Davis, Wilson, and one other incarcerated witness testified that Adams had not assaulted anyone. Bentley refused to testify.
In her decision, the hearing officer stated that she found May’s testimony to be substantial evidence, while the testimonies of Adams and the incarcerated witnesses were not. She found Adams guilty of all six charges and sentenced him to six months in solitary confinement.
Adams seemed unsurprised with the officer’s finding. “I understand that you probably are going to find me guilty of something,” he said before the verdict. One question nagged at him though: Why hadn’t Bentley testified? He asked repeatedly, but the officer said only that the potential witness had refused.
Adams said that an OSI investigator interviewed him in August 2021 and that he provided the names and prison identification numbers of at least five men who were witnesses. More than one year later, Wilson, Davis, and Bentley independently told New York Focus and The Intercept that no investigator had interviewed them. It was only this October, in the days after we contacted the agency, that investigators interviewed Davis and Bentley.
Adams spent the intervening year serving out his disciplinary sentence and being shuttled between solitary units, where he spent 23 to 24 hours each day locked alone in a cell. He was transferred three more times between prisons.
At each prison, Adams called 777, a hotline operated by the nonprofit New York State Coalition Against Sexual Assault, which connects incarcerated victims with outside rape crisis centers. Every time he began the intake process, he said, he was moved to a new prison and had to start over. It wasn’t until April 2022 that he was able to connect with a counselor at Safe Harbors of the Finger Lakes, he said, who provided him with biweekly counseling by phone. (The organization did not respond to a request for comment.)
There is a striking disparity between the number of official complaints to the prison agency and the number of calls to the nongovernmental 777 line. In 2019, the office that runs the hotline reported 3,338 calls. That year, the most recent for which data is available, DOCCS recorded 481 allegations of sexual abuse by staff. The agency’s investigators determined just 11 of them to be “substantiated,” meaning more likely to be true than false.
“It’s an endemic issue,” said Sophie Gebreselassie, a staff attorney at the Legal Aid Society’s Prisoners’ Rights Project, in reference to sexual assault by prison staff. And it’s difficult to quantify just how pervasive it is because of the many barriers to reporting, as well as the fear and shame that many survivors bear after being sexually assaulted.
Before March 2021, 777 operators could help incarcerated victims file official reports, but the reporting system now requires victims to file a written letter, preventing anonymity and posing challenges for those with low literacy or English proficiency.
Dori Lewis, former supervising attorney of the Prisoners’ Rights Project, emphasized “the bias against people in custody.” Over two decades of work with and litigation on behalf of incarcerated rape survivors, she saw that “the word of a convicted felon against the word of a staff member almost invariably meant that the staff member was going to be believed.”
Thomas Kearney, the statewide organizer for the New York State Jails Justice Network and former PREA outreach director for the New York State Coalition Against Sexual Assault, spent 15 years incarcerated in New York prisons, giving him a front-row view of how investigations into staff misconduct and abuse played out.
“When you have any situation where there’s an agency investigating itself for causing harm, they’re not really encouraged to do a thorough investigation,” he said. “The largest barrier to reporting is DOCCS itself.”
In 2020, the number of 777 calls went up to 5,795 — an average of 16 calls per day. DOCCS has not yet released its 2020 data.
Some incarcerated survivors don’t report abuse because they don’t think it’ll be taken seriously. Others stay quiet for fear of reprisal. PREA requires that prison officials conduct retaliation monitoring, including by reviewing disciplinary charges that follow reports of assault. But incarcerated people and those who represent them say that retaliation remains commonplace.
And witnesses are rare. Sexual abuse is frequently perpetuated in the prison’s blind spots, areas where there are no cameras or other people. When there are witnesses, Lewis pointed out, “It takes extraordinary courage [for them] to come forward because they, too, will be at risk for retaliation.” Beyond further abuse and transfers to far-flung prisons, this can come in the form of disciplinary charges, which affect people’s chances of getting parole or sentence reductions.
Reginald Wilson, Nathaniel Bentley, and Anthony Davis said that’s what happened to them. In separate interviews, they claimed that they and at least three other men who saw the incident were charged on false allegations and placed in isolation that day. Davis said that he was beaten by guards over a year later, with one asking him: “You like lying on a sergeant?”
Bentley said that the reason he did not testify at Adams’s hearing was rooted in reprisal. Locked in segregation at Shawangunk on charges of inciting a riot and disobeying a direct order to get off the phone with OSI, he alleged that officers withheld food from him. When an officer brought him the notice about the disciplinary hearing, Bentley said, he mentioned that if Bentley refused to testify, he would get his food.
DOCCS told The Intercept and New York Focus that the agency was investigating all allegations and declined to comment on Bentley’s and Davis’s claims.
Bentley acquiesced, signing a statement refusing to testify. “After that, they started giving me food and all the things a human is supposed to get,” he said.

Illustration: Matt Williams for The Intercept
In November 2010, an incarcerated man at Green Haven Correctional Facility alleged that Cruz and another officer physically assaulted him, striking him on the legs, head, and body with their batons, then kicking and punching him after he fell to the floor. After the man making the assault allegation faced disciplinary charges, investigators noted that the staff involved had denied the allegation and closed the case as unsubstantiated.
In 2018, Cruz was among several staff at Greene Correctional Facility who were accused of jointly assaulting an incarcerated person. Investigators closed that case, too, as unsubstantiated.
A January 2020 incident of alleged inappropriate sexual behavior toward a correctional officer trainee brought repercussions. In mid-July, DOCCS suspended Cruz without pay for reasons including the inappropriate conduct and “false statements during the course of an official investigation.” The following week, the agency informed him that he had been dismissed from state service.
Represented by the New York State Correctional Officers and Police Benevolent Association, or NYSCOPBA, Cruz filed a grievance opposing that decision. He reached a settlement agreement with DOCCS in which he was transferred to a different prison and demoted from sergeant to correctional officer. He was allowed to resume work on August 31, 2020. Two months later, he was promoted back to sergeant, a position whose responsibilities include supervising incarcerated people and other staff to prevent misconduct.
In May 2021, he allegedly assaulted Robert Adams.
A month later, another person incarcerated at Shawangunk called OSI and filed a grievance that Cruz, along with several other staff members, was harassing him in retaliation for filing a complaint against a fellow officer. The complaint against Cruz was closed as unsubstantiated.
In September 2021, Adams received notice that his grievance about the physical assault had been denied. Staff asserted that Adams had been the aggressor and that although the incarcerated witnesses had been interviewed, “their allegations remain unsubstantiated.”
In December, Adams received a letter from OSI stating that his claims of sexual assault had also been found unsubstantiated. Without describing the evidence itself, the five-sentence letter stated: “This finding is based upon the evidence of the case.” Ten months later, in October 2022, Davis received a surprise visit from an OSI investigator, who questioned him about witnessing Adams’s alleged sexual assault. It was the first time the agency had contacted him about it, he said.
In response to public information requests for Cruz’s disciplinary records, DOCCS said it possessed two documents making sexual assault allegations against Cruz — one for “staff-on-incarcerated individual sexual assault” and one for “staff-on-staff sexual assault” — but was withholding both, citing privacy stipulations under Civil Rights Law § 50-b. The first allegation was found to be unsubstantiated, DOCCS said; it’s unknown whether this refers to Adams’s complaint. The second was found to be partly substantiated and partly unsubstantiated.
“DOCCS has zero tolerance for sexual abuse, sexual harassment, and unauthorized relationships,” a department spokesperson said in a statement. “The Department thoroughly investigates all reports of sexual victimization, including unauthorized relationships, and retaliation against any individuals who report incidents or cooperate with those investigations.”
Nationwide, nearly half of sexual abuse allegations made in prisons are against correctional officers, according to a 2014 Department of Justice study. Prosecution remains rare. Roughly one-third of officers are allowed to resign before investigations are completed, enabling them to apply for similar jobs at other correctional systems with no public record of misconduct.

