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Music Producer Ian Eisendrath Interview: Lyle, Lyle Crocodile & Spirited – Screen Rant
Executive Music Producer Ian Eisendrath shares his experiences working with Shawn Mendes and his momentous career from Broadway to Hollywood.
Every so often, a musical film provides the kind of music that transcends the times in which it exists. With Executive Music Producer Ian Eisendrath behind the wheel, Lyle, Lyle Crocodile is that musical of 2022. Eisendrath has quietly boomed onto the Hollywood scene in recent years, coming from a background in Broadway with renowned musicals such as Come From Away and Diana. While both mediums present their own sets of technological challenges, Eisendrath's musical expertise is on full display, both on screen and on stage. In film, however, Eisendrath savors the thrill of helping seasoned actors expand their artistic talents into music.
On Lyle, Eisendrath collaborated directly with fellow musical prodigies Benj Pasek and Justin Paul (La La Land and The Greatest Showman), as well as working directly with the cast. Ian's first task at hand is to assess where the talent's vocal abilities live. There's a wide spectrum, but this is where Eisendrath often discovers the hidden vocal talents of some of the big screen's most recognizable faces. In Lyle, Lyle Crocodile, he worked directly with Constance Wu, Javier Bardem, and Winslow Fegley in finding the right emotional quality for every musical number. Perhaps most notable, however, was Eisendrath's work with Shawn Mendes, in the pop star's first foray into cinema as the voice of the film's titular musical reptile.
It was at the impressive age of 23 that Eisendrath first connected with Pasek & Paul while working as music supervisor at Fifth Avenue Theatre in Seattle, Washington. This was just the beginning of a years-long professional friendship, which has resulted in multiple collaborations on some of Hollywood's biggest blockbusters, including Disney's upcoming Snow White, starring Gal Gadot and Rachel Zegler. Eisendrath's next project is the upcoming AppleTV+ original, Spirited. A comedy musical reimagining of A Christmas Carol, film stars yet another powerhouse cast including Ryan Reynolds, Will Ferrell, and Octavia Spencer, providing one of Eisendrath's most exciting experiences to date.
Screen Rant: Nice to meet you, Ian! What can you tell me about your role during the filming of a project and working with the actors?
Ian Eisendrath: Thank you for having me.
Oftentimes actors are cast and they have a singing background or an interest in singing, or they're amazing singers. Step one for me will be just assessing where they live as a singer, and coming up with a plan of how we are going to get them from a successful experience in the recording studio to a successful experience on camera. In the case of Lyle, Shawn Mendes is a singer, so when he came in, we didn't need to do a ton of work getting him coached on anything to do with the mechanics of singing. Obviously, one of the main reasons he was hired is he has, I think, one of the most gorgeous voices out there, so that's the sound we wanted. With someone like Javier Bardem, Winslow Fegley, Constance Wu, it's so evident they have voices, but they've spent less time in the recording studio or singing live. And first step is to have them show me where their voice lives. At that point we’ll take the glorious songs written by Benj Pasek and Justin Paul, and their whole team, and figure out what key might be best for the talent's voices. I think something that is fun about what Benj and Justin write is that it's very demanding. They rarely write something that's just easy for someone to sing. They certainly write with a singer in mind, but because their songs span such breadth of emotion and pitch and range, it asks for the singer to really go on a journey.
With Javier, we brought on a really wonderful vocal coach named Fiona McDougal, whose job was to warm him up, get him in a place where his voice was as healthy and ready to sing as possible. Constance worked with Eric Vetro, who is a vocal coach to so many stars, and Winslow worked with a really talented New Jersey-based vocal coach Mike Ruckles, so getting them set up with some coaches. While they do that, I start working with them on zoom to break down the song. It's going through, teaching the malady, teaching the rhythms, talking about the lyrics, and figuring out, how do you use the lyrics, the notes and the rhythms, in service of story and character. All of that is about getting them ready to come into the recording studio to make choices.
It's not about defining a performance, because there are a lot of cooks in that kitchen. Those are the directors. There are the songwriters, and fellow producers of the music Benj Pasek and Justin Paul. And what I'm focused on with them in the prep phase is to be as flexible and buoyant as possible so that they show up confident, able to make choices with a strong point of view about character, and a strong point of view about what the music and lyric is trying to do moment to moment.