In New York, the state’s contract with NYSCOPBA requires that even if a case is substantiated, it goes to arbitration. In some cases, arbitrators have ruled that an officer with a substantiated claim should be allowed to return to work. In 2017, a reinstated officer went on to rape an incarcerated woman, for which he was arrested and criminally prosecuted.
In January 2021, lawmakers proposed a bill to allow the state’s attorney general — rather than OSI, the office within the prison agency — to investigate staff misconduct, as well as to create an independent ombudsman. It has languished in the Senate correction committee.
This past March, the Senate held its first-ever legislative hearing about sexual assault in the state’s correctional facilities. DOCCS Acting Commissioner Anthony Annucci was scheduled to testify, but he sent four of his staff instead. The hearing lasted more than six hours and did not result in any legislation.
For now, Adams’s case appears to be reopened, but his attempts to seek recourse illustrate a system that is both arcane and mercurial. Each element of his allegations — the sexual assault, the cover-up, the lacking medical care, the retaliation, the dismissals of his complaints, and the constant campaign of violence — reflects a self-policing prison system that has successfully insulated itself from oversight and accountability.
“They says it’s zero tolerance for sexual harassment and sexual assault,” said Adams. “When you accuse one of them, it’s swept under the rug.”
Akash Mehta contributed reporting.
Victoria Law@LVikkiml
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Cristina Lazic: "It’s great to see that also women are given a voice" – Electronic Groove

Interview by Ana Zerpa
EG caught up with Cristina Lazic to talk about her ADE experience, the progress of the female artist in the electronic scene, her social roles, and more.
EG: Hi Cristina! How are you? It’s a pleasure to catch you here in Amsterdam. How was your ADE experience?
Cristina Lazic:  Thanks for the invite. It was my first ADE after quite some time, and I truly loved the experience. Amsterdam is also a place where the raving culture is very established, you can see it from the way in which clubs are organized, the amazing sound systems, and the well-behaved and educated audiences.
I loved going to listen to some of my favorite artists play such as Enzo Siragusa and Archie Hamilton, and I was happy to meet several friends from the industry. I had the chance to hear a couple of great talks at the shesaid.so space, and to see an amazing audio-visual experience by Joris Voorn. I feel like I have come back from ADE convinced that the music industry is more buzzing than ever, that the industry is full of experienced and smart professionals and in general I am quite satisfied with the networking I have done during the days of the conference.

EG: What do you think about the progress of the female artist in the electronic scene?
Cristina Lazic: I find this fascinating, as in an industry that was historically male-dominated, it’s great to see that also women are given a voice, compared to just even 5 years ago. I also like to see more women supporting each other with initiatives like shesaid.so, the community of women that I belong to, but also other female communities like Future Female Sounds and Women In Music.
There is still a lot to do though: I would like to see even more females in festivals and clubs lineups, and especially more women producers. In my genre, minimal, you have a very little amount of female producers – but I hope that things will continue to improve as time goes by.
EG: What have you been doing with shesaid.so at ADE?
Cristina Lazic: I have worked on multiple fronts. For example, I have led Google’s #IamRemarkable workshop, of which I am a facilitator, for the women involved in the She Grows mentorship program. Currently, I am leading shesaid.so’s parenthood efforts at a global level. Sometimes (as it happened at IMS and ADE) I DJ for shesaid.so. We kicked off the shesaid.so Parenthood Committee during the pandemic, in April 2020. We initially started attending a variety of events, in order to raise awareness of the fact that the industry has a problem: there is not enough support for professionals in music with kids.

EG: How do you combine your personal life, your work as a DJ, and your work at Google?
Cristina Lazic: I am trying to be very organized and committed to splitting my time in a way that allows me to continue my full-time job, do music, and be a good and responsible mother. I love producing, and this takes a lot of time. On a normal day, I’d wake up early, bring my daughter to school, and have calls/meetings for Google all day. I then spend time with my daughter until she goes to sleep, and I do music-related “duties” (production, digging, etc) at night. At Google I work in the brand & reputation marketing team, leading a beautiful program called ‘Italia in Digitale’, made of a variety of initiatives that the company has implemented to help Italian SMBs and people accelerate digital transformations.
EG: Can you explain how is your creative process and what equipment do you use?
Cristina Lazic: I use an Ableton Push 2, a Novation keyboard, and a great Apollo Twin X sound card, very recommended! And up next I’ll buy a Behringer TD-3-AM. Between now and January, I also have the goal to create a dedicated studio at home, which I want to equip with proper studio speakers and more machines.
I normally like to take time for myself (generally at night, when everyone is asleep) and compose music starting with synths and melodies. I then add drum rack elements, basslines, and after the various additional elements like pads, FXs, vocals, etc. I started making music at the age of 14; just yesterday, I was talking to a friend about the three songs I composed and wrote in my teen years, and this memory made me smile… I can see that music production is something I have always loved to do, and that has always accompanied me.
EG: Are you immersed in the production of a new record?
Cristina Lazic: I have several tracks ready, which I am looking into placing with labels as we speak. In the long run, I have the goal to produce a full album in collaboration with female vocalists, all coming from a variety of genres. I hope to be able to involve pop, R&B, and jazz vocalists, for example. I didn’t have the physical time yet to kick off this work, but I hope I’ll do it soon.
EG: Thank you for your time, Cristina! We wish you all the best! 
Cristina Lazic: Thanks! See you soon!