After that, we do what is called pre-records and in the pre-records, I work closely with the directors, the songwriters and the actors to craft these vocal performances. We'll do many versions of things, many takes. We might even, in a session, say, let's shift the key, let's actually, now that we're hearing you today, a month or three months after working together, we can take this up. Or the directors (Josh Gordon, Will Speck) give Benj, Justin and I a note that it's feeling too confident, too robust. So we'll try dropping the key, and go to a slightly more intimate part of your voice. And also just making sure that we're getting performances that are going to stand the test of the shoot and the soundtrack. And so that is a very time-consuming process, if we do it properly. After that is done, we work carefully to craft the performance through the vocal comp and editing process, in which we will take all of our favorite moments from the hundreds of takes we have for each actor to craft the performance that feels most true to what the actor was doing.
Once we finish that, we are prepping for shooting. I’ll work closely with the actors on being able to perform the songs on the day, and we will do a mixture of them, singing the songs live and then singing along to the vocal, in which case we want them to sing perfectly. It's funny, because it's about moving your mouth at the right speed and intensity, but for me it's so much more about tapping into what is going on in terms of the emotional intention of every lyric, capturing that intention of what was behind the pre-record. So it's not only about holding the note for four beats, but what did you do with that note? Oh, as you sing that note, we heard a color shift, because suddenly you had this thought, that probably has to do with fear. I'm really making sure that we are representing the idea and the intention behind how everything was sung. Because of that, [Gordon and Speck], on the day, will see things and say, "You know what, we actually want this to feel more like this." So my job on that day is to turn on a dime and say, "Okay, let's do this," and live and work with them to get that performance.
I also would be remiss in not mentioning our super talented Music Supervisor Jordan Carroll, who will work in tandem with me on that on the day. So, there’s a whole music team there, closely watching to make sure that we're really getting everything we need, because essentially, picture is what you end up with as the Bible. The goal is to have all the options possible as we head into the edit. And then, you know, in something like Lyle, we actually had temp vocals for Lyle until the director's cut, and after that we started recording Shawn, and that was a different process.
Shawn is a singer, a producer and a writer. He has a really clear idea of how he likes to record, choices he wants to make. I take responsibility for making sure that it all goes smoothly and seamlessly, and that everything to do with how the music is being rehearsed, recorded and produced is as great as possible. But Benj Pasek, Justin Paul, Jordan Carroll, the directors. There's so many people that are deeply invested in this alongside me.
You've worked with a lot of big names, like Javier [Bardem] and Constance [Wu], who are not traditionally known as singers. Are you surprised by some of the talent that you get to work with on these films?
Ian Eisendrath: Always. In the last year I've had the pleasure of working with Will Ferrell, Ryan Reynolds, Octavia Spencer, Constance, Javier, obviously Shawn, and then Rachel Zegler and Gal Gadot. I’m always so heartened because, without fail, each one of them just really shows up for the process, and maintained a very playful energy. I believe that most people have voices, and you can get a performance out of most people. I really believe that. And while there are certain people that have unreal vocal talent, I think so much of it is psychological, and whether you are willing to go on the journey. Are you willing to do the work? Each one of these actors has done that.
Rather than be surprised, I was more continually heartened and delighted at seeing their growth, and it just kept growing and growing. The thing that is always true, and a little bit funny, is that you do all this work to get them to the pre-records in which they're in a good vocal spot. But then, once you get on set and they've been really living with it, they get it in their bodies, and it's like they can do the whole thing in one take. So you see this whole thing is one long rehearsal process in which they get better and better and more confident.
On the opposite side of working with actors who have never sung before, you're working with the amazing Shawn Mendes, who has never really acted before, at least in this capacity. What was the process like getting Shawn ready?