Follow Cristina Lazic: Facebook | Soundcloud | Instagram | Spotify 
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How to watch Georgia vs. Tennessee: TV channel, live stream online, prediction, spread, kickoff time – CBS Sports

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Georgia vs. Tennessee was heralded as the most-anticipated matchup of the season, and through two quarters of play, it’s clear the reigning national champions are out to make a statement on the biggest stage of the season. The No. 3 Bulldogs lead the No. 1 Volunteers 24-6 as the third quarter begins in Athens as the Georgia offense is out to remind some people how deadly it can be. 
Stetson Bennett has thrown for 226 yards and two touchdowns as Ladd McConkey leads the way in receiving with 63 yards on three catches with a touchdown. Bennett has also added one score on the ground as the Dawgs dominated the first 30 minutes. 
Meanwhile, the high-powered Tennessee offense has been held down by the Georgia defense. Hendon Hooker, who has drawn a plethora of Heisman hype throughout this undefeated run for the Vols, has only thrown for 88 yards and an interception through the half. 
Keep it locked at this link here for live updates, highlights and analysis of Georgia vs. Tennessee. 
Date: Saturday, Nov. 5 | Time: 3:30 p.m. ET
Location: Sanford Stadium — Athens, Georgia
TV: CBS | Live stream: CBSSports.com, CBS Sports App (Free)
What does Nolan Smith’s loss mean?: Georgia received terrible news this week when it was announced that star linebacker Nolan Smith’s season is over after he suffered a pectoral injury in the win over Florida. The senior had seven tackles for loss and three sacks in eight games this season prior to the injury. The timing couldn’t be worse for the Bulldogs. 
The Volunteers offense isn’t just one of the most dynamic units in the country, but it operates at warp speed. The veteran presence that Smith brought to the defense — including his familiarity with the defensive scheme — is irreplaceable. Coach Kirby Smart addressed possible replacements on Monday. 
“Well, Robert [Beal] played,” he said in his press conference. “He played a little more number of snaps once Nolan was injured. Chaz [Chambliss] did a nice job coming in. It was great to get him back. Didn’t know that he would have to play that much in that role. His hamstring has still been bothering him. It bothered him a little bit the other night after the game. So it’s one of those that we’re going to see how he does today and moves around. Looking to get Marvin [Jones], all those guys going. So nobody really played more because it was just Chaz and Robert, really.”
Tennessee’s sneaky strength: The Volunteers rank second in the SEC in rushing defense (92.88 yards per game) and yards per play (2.90), which probably comes as a surprise to people who haven’t sat down and studied the Vols. They are tied for the SEC lead in fewest rushing plays of 20 or more yards allowed (3), and the fact that they don’t give up explosive plays on the ground is a big asset against the Bulldogs. 
Georgia likes to establish the run and work off of play action. That’s been its identity throughout Smart’s tenure there, and is still true even though Bennett has taken over more control of the offense this year. If Tennessee can have the same kind of success vs. Kenny McIntosh, Daijun Edwards, Branson Robinson and the rest of the talented Bulldogs running back room, it’ll have a chance to spring the upset. 
Styles make fights: If Tennessee is allowed to play its brand of football, it’s going to beat any opponent that it plays save for, perhaps, a hypothetical matchup with Ohio State. Smart knows just how dangerous Josh Heupel’s offense can be.
“They go really fast,” Smart said. “They get a lot of at-bats in terms of possessions, and they do start fast. I think our team has done a really good job of growing and getting better throughout this year. And each week, including the off-week, it’s, like, I see marked improvement. I really want to continue to do that. We’re trending in the right direction in terms of getting better both offensively and defensively.”
Knowing that, it’s on Bennett to make sure that this game doesn’t turn into a track meet. That means staying on schedule, avoiding negative plays, getting to third-and-short situations and converting red-zone opportunities into touchdowns. Generally speaking, time of possession isn’t as important in this day and age as it used to be before the rise of offensive creativity. It matters in this one, though. Georgia has to keep Hooker and the rest of the Vols offense on the sideline and not waste opportunities. 
I’ll go out on a limb and take Tennessee to win straight up. Don’t get me wrong, I’ll grab those points, too, but this Tennessee offense is too good to be stopped even by a defense as talented and deep as Georgia’s. The Vols will operate at warp speed, expose Smith’s absence while using Hooker and running backs Jabari Small and Jaylen Wright on the ground to set up the chunk plays over the top. Bennett won’t be able to keep up and the Vols will notch their biggest win in decades. Prediction: Tennessee +8.5
Which college football picks can you make with confidence in Week 10, and which top-25 teams will go down hard? Visit SportsLine to see which teams will win and cover the spread — all from a proven computer model that has returned almost $3,000 in profit over the past six-plus seasons — and find out.
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Meet Alana Mayo, the young, Black, queer studio executive who greenlit 'Till' – Iowa Public Radio

Alana Mayo is 38 years old. She’s Black, queer and a movie industry trailblazer who took over Orion Pictures in 2020.
The storied studio once produced such movies as Platoon, Dances With Wolves and the Silence of the Lambs, but it went bankrupt in 1991, was bought by MGM and more or less languished. Mayo’s job is to revive it — right when the entire industry is in massive upheaval — but she seems undaunted.
“The most [satisfying] part of my job is getting to make the kinds of movies I want to make inside of the Hollywood system,” she told NPR during an interview at her sunny hillside home in Los Angeles.
So far, those movies include Till, which has gotten critical raves for its depiction of civil rights martyr Emmet Till and his mother, and a high school romantic comedy that started streaming on Amazon this summer. Anything’s Possible is the directing debut of actor Billy Porter, who told CBS This Morning about making an upbeat story starring an empowered teen trans heroine:
“She gets a boyfriend,” he explained. “She goes to college. She’s going through the normal regular emotions.”
Greenlighting movies like these is a mission for the young studio executive who’s positioned to be a new face of Hollywood gatekeeping. Alana Mayo grew up in a Chicago suburb, and while she studied film and creative writing at Columbia University, she started to realize something about the movies she’d grown up loving.
“I couldn’t believe how homogenous they were in terms of who’s on screen and who’s behind the camera,” she said. “I was genuinely like — oh, this system is, by design, exclusionary of a lot of people. I realized it was completely broken.”
Like a lot of people in Hollywood, Mayo is connected to that system through her family. Her dad was a top executive at Radio One and her mom worked as a paralegal in entertainment law. But in spite of her access to the top tiers of the industry, Mayo rose in a world with very few people who looked like her.
“I worked with Ava DuVernay on Selma, and that was my first time ever seeing a Black woman in a position of authorship and power,” Mayo said. “It was very clear to me that she was doing something that would be ultimately a tipping point for our industry.”
She was also inspired by the show Atlanta. “Not just because it was Black,” she explained “and not just because, you know, Donald’s brilliant and the storytelling was so good.”
It was, she said, because Atlanta exactly aligned with the sort of movies she most enjoys.
“I said to Donald, I was like, it’s as if you climbed in my head and wrote me. The music is the music that I listen to, the jokes I get in the way that it’s how my friends and I joke… And that’s when I was like, OK, this is now possible and we need to be doing this in film as well.”
Mayo decided to execute the visions of other artists who impressed her, and she set out to convince high level executives to invest as well.
“That’s when I started going into rooms and saying: ‘You all are missing an opportunity here. And financially, you’re leaving money on the table. And also, why wouldn’t we want to be making more of this? This is some of the most exciting art that’s coming out from our industry today.”
She says she wanted to try to be a part of that art, and to “scale it up.”
Mayo’s other projects include an upcoming movie called Women Talking directed and written by Sarah Polley and AMC’s legal drama 61st Street. The first episode was directed by Marta Cunningham.
“Usually we associate executives with these … shark-like mentalities,” Cunningham mused to a reporter at a screening of 61st Street at the National Museum of African American history and culture in Washington, D.C., last spring. “[Mayo] being a Black woman – young, fearless, queer, in the industry. And kind! It’s not about her status, her paycheck, her power. And it’s so refreshing.”
“It’s kind of time for something new,” Mayo reflected during her interview with NPR. What healthy industry, she wondered, stays the same for a hundred years? The trick, she said, is to keep seeking risk and artistic reward:
“If you had the privilege, as I do, to be alive in this moment and in a position where you can either tell stories or partially determine which stories are told, I don’t know how you can’t be excited about what’s being left on the table.”
Alana Mayo is not only making the table bigger. She might even be redefining what the table is.
Copyright 2022 NPR. To see more, visit https://www.npr.org.

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Lawyers Who Advanced Trump’s Election Challenges Return for Midterms – The New York Times

Lawyers Who Advanced Trump’s Election Challenges Return for Midterms  The New York Times
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How Brands Can Leverage the Power of EQ to Connect with Gen Z Consumers – Little Black Book – LBBonline

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Building brand Emotional Intelligence (EQ) isn’t just good for business, it’s also good for consumers. By understanding the factors that contribute to higher EQ, brands can build experiences that better meet consumer needs, meaningfully connect to their values, and drive a deeper relationship, especially when it comes to reaching gen z audiences who crave connection.
Carat’s Brand EQ study explores how brands deliver on emotional intelligence and whether ‘more human’ brands are more successful. The latest study findings, released in June 2022, show that most emotionally intelligent brands grow faster and outperform their peers.  
It is no surprise that the newest generation of consumers have different expectations for brands. Gen Z is more value conscious, more experience driven, and more likely to call out brands who lack authenticity. As such, they have very different perceptions of how brands perform on the EQ scale. 
Two thirds of the brands measured in the latest study rank lower in EQ against gen z audiences than they do against other generations. So, what is gen z looking for? Before we get into some key findings, let’s look at how Brand EQ is defined.  
Brand EQ is defined as performing strongly in the following five areas: 
Brands who are under-performing in EQ with gen z 
Two brands that came back with a large delta between gen z (attributing lower EQ to them) vs. non-gen z (attributing higher EQ to them) are Amazon and Pepsi.  
Amazon
Amazon falls in ranking from #5 overall on the Brand EQ scale to #15 among gen z. Where are these losses coming from? Empathy (i67) and Motivation (i70). For older generations who love the convenience and ease that Amazon services bring to their life, Amazon performs incredibly strong in these areas (76% of non-gen z’ers believe that Amazon understands them & their needs, while 81% agree they deliver a good experience). But convenience and ease appear to be lower priorities for gen z, who find Amazon lacking when it comes to understanding them and delivering against their needs.  
Pepsi
Pepsi drops 13 percentage points in Brand EQ among gen z consumers. While under-performance is seen across all key metrics, the largest delta is within Self-Awareness (i74). While 76% of non-gen z’ers believe that Pepsi “seems to know what it stands for,” only 57% of gen z agree. The Kendall Jenner BLM ad certainly didn’t help with perception among a generation who craves authenticity and expects brands to back their values with action, not lip service.  
Brands who are over-performing in EQ with Gen Z 
Starbucks  
While Starbucks ranks #17 overall on the Brand EQ scale, it rises to #1 among gen z, performing strongly against every single EQ metric. The metrics that see the biggest gains among gen z are Empathy (i128), Social Skills (i123), and Motivation (i115). In addition to providing a convenient and affordable shared space where they can hang out with their friends, gen z has fallen in love with Starbucks’ social-media-worthy & customisable beverages. TikTok stars are even creating their own concoctions, adding to the hype. With a gen z movement afoot to unionise Starbucks, it’ll be interesting to see if they can hold their ground.  
What learnings can we apply to build greater Brand EQ among gen z?  
Match Social Skills with Empathy: Resonating with gen z not only requires demonstrating an understanding of their needs and wants (empathy), it requires communicating with clarity & meaning (social skills). This means meeting them where they are, through formats that resonate. With attention low for traditional ad formats, brands like Starbucks see a lot of success reaching gen z through short-form content on TikTok.  
Rethink Customer Experience: As we learned from Amazon and Starbucks, customer experience is not limited to functional benefits like ease and convenience. Gen Z wants to participate with brands. That’s why a brand like Amazon – whose customer experience feels functional, not emotional – under-performs in EQ, while Starbucks – who enables customised creativity – over-performs.  
Activate with Authenticity: To resonate with gen z, it’s critical that brands know what they are….and what they are not. In Pepsi’s case, an inauthentic marketing campaign stunted their emotional intelligence in the eyes of gen z. Brands who back their values with meaningful actions demonstrate higher scores in Self Awareness.  
In today’s fast-paced media and marketing environment, building emotional intelligence requires taking a step back to listen, respond and adapt to consumer needs. 
Wed, 02 Nov 2022 14:25:10 GMT
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Antigua and Barbuda: ABYSO to launch new concert series "Play Out" on – WIC News

Antigua and Barbuda: The country’s Youth Symphony Orchestra is all set to launch an exciting new concert series called “Play Out” on Sunday, November 13, at 1:00 pm. 
Antigua and Barbuda: The country’s Youth Symphony Orchestra is all set to launch an exciting new concert series called “Play Out” on Sunday, November 13, at 1:00 pm. 
The concert series will feature mini-concerts which will be performed by string and wind ensembles within the Orchestra at various venues around the country. 
The repertoire will include a diverse range of music from popular and traditional genres allowing the audience to sing along or tap their feet while enjoying a beautiful moment of musical escapism.
Violinist Braimah Kanneh-Mason will join the ABYSO Strings for the first ‘Play Out’ Concert to be held at the Nomad Restaurant on Sunday, November 13 2022. 
Braimah will be on Island to conduct string master classes with the ABYSO and has agreed to headline this first public performance.
Braimah Kanneh-Mason is a 24-year-old professional violinist and member of the musically gifted family The Kanneh-Masons. He’s travelled to Cremona in northern Italy to visit the home of the first modern violin and discover the age-old recipe that created these musical masterpieces hundreds of years ago, which is still being used today. 
He is world-famous and performs all around the world at famous events. 
The ABYSO in the country is a year-round, not-for-profit after-school youth music programme which provides fun, quality and accessible music education, performance, instruments and mentorship opportunities to young music teachers and musicians around Antigua and Barbuda. 
The programmes offered by ABYSO, The Antigua and Barbuda Youth Symphony Orchestra, are designed to motivate social change, academic success, teamwork, creativity and cooperative learning among young individuals regardless of their social as well as educational backgrounds. 
ABYSO have launched various programmes in schools around the Island which motivate students to engage in music and music production and to take music as an option for their career in future. 
 