Ian Eisendrath: What was really sweet about Shawn is that he really connected with Lyle, and really took that on from day one. He really understood this character, because I think he's shared openly his insecurities and all the work he has had to do to get comfortable as a human. I think that he came in with a clear idea of how he would sing these songs, how he'd interpret these songs. And it was all done together, to set him free to maybe go a little further in the acting in interpreting the text than one would for a pop song, because Lyle is a character who does not speak. He only sings. The only way we really get to hear from him is through lyric. So the lyrics become these precious moments that he can convey his interior life, and what is driving him as a character. I think the process in the studio was about, 'Okay, this all sounds amazing. Now let's really zero in on that lyric. Do you think you could give a little more value to that word, or have a little more fun with this. Or what is your point of view here? Okay, Great, run with that.' It's very analogous to what he does as a pop singer. It's just a little more lyric forward, because the songs are always functioning on both a lyric and music level, and the lyric is so necessary to the storytelling of the film.
I think what we found was this really beautiful marriage of Shawn bringing all of his sensibility and musicianship to the songs, and then us getting some of the energetic intensity and dramatic intensity out of song, words and phrases to serve the more theatrical sides of these songs.
My personal favorite song is "Rip up the Recipe," and that message of going against the grain, and not doing things the way that people expect of you. I’m curious if you have a favorite song and a favorite message that you've taken away from this soundtrack.
Ian Eisendrath: What I love about this soundtrack is that there is just so much variety. 'Take A Look At Us Now' is a big blown up song and dance number. It's sort of piano rock, but done in the old school Broadway Musical theater throwback old showman vibe to it. That was a band made up of piano bass drums, two guitars, and that chart is spectacularly done by Dave Metzger, who you would know from 'Frozen' and many others.
And then you go to the more produced pop songs that we really produce like pop songs. There are three that are close to my heart. There was “Top of the World," just so big-hearted, and I love the track for that. That track was created by John Nathaniel, who is a producer and collaborator with One Republic, among others. I love the expansiveness of that track. I feel like you really get the sense that you are sort of perched atop New York City, and you're seeing the skyline. You are bathing in the glory and the limitless possibility of the world at this moment, and in that place, and Lyle shares that with him. I just love it.
'Rip Up the Recipe' is so much fun, and that track was meant to be an inspiration between Jackson 5 funk and BTS and everything in between. So that track has everything and the kitchen sink, from a completely thrilling modern music production to acoustic. All that was sampled instruments to acoustic guitars, base drums, and then we recorded an incredible strings arrangement by Rob Mathes on top of that, and live horns. I think it requires that many elements to set this character free. The idea of bringing all of these music production elements in are like ingredients that you would find in the kitchen. And it's all about helping the character Constance to set herself free, set her senses free and try going off recipe. Juan Ariza, who created that track is going to be one of the greats of the coming decades. He did such a beautiful job with that track.
Then “Carried Away” is probably the one that has my heart the most. It’s so beautiful, and almost makes me a little teary, just thinking about the way that it was filmed. That idea of getting so caught up in a relationship in a moment, in thinking something is real and safe and forever, and maybe even thinking you found the solution. I think we all go through periods of our life where it's like, 'Oh, I figured it out. This is the place I want to be forever.' And then, for one reason or other, that gets taken away. It's not just grieving. You also hate yourself, 'Oh, I shouldn't have let myself trust. I shouldn't have let myself loose enough in that situation, because I should have been protective, because at the end of the day I'm a caged animal.' I think that's so universal. Obviously the lyric has nothing to do with an animal. It’s just such a beautiful metaphor of this wounded creature who thought he found his home, but everything he was of afraid of came to pass.
I would say in general, what I love about these songs is that, while they serve the story and characters moment to moment, they are universal. They are pop songs, and they can easily live outside of the film which also comes back to why Shawn was the perfect artist to sing these songs. While we want them functioning as character-driven songs at all times, they are also really gorgeous, soaring pop songs, and he does that better than anybody else.
There were some other writers along with Benj and Justin, who were major contributors. Anything I say about Pasek and Paul, I'm always meaning them as well; Emily Gardner Xu Hall, Mark Sonnenblick, Ari Afsar and Joriah Kwamé. They each worked on different songs with Benj and Justin. I think that was also the beauty of this project. Emily and Mark worked on 'Rip Up the Recipe,' and that's something that gives that its own unique identity alongside everything that Pasek and Paul always bring to their songs. 'Carried Away' had Joriah, Ari and Mark, and that has its own tone and unique DNA that they were so critical to.
How did you get your start in Broadway, and what led you to working in cinema?