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James Gunn Says Kevin Feige was the First Person He Told About His DC Deal – Collider

The second was John Cena.
There’s always an ongoing Marvel vs DC split within the superhero fandom, some fans like to constantly compare and pit the two against each other while others enjoy and support their favorite characters coming to life from either studio. One interesting nexus of this situation emerged earlier this week with the appointment of Guardians of the Galaxy and The Suicide Squad director James Gunn’s appointment as co-chairman and co-CEO of DC studio, a responsibility he’ll share with producer Peter Safran. So of course in eyes of some fans now there must be a brewing rivalry between Gunn and Marvel Studios Head Kevin Feige.
One such fan asked Gunn on Twitter (from a now-deactivated account), “So do you hate Kevin Feige now?” The director who is quite active on social media and never shies away from giving in his two cents responded:
Certainly, the director’s sentiments echo that of his Marvel counterpart. When Feige was recently asked about Gunn’s new job on the Black Panther: Wakanda Forever red carpet. He said, “Well, he has got a lot of work to do for Marvel between now and May, which he’s well aware of,” making a reference to Guardians of the Galaxy Holiday Special for Disney+ which will premiere on November 25 and Guardians of the Galaxy Vol 3 which is scheduled for a release date of May 5 next year. And quickly added, “But after that. I’ll be first in line to see anything he does.”
RELATED: James Gunn & Peter Safran Named Heads of DC Studios
With the ever-expanding Marvel and DC movie franchises, it's by default that the two studios will always find themselves sharing talents, along with Gunn, there are actors like Jeffery Wright, who voiced The Watcher in MCU animated feature What If…? and also played Commissioner Gordon in Matt Reeves’ The Batman; Christian Bale, who previously held the mantle of the DC’s Dark Knight and recently appeared in Thor: Love and Thunder as antagonist Gorr, the God Butcher; Idris Elba aka MCU’s Heimdall last appeared as Bloodsport in Gunn’s The Suicide Squad. Much like Gunn, Joss Whedon, too went on to helm 2017s Justice League after helming the very successful Avengers movies for MCU. So, certainly, there’s no rivalry as such some fans would like to believe so and Gunn has made it pretty clear.
Shrishty is a decade-old journalist covering a variety of beats ranging from politics to pop culture. Though a nerd at heart she loves everything superheroes and movies. When she’s not writing she can be found daydreaming about making her movies someday.

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Lakeview grad lives dream | News, Sports, Jobs – Warren Tribune Chronicle

Nov 5, 2022
Shaina Vencel
Shaina Vencel, a Warren native and 2008 graduate of Lakeview High School, is making her dream come true doing what she loves: acting.
She has been performing in various venues all over the world, including off Broadway, cruise ships and various theaters across the United States. She will return to her hometown next week as a member of America’s Sweethearts for a Warren Civic Music Association concert on Thursday at Packard Music Hall.
She said she fell in love with acting when she played the lead in her school play in second grade at Garfield Elementary. When she was 9, her parents took her to New York City to visit family, where she saw her first Broadway musical: “Disney’s Beauty and the Beast on Broadway” with the original cast.
“The theater bug had bitten, and Shaina was dressing up as Belle (and the candlestick and the wardrobe) running around the house singing and dreaming of a future where she could live in New York City, and one day get to sing and act for a living,” her mother, Mary Ellen Vencel said.
Vencel spent her teenage years performing with the Lakeview High School Drama Club under the direction of Tom Hitmar, singing in madrigals under the direction of Jane Page, spending Fridays as a voice major at Arts / EXCEL, and taking voice lessons with Rosemary Raridon at the Dana School of Music.
Free time and summers were spent performing in productions with Kent Trumbull Summer Stock, Trumbull New Theatre, the Youngstown Playhouse and honing her craft at the Dana Vocal Performance Clinic.
Vencel graduated from Kent State University with a degree in music and a minor in theater with several professional theatre productions under her belt. She spent two summers working at the Huron Playhouse in Huron, playing several lead roles, and was able to spend four months in Cleveland after graduation, performing at the Beck Center.
Soon after, Vencel moved to New York City. Her first job came four months after moving there — as a mainstage singer with Disney Cruise Line, playing Belle, and wearing the iconic Broadway-style gold gown that she had pored over pictures of as a child.
In 2021, she won the Broadway World Regional award for Best Performer in a Musical for her portrayal of Audrey in “Little Shop of Horrors.” Other favorite roles include Fantine in a regional premiere of “Les Miserables.” Sara in the one-act rock musical “Murder Ballad,” and as a fin-donning Mersister in the New York regional premiere of Disney’s “The Little Mermaid,” with original Broadway cast member John Treacy Egan as Ursula.
Her latest roles from 2022 include Rosina in “A Bronx Tale” at the Engeman Theatre in New York, and Daisy Buchanan in a stage adaptation of F. Scott Fitzgerald’s “The Great Gatsby” at Ozark Actors Theatre.
COMING HOME
She’s looking forward to coming home for America’s Sweethearts, a singing group that specializes in performing the songs of the Andrews Sisters.
“I hoped one day to come back to a Ohio with a tour or this singing group, and it’s finally happening,” she said. “A lot of friends and family are coming who are not able to travel to see the things I’ve done elsewhere. These women are incredibly talented, and I know the area will really like it.”
It won’t be her first time on the Packard stage. Vencel had dance recitals there as a child and about 15 years ago she got to perform “Miracle of Miracles” from “Fiddler on the Roof” with Broadway veteran and Warren native Austin Pendleton when he came home for a concert with the Warren Philharmonic Orchestra. Pendleton played Motel the tailor in the original Broadway production.
“‘Miracle of Miracles’ was so special,” Vencel said. “I always loved him because he was the original Motel and he was in ‘The Muppet Movie.’ To get up there in my own hometown was incredible. I was glowing,” Vencel said.
PERSONAL FACTS
Vencel is the daughter of Mark and Mary Ellen Vencel, who she said have been very supportive of her acting career. Her brother, Brenden Vencel, who is four years younger, also participated in theater at Kent Trumbull.
“He’s a percussionist, but currently makes his living as a software engineer,” Vencel said.
Vencel met her husband, Marc Van-Hengst, who is from the Netherlands, while they were both working on a cruise ship.
“Marc was in hospitality and I was doing a show,” Vencel said.
She said she enjoys working on cruise ships because of meeting so many people from different countries.
“People from every continent work on board,” she said.
She and Van-Hengst married in 2018 and have one dog, a mini Aussie named Loki, and a cat named Puck.
Although she sometimes has to supplement her income with waitressing jobs, she is mostly able to focus on her acting gigs now. Van-Hengst is now a Porsche salesman.
Vencel also is a self-proclaimed foodie.
“We love food, so we love to go out to eat. For a while, we tried to go to a new restaurant every two weeks. Being Italian, I love Italian food, like pizza and pasta,” she said.
To suggest a Saturday profile, contact Features Editor Burton Cole at [email protected] or Metro Editor Marly Reichert at [email protected].
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Taylor Swift Releases New Album Midnights: Listen and Read the Full Credits – Pitchfork

Taylor Swift Releases New Album Midnights: Listen and Read the Full Credits  Pitchfork
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Moog Moogerfooger effects plugins review – MusicRadar

Moog Moogerfooger effects plugins review  MusicRadar
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Clearwater Marine Aquarium welcomes new dolphin unable to live in the wild due to illegal human interaction – FOX 13 Tampa

The Clearwater Marine Aquarium is now to home to a dolphin named Izzy who was deemed unfit to live in the wild due to illegal human interaction.
A dolphin who animal experts say can no longer live in the wild due to human interaction will spend the rest of her days at the Clearwater Marine Aquarium. 
CMA recently welcomed the dolphin named Izzy into its facility after she was rescued from a Texas canal in June by the Texas Marine Mammal Stranding Network, Texas State Aquarium, and SeaWorld San Antonio.
"We are so pleased that Izzy now has a safe place to call home and that she will stand for something," said Heidi Whitehead, executive director of the Texas Marine Mammal Stranding Network. "Izzy belongs in the wild but despite our persistent efforts to protect her over the course of three years, she became increasingly habituated to humans and boats putting her at high risk for serious, life-threatening injury."
READ: Winter the dolphin dies, leaving legacy of perseverance and inspiration
According to CMA, Izzy was first spotted in December 2019 in canals on North Padre Island. 
Izzy swims in her new home at the Clearwater Marine Aquarium. Photo is courtesy of the Clearwater Marine Aquarium. 
Researchers say Izzy became a popular attraction where the public would seek her out to swim with, ride, jump on, feed, and pet her. They add that many of these interactions were posted on social media, which encouraged others to go see her. 
Eventually, according to researchers, Izzy, named after the Island or Isla, started showing dangerous behaviors toward people and had signs of injuries likely caused by a collision with a boat.
Izzy being rescued from a Texas canal. Photo is courtesy of the Texas Marine Mammal Stranding Network. 
"It’s extremely disappointing that human behavior took away Izzy’s ability to live safely in her natural habitat," said Kelly Martin, VP of Zoological Care at Clearwater Marine Aquarium. "Our expert Animal Care team is familiar with cases like Izzy’s as our own resident PJ demonstrated behavior which may have also been due to habituation to humans. We will take our time with Izzy and let her tell us when she is ready to be introduced to her new social group with Hope and Apollo," said Martin. "Above all, we want to establish trust and ensure she is safe and healthy."
The facility, which was made famous by the Dolphin Tale movies is home to four resident bottlenose dolphins and two rough-toothed dolphins.
READ: Winter's legacy: Dolphin rescued from Space Coast now lives at CMA
CMA recently lost its eldest dolphin named PJ. PJ was about 51 years old when she passed away in October.
Her death came nearly a year after its famous dolphin Winter died at the age of 16 following a gastrointestinal infection. 
Winter the dolphin has passed away at the age of 16 after years of inspiring others who have prosthetic limbs like her. Clearwater Marine Aquarium officials say she’d been battling a gastrointestinal infection.
Winter put the Clearwater Marine Aquarium on the map. She was rescued from a crab trap on Florida’s East Coast when she was just two months old and lost her tail in the process. 
Winter was fitted with a prosthetic tail and her tale became a comfort to those of all ages who also have prosthetic limbs. It inspired the book 'Dolphin Tale' and eventually the 2011 hit movie, which chronicled her recovery story. A sequel, Dolphin Tale 2, was released three years later.   
Winter’s story spread across the world and across age groups. Her story brought smiles and tears, especially to those who also face the challenge of prosthetic limbs. Fans from everywhere came to Clearwater to see her, but her many meetings with children and veterans were the most impactful.
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Logic Pro 10.7.5: free tempo recording, personalized Spatial Audio, Ableton Link, more – CDM Create Digital Music – Create Digital Music


Apple quietly dropped Logic Pro 10.7.5 with some highly desirable stuff. That includes support for Ableton Link, the ability to capture ideas without using a metronome, and the fancy new iPhone self-calibration for Spatial Audio, plus a hefty handful of long-awaited additions.
Pictured at top: Ableton Link, courtesy Ableton.
Quick run-down:
Free tempo recording and Smart Tempo enhancements. You can now capture ideas without a metronome – just start recording audio and go. No count-in, no annoying clicks – apply tempo after the fact. They’ve written up a very clear explanation of this in the updated user guide.
There are some equally interesting features tucked into this update, too, including the ability to add/edit hints for downbeats and beats with Smart Tempo analysis, and apparently, a machine learning-based system that Apple claims improves analysis quality. That’d be welcome if it works as advertised. I don’t know about you, but I’m constantly looking for something that works as fluidly as it does in the marketing materials, and I do find myself juggling Live and Logic, in particular.
Oh, speaking of that combo:
Ableton Link support. This one’s a no-brainer, as more and more software adds support for Ableton’s open sync/jamming protocol. It’s especially vital to Apple, it would seem, since so many iOS apps support it – so now you have a great way of keeping your apps in time with Logic, among many other use cases. (They don’t mention MainStage; investigating that…)
Personalized Spatial Audio support. I’ve been meaning to write about this one, as it’s been a long time coming. Apple’s sophisticated 3D sensors on the iPhone are perfectly suited to calibrating spatialized sound. The reason headphones can’t perfectly simulate 3D audio out of the box is that all our ears are different; this lets the software adapt to your ears. You need macOS 13 or later and a supported iPhone, but then you get a much more immersive experience. And it makes the combination of Logic with, say, Apple’s AirPods Max – with all the accompanying Logic features for specialization – a workable setup for checking how Spatial Audio mixes will sound to end users.
But more on that another time.
And now in the “about time” category, ooh, we have a bunch of stuff that will make folks happy – maybe more than the other stuff mentioned here, even:
Plus one I hadn’t thought to ask for, but hey, thanks – you can take stompboxes on Logic’s Pedalboard and use them as independent plug-ins. I can’t say clearly why this makes me more likely to use them, but it totally does. There’s some fun stuff in there.
Also clever: “The local Edit menu in the Mixer has a new command that lets you select channel strips with the same panner type as the currently selected channel strip.” That’ll be useful with this spatial business.
Complete release notes:
https://support.apple.com/guide/logicpro/whats-new-in-logic-pro-1075-lgcp87c3975f/mac

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Case against Tollywood music director Devi Sri Prasad for hurting Hindu sentiments – The News Minute

The song titled ‘O Pari’ was released a month ago in different languages, and has since garnered over 20 million views on YouTube.
The Hyderabad Cyber Crime police have registered a case against noted music composer Devi Sri Prasad, popularly known as DSP, in the wake of a complaint alleging that his song hurt “religious sentiments” of Hindus. The complaint was filed by actor Karate Kalyani, who is also the woman president of the Rashtriya Hindu Joint Action Committee, and Lalith Kumar, president of Hindu Janashakti, in connection with a song released by Devi Sri Prasad a month ago. The song titled ‘O Pari’ was released in different languages and has garnered over 20 million views on YouTube. The case was registered on November 2, Wednesday.

Watch the song here:


In her complaint, Karate Kalyani had stated that the song in question featured scantily-dressed women uttering the words ‘rama rama hare bolo krishna krishna hare’, which hurt the religious sentiments of Hindus. “This is not the first time DSP is insulting Hindu gods. In the past, he has sung spiritual songs to the tune of item songs,” she wrote. ‘Item song’ is a commonly used term to describe a catchy, upbeat, often sexually provocative dance sequence for a song in a movie.  The allegation is in reference to a statement made by DSP at a press meet, where he had said that for him, as a composer, all music was the same, whether they be devotional or item songs. He had gone on to sing a song intermixing the tunes of devotional and item songs.