Ian Eisendrath: As a ten-year-old is when I was first exposed to music and theater. I just instantly connected to it, and I saw the music people doing their jobs, and I was like, 'Oh, that's me!' I love how the music director gets to collaborate with almost every department in a really unique way. I think the thing that I was always hooked by was narrative-driven music, and that's a phrase that I use a lot because, if a song is sung by a character who's trying to accomplish something, I'm interested.
I love many, many elements coexisting, and creating a collage with other collaborators, and doing something that is so much bigger than the sum of its parts, always in service of story, character and the vision of the storytellers. And so I did, a bunch of theater growing up. I know that it was the narrative side that always interested me the most, because music was always a part of everything. It was like, as long as it was music, and it was about story and character, I'm in. I was highly passionate about getting started and working with other people to figure out what to do. and I just received a lot of opportunities as a young person.
When I was sixteen, there was this really incredible semiprofessional theater in Olympia, Washington, where I grew up. That was a theater company that did some really progressive and serious musicals, like, you know, things like 'Assassins' and 'Pippin,' and I became their resident music director, which I was far too young to have any business doing. I was just really fortunate, and so at age sixteen I was working with these adult companies and musicians, and able to just play the sandbox and that was amazing.
I started focusing on Broadway and thinking that that's the place where I was going to work. I was about to move to New York, but then was given this amazing job at a theater called the Fifth Avenue Theater in Seattle. I was 23 and I was their resident music supervisor, and became very involved with not only managing the music departments, and oftentimes being the vocal coach, the conductor and the overall head of music for many of their productions, if not most, but I also became really involved in the development of new musicals. Through that, I met Benj and Justin because we were developing a thing called 'A Christmas Story,' and we were looking for writers. Benj and Justin were one of the five pairs of writers submitted, and I'll never forget hearing the songs they submitted, and thinking they absolutely nailed it. They were just so clearly to me the next great writers. And so we started working on it, and it really was a match made in heaven for many reasons, one of which is, we spoke the same language. We were all equally OCD about everything. It just worked really well.
'A Christmas Story' was all of our Broadway debut. It became a process of five years, because it's a Christmas musical, so you can only do it Christmas, where we kept refining it and making it better, and doing it different places till it got to Broadway and beyond.
After that I went back to the Fifth Avenue and became the director of new work development, basically working with writers to develop and produce their new musicals. And while that happened, 'Come From Away' came my way. I was very lucky to get folded into that as their music supervisor and aranger. And that is sort of when I started thinking about film, because the idea with 'Come From Away' is that it plays like a film score. It's not a traditional musical like that, it's much more that music is a score that's constantly turning on a dime with every shift in character, every shift in location. I loved working on putting that together. It's one of the great joys of my life.
As I worked on comfortably, I moved to New York. I started doing more and more work, producing music in the studio, which is one of my great passions. The pandemic hit and Benj and Justin called and said, 'We think you'd be really good at film.' So I signed on to 'Spirited,' which comes out in a month. That was my first gigantic film musical, and then started I working on 'Lyle,' and then, at the same time, I started working on Disney's 'Snow White,' which wrapped photography a couple of months ago, and I am just loving film. I love everything about it.
You're like a musical freaking prodigy! That's so cool, congrats. Speaking of Spirited, you're no stranger to Christmas-themed musicals.
Ian Eisendrath: I mean, I love 'Spirited.' I think it's such a beautiful story and fun modern take on a story that we've all heard a million times. This really feels like everything you love about those themes, but in a completely different paradigm. So super fun to see Will Ferrell and Ryan Reynolds and Octavia Spencer take that on, and just live and thrive as singing, dancing actors.
It is very self-referential. They'll often break the fourth wall. But at the same time it really does tell this really emotional story. It's this wild roller coaster of like, 'Look how crazy we are!' And now it's like, 'Oh, my gosh!
This is like a vastly serious moment. My heart, is breaking for this character.' But it's all because of the whole point of view of the piece. It can function on many, many levels.
I’m fascinated to hear about working with Will Farrell and Ryan Reynolds, who are such comedic powerhouses. What it was like working with them to incorporate some of their humor into the music?