She further alleged that the lyricist of ‘O Pari’, Raqueeb Alam, who is a Muslim, had written the lyrics with the intention of hurting the sentiments of Hindus. “As Hindus, we strongly believe that the lyricist does not value Hindu gods, which is the reason he wrote such lyrics to demean the Hindus. Despite being Hindu, Devi Sri Prasad has also become a partner in crime,” she claimed. The complaint has also requested for action to be taken against the music production company T-series, as well as the cast and crew involved in the song on suitable sections.

As per information shared by the complainant through the FIR, cases have been registered under sections 153(A) (promoting enmity between different groups on grounds of religion, race, place of birth, residence, language, etc) and 295 (A) (deliberate and malicious acts, intended to outrage religious feelings of any class by insulting its religion or religious beliefs) of the Indian Penal Code (IPC).
One of the top music composers in the Telugu film industry, Devi Sri Prasad is known for his music in films such as Allu Arjun starrers Pushpa: The Rise and Aarya 2, Jr NTR’s Nannaku Prematho, Ram Charan’s Rangasthalam and Prabhas’s Mirchi among others.

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Heavensent Releases His Debut Album, Tranquil Tantrum, a Peaceful Protest to the Modern World – EIN News

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Curtains Open on 2022 CFA Fringe Festival | BU Today – Boston University

Andrew Bearden Brown (CFA’22) plays the Stage Manager in Our Town, an opera based on Thornton Wilder’s Pulitzer-winning play, one of this year’s Fringe Festival offerings. Our Town runs Friday, October 28, and Saturday, October 29, in the CFA Concert Hall. Photo by Cydney Scott
For the first time, the College of Fine Arts Fringe Festival, its annual celebration of opera and theater, offers audiences a peek behind the curtain—a chance to experience the performance of a play that is still, purposely, a work-in-progress. 
In addition to the operas and plays the festival is known for, this year’s  celebration of arts, music, and theater will feature Next Stage Workshops and Plays: student works that are still in development. 
Putting them on before a live audience gives student playwrights, directors, and actors invaluable feedback about what lands and—just as important—what might not. 
“When you open up what you’ve done to an audience, you become very aware of your responsibility for being a rigorous artist with the work,” says Susan E. Mickey, CFA School of Theatre director. “Listening to how the audience is listening, and to what’s being received—it’s a really important step for the writers and performers of these pieces.” 
So far, two of three student works in the Next Stage series have been staged for audiences, Salome, by Trevor Turnbow (Pardee’25, CFA’25), and Mother May I? by Dylan Avillanoza (CFA’23). Festival-goers can catch the final play, Against a Village, by Elliot Dupcak (CFA’23), directed by Matthew Swain (CFA’23), October 22 and 23. 
BU’s Fringe Festival—a nod to Edinburgh’s famous alternative music and arts festival of the same name—features new or rarely performed pieces of opera and theater. So, in addition to the Next Stage productions, this year’s lineup includes two operas, La hija de Rappaccini and Our Town, and a play, Little Row Boat, or Conjecture. Tickets to all three are free at the door for anyone with a BU ID, and $20 each for members of the general public. 
First up is La hija de Rappaccini, an opera based on a short story by Nathaniel Hawthorne, the 19th-century writer of The Scarlet Letter fame. First performed in 1991 at the Palacio de Bellas Artes in Mexico City, La hija de Rappaccini tells the fictitious story of Giacomo Rappaccini, a medical researcher who cultivates a garden of poisonous plants. Rappaccini trains his daughter to tend to the garden, and she becomes immune to the plants, but poisonous to others. 
Composed by Daniel Catán, La hija de Rappaccini runs from October 21 through 23 in CFA’s Studio ONE. Allison Voth, a CFA associate professor of music and opera, is the music director. 
Our Town, an opera based on the 1938 Pulitzer Prize–winning play of the same name by Thornton Wilder, is next in the repertoire. The piece is about the everyday lives of the citizens of the fictional American small town of Grover’s Corners, N.H., between 1901 and 1913. First performed in 2006, the opera is unique in that it contains almost no spoken dialogue, a bare stage, and minimal props. 
Composed by Ned Rorem, with a libretto by J. D. McClatchy, Our Town will be performed October 28 and 29 in the CFA Concert Hall. William Lumpkin, a CFA associate professor of music and artistic director of the Opera Institute, is the music director, and the stage director is Nathan Troup (CFA’04), a CFA opera lecturer. 
Finally, Little Row Boat, or Conjecture is a piece that’s been years in the making. Written by nationally renowned playwright Kirsten Greenidge, a CFA associate professor of playwriting and theater arts, the piece, originally scheduled to be produced in 2020, examines the relationship between Sally Hemmings and her brother James Hemmings, while they were enslaved by Thomas Jefferson, the third president of the United States. 
The COVID-19 pandemic prevented Little Row Boat, or Conjecture from being fully produced (although a team of BU student actors and designers hosted an online reading of the play in April 2020 that informed some of her revisions of the script, Greenidge says). This year’s Fringe Festival is the first time the piece will be “on its feet, with all the bells and whistles,” she says. 
Taking inspiration from American historian Annette Gordon-Reed’s accounting of the complex, real-life relationship between Sally Hemmings and Jefferson, the drama imagines and fleshes out the power dynamics that must have been at play while the pair were living in Paris, just before the French Revolution. 
“I don’t know the tenor of their relationship, because I wasn’t there,” Greenidge says, “but Sally Hemmings’ descendants believe they had a form of relationship, and an agreement that governed not only how they would relate to each other, but also their future children’s status as free people or enslaved people.”
Greenidge was intrigued by this murky (and conspicuously under-documented) time, when Hemmings—who would have been a teenager then and also would have been a free person in France—and Jefferson—her enslaver in the United States—began an intimate relationship that resulted in at least four children who lived to adulthood. 
“I was very interested in Sally Hemmings as a young person,” Greenidge says. “I think there’s this tendency to see ourselves as separate or very different from people throughout history, but there are certain qualities that are consistent through time.” 
Through today’s lens, it’s likely that Jefferson was engaging in grooming behavior, she says. “What would it have been like to be 14 or 16 years old and be groomed to be able to enter into this agreement?” she wonders. 
Greenidge’s answer, in the form of Little Row Boat, or Conjecture, runs in Studio ONE from November 4 through 6. 
La hija de Rappaccini runs from Friday, October 21, through Sunday, October 23, in CFA’s Studio ONE, 855 Commonwealth Ave. Reserve tickets here. 
The Next Stage production of Against a Village, on Saturday, October 22, and Sunday, October 23, is in CFA Room 354, 855 Commonwealth Ave. Admission is free.                                                  
Our Town runs Friday, October 28, and Saturday, October 29, in the CFA Concert Hall, 855 Commonwealth Ave. Reserve tickets here. 
Little Row Boat, or Conjecture runs from Friday, November 4, through Sunday, November 6 in CFA’s Studio ONE, 855 Commonwealth Ave. Reserve tickets here.
Curtains Open on 2022 CFA Fringe Festival
Molly Callahan began her career at a small, family-owned newspaper where the newsroom housed computers that used floppy disks. Since then, her work has been picked up by the Associated Press and recognized by the Connecticut chapter of the Society of Professional Journalists. In 2016, she moved into a communications role at Northeastern University as part of its News@Northeastern reporting team. When she’s not writing, Molly can be found rock climbing, biking around the city, or hanging out with her cat, Junie B. Jones. Profile
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Sustainability is a Shore Thing – discover.caes.uga.edu

Alumnus Zachary Brendel helps recycle oyster shells from farm to shore
By Eric Butterman
Salt marshes, like this one on Jekyll Island, are vital parts of the ecosystem for oysters along the Georgia coastline. (Photo by Chris Greer)
Salt marshes, like this one on Jekyll Island, are vital parts of the ecosystem for oysters along the Georgia coastline. (Photo by Chris Greer)
You can see it throughout the streets of downtown Athens — from an old tire store that glows with reimagined life as Creature Comforts brewery or an audio recording school operating at full tilt within a converted shoe store. Both are revitalization projects completed by Athens-based Character Built Construction, which was co-founded by Brendel, who earned a degree in environmental economics and management from the College of Agricultural and Environmental Sciences in 2003.   
“Builders don’t realize that the materials they throw away can sometimes be even more valuable than the materials they want to use,” said Brendel, who is now part of another effort to reuse and revitalize material that would otherwise be lost. Through Athens-based nonprofit Shell to Shore, oyster shells collected from a variety of Athens-area restaurants aren’t thrown away but returned to the sea for new oysters to grow on them again. 
Backed by a Supporting Oyster Aquaculture and Restoration (SOAR) grant from The Nature Conservancy, Shell to Shore is dedicated to helping restore Georgia’s oyster industry. 
UGA alumni Andrew Malec (left) and Zack Brendel, co-founders of Athens-based Character Built Construction, at their studio. (Photo by Andrew Davis Tucker/UGA)
UGA alumni Andrew Malec (left) and Zack Brendel, co-founders of Athens-based Character Built Construction, at their studio. (Photo by Andrew Davis Tucker/UGA)
Oyster shells can be used as natural infrastructure to rebuild shoreline, protecting coast areas from storm damage and sea level rise. (Photo by UGA Marine Extension and Georgia Sea Grant)
Oyster shells can be used as natural infrastructure to rebuild shoreline, protecting coast areas from storm damage and sea level rise. (Photo by UGA Marine Extension and Georgia Sea Grant)
—Zachary Brendel
Before making the journey back to the coast, the oyster shells have to be stored somewhere to dry. Brendel and his wife offered the perfect place — their farm. 
“Once or twice a year we drive down the coast with the shells but, until then, they stay at our place — we’re not short on shells!” Brendel laughed. “They eventually go to Darien, Georgia, to Sapelo Island. It’s rewarding to be a part of attracting a whole ecosystem that helps stabilize the shoreline better than rocks ever could.”
Shell to Shore team member Hunt Revell, a 2006 interdisciplinary studies graduate from UGA, said Brendel is always getting in on the act when it comes to reusing. 
“There are people who talk about doing these kinds of things, but he just does them,” said Revell, now a legal fellow with UGA Marine Extension and Georgia Sea Grant, a unit of UGA Public Service and Outreach. “Following through is Zack 101. He can’t stand waste when something can be done about it. He’s like a human incubator for ideas. I remember him collecting old farmhouse doors and repurposing them for the fun of it. The guy just has know-how and he’s all about being involved.”
Revell, a minority partner in Seabear Oyster Bar, where Brendel’s brother, 2008 UGA graduate Noah Brendel, is also a partner, enjoys being one of the prime shell suppliers for Shell to Shore. “It’s a lot of work but it’s also a lot of fun,” he said.
Brendel credits CAES with encouraging open-mindedness and strengthening his business sense. 
“Dr. (Michael) Wetzstein had a microeonomic theory class that really impacted me,” he said. “Taking management classes helped me think about ways to help — but in a way that wouldn’t kill anyone’s wallet. I was looking for that personal touch from college and I found it here. Now I am building a business plan for a sustainable farm in Athens that I once couldn’t have imagined. What I learned allowed me to see solutions.”
Brendel also credits his passion for restoration to something else you can’t necessarily teach: stubbornness. 
“I just have a stubbornness and an intuition that says something doesn’t have to be done one way,” he said. “You can think about the environment around you. You can be creative. That’s whether you’re talking about construction or agriculture or so many things. Let’s find a solution, and hopefully get people excited about it.”
Fertilized eggs are stocked into larval-rearing tanks where they develop for 14 to 20 days.

Infographic by Kelsey Broich, UGA Carl Vinson Institute of Government

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Apple to let users keep Live Activities updated more frequently with iOS 16.2 – 9to5Mac

October 25
Filipe Espósito
– Oct. 25th 2022 4:26 pm PT


With the official release of iOS 16.1 this week, Apple introduced Live Activities – a new way for third-party apps to provide useful information right on the iPhone lock screen or Dynamic Island. With the iOS 16.2 beta, which was released to developers on Tuesday, the company is working to let users choose to keep Live Activities updated more frequently.

The new option, which is not yet enabled in iOS 16.2 beta 1, will provide “More Frequent Updates” for Live Activities. Code seen by 9to5Mac confirms that when this option is enabled, Live Activities (and consequently Dynamic Island interactions) will request updates at shorter intervals to show “more real time information.”
At the same time, the same message found in the code warns that enabling More Frequent Updates for Live Activities will also drain the iPhone’s battery faster. Here’s what the message says:
More Frequent Updates
Allowing more frequent updates lets you see more real time information, but can drain your battery faster.
Once available, the new option will be accessible to users in the Settings app. Having more frequent updates can be extremely useful for some apps like Flighty, which now has a Live Activity to show details about an upcoming flight. Delivery and ride apps should also benefit from this option. Presumably Apple will make the feature public before the official release of iOS 16.2.
iOS 16.2 comes with some other new features. The update introduces the Freeform app, which was announced back in June at WWDC 2022. Freeform allows users to write and draw together in a collaborative canvas. For iPad users, iPadOS 16.2 enables support for an external display with Stage Manager.
Also coming with iOS 16.2 is a new option to send feedback to Apple when Emergency SOS is mistakenly triggered on the iPhone, plus a new, more reliable architecture for the Home app.
The update is now available for developers and is expected to be released soon for users registered in the Apple Beta Software Program. There’s no word on when it will become available to the public.
Spot any other changes in today’s release of iOS 16.2 beta 1? Let us know in the comments below or on Twitter @9to5Mac.
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Filipe Espósito is a Brazilian tech Journalist who started covering Apple news on iHelp BR with some exclusive scoops — including the reveal of the new Apple Watch Series 5 models in titanium and ceramic. He joined 9to5Mac to share even more tech news around the world.
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