Ian Eisendrath: They’re amazing. They're just both amazing. They were both so game to be like, 'Okay, we'll do all the work we need to do to get ready to sing these songs. We're not necessarily looking to be Broadway performers. So we'll do what we need to do.' And they really did. But they're also so aware of their brands that the recording sessions were so much fun. A lot of it was them riffing. And I think what's fun about this film is it really demands them to sing. These are super demanding songs. No one could just sort of sail through it, and yet they are often self-referential, and have the brand of their humor existing at all times.
And Benj and Justin had their team of writers, Mark Sonnenblick, Sukari Jones and Khiyon Hursey. They did riff sessions with Ryan and Will and did a bunch of riffing on stuff, and then they would take some of those ideas and incorporate that into the song lyrics and the song structure. It was fun because the director Sean Anders, and the writers Sean [Anders] and John Morris were really receptive to Will and Ryan, and Octavia's input as well, as Benj and Justin's, and I. So I do feel like these songs became a real hybrid, like they are theatrical narrative-driven songs, but they also have the Will and Ryan comedy in them, and they also function on a storytelling level. It's really so much fun to work on.
And then you have Octavia Spencer.
Ian Eisendrath: Octavia is the dream. She hadn't done a lot of singing before and I feel like, working with her, we discovered one of the great acting singers of all time, just her ability to take a melody and a lyric and break your heart, is unique.
Was there any other upcoming stuff you're working on that you want our readers to know about?
Ian Eisendrath: Two films start shooting at the end of the year. This is a giant musical. So it'll be really exciting to do that. That's filming in London. And I'm working on an animated TV project which I'm really excited about. I'm just excited to do more of this. There are also some theatrical musicals that are in development, and will be hopefully hitting stages sometime soon. It's fun to revisit those.
I'm just so grateful to be working on these films. I'm grateful to Benj and Justin for having brought me into these three, and to all the collaborators that I get to work with. I think that's the best part, just working with such talented people and doing things that ,everyone has their niche, and everyone fires on. And then we bring it all together.
Each Christmas Eve, the Ghost of Christmas Present selects one dark soul to be reformed by a visit from three spirits. But this season, he picked the wrong Scrooge. Clint Briggs turns the tables on his ghostly host until Present finds himself reexamining his own past, present and future. For the first time, "A Christmas Carol" is told from the perspective of the ghosts in this hilarious musical twist on the classic Dickens tale.
Check out our other Lyle, Lyle Crocodile interviews here:
Spirited arrives in theaters on November 11, and will stream on AppleTV+ November 18.
Patrick Lehe is a native Hoosier turned Angeleno turned Hoosier again, and has been a movie/TV news writer at Screen Rant since February 2022. As a born and bred genre nut, Patrick grew up on a healthy diet of Buffy the Vampire Slayer, Harry Potter, Maximum Ride and The Mortal Instruments. Since middle school, some of Patrick‚Äôs short stories have been recognized in regional competitions. Patrick has worked in development for well-known production companies since 2012 as a script reader and story analyst, most recently contracting for Justin Baldoni’s Wayfarer Studios. After earning his Masters degree in screenwriting from Loyola Marymount University, many of Patrick‚Äôs screenplays have been finalists in competitions such as ScreenCraft and the PAGE Awards. One of his scripts was lauded by The Black List as one of their highest rated screenplays of September 2020. As a news writer, Patrick covers the biggest news stories in entertainment, from Marvel to Scream to The Rings of Power. He most recently interviewed well-known TV director Jennifer Phang and has established relationships with some of the biggest PR firms in Los Angeles. Patrick also currently teaches screenwriting at Regent University.
Music Production Software Market Share 2023 Industry Outlook, Global Size, Business Strategies, Product Demand, Forecast 2025 – Digital Journal
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The Music Production Software report understands the current and future competitive scenario across types, countries, and applications.It provides accurate, up-to-date analysis of markets and companies.The report use reliable information and analysis to gain a deeper understanding of the current factors impacting the industry. Top Leading Players Ableton AG, Adobe Inc., Apple Inc., Avid Technology Inc., Cockos Inc., Image Line Software NV, MAGIX Software GmbH, PreSonus Audio Electronics Inc., Reason Studios AB, Steinberg Media Technologies GmbH
Global “Music Production Software Market” in the forecast period of 2023-2025. Music Production Software Market is expected to grow at a steady rate, according to the Music Production Software Market report, which summarizes the key aspects of the Music Production Software market, as well as the leading key Music Production Software market players, leading regions, and key applications. It contains pages 120 with detailed analysis, which is followed by a table of contents. This Music Production Software market research report focuses on the status and outlook for major applications/end users, consumption (sales), Music Production Software market share, and growth rate for each application and displays the production, revenue, and price. A highly experienced and expert team of analysts and modellers provides market analysis and forecasts. The reports identify top countries and segments for opportunities and strategies based on market trends and leading competitors’ approaches.
“music production software market and it is poised to grow by USD 296.27 mn during 2021-2025, progressing at a CAGR of almost 8% during the forecast period. ”
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Music Production Software Market Share Analysis
The report gives a comprehensive investigation of the global Music Production Software market. The report contains huge data, measurable information focuses, factual reviewing, SWOT analysis, chance assessment, genuine scene, common exploration, and future improvement prospects. The analysis aims to specify market sizes in individual sections and countries in preceding years and forecast the worth in the subsequent years. The report saves valuable time as well as adds credibility to the work that has been done to grow the business.
Global Music Production Software Market report serves to be an ideal solution for better understanding of the Market. It is helpful in finding out the size of the Market for specific products. These major players operating in this Market are in strong competition in terms of technology, innovation, product development, and product pricing. The Market study aids in making sales forecasts for its products and thereby, establishing harmonious adjustment between demand and supply of its products.
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List of the Top Key Players of Music Production Software Market:
About Music Production Software market:
the music production software market and it is poised to grow by USD 296.27 mn during 2023-2025, progressing at a CAGR of almost 8% during the forecast period. Our report on music production software market provides a holistic analysis, market size and forecast, trends, growth drivers, and challenges, as well as vendor analysis covering around 25 vendors.The report offers an up-to-date analysis regarding the current global market scenario, latest trends and drivers, and the overall market environment. The market is driven by the increasing adoption of DJ software to produce music and the rising number of musicians and artists. In addition, the increasing adoption of DJ software to produce music is anticipated to boost the growth of the market as well.The music production software market analysis includes end-user segment, type segment, and geographic landscape.
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The Music Production Software market analysis includes the Market segments and Geographical Landscapes as below:
Under competitive Market share evaluation, it suggests that key players dominate the operations in the industry attributable to their strong geographical reach and huge production facilities. Global Music Production Software Market report serves to be an ideal solution for better understanding of the Market. It is helpful in finding out the size of the Market for specific products.
Geographic Segment Covered in the Report:
The Music Production Software report provides information about the market area, which is further subdivided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country and sub-region during the estimated period.
Impact of COVID-19
COVID-19 can affect the global economy in three main ways: by directly affecting production and demand, by creating supply chain and market disruption, and by its financial impact on firms and financial markets. Our analysts monitoring the situation across the globe explains that the market will generate remunerative prospects for producers post COVID-19 crisis. The report aims to provide an additional illustration of the latest scenario, economic slowdown, and COVID-19 impact on the overall industry.
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The study was conducted using an objective combination of primary and secondary information including inputs from key participants in the industry. The report contains a comprehensive market and vendor landscape in addition to an analysis of the key vendors.
A detailed picture of the market by the way of study, synthesis, and summation of data from multiple sources by an analysis of key parameters such as profit, pricing, competition, and promotions. It presents various market facets by identifying the key industry influencers. The data presented is comprehensive, reliable, and a result of extensive research – both primary and secondary. The market research reports provide a complete competitive landscape and an in-depth vendor selection methodology and analysis using qualitative and quantitative research to forecast the accurate market growth.
Important Features of the reports:
The Music Production Software report has the following vital highlights:
Key Stakeholders
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Table of Content:
1 Executive Summary
1.1 Music Production Software Market Overview
2 Market Landscape
2.1 Market ecosystem
2.2 Value chain analysis
3 Market Sizing
3.1 Music Production Software Market definition
3.2 Music Production Software Market segment analysis
3.3 Music Production Software Market size
3.4 Music Production Software Market outlook: Forecast year
4 Five Forces Analysis
4.1 Fiver forces summary
4.2 Bargaining power of buyers
4.3 Bargaining power of suppliers
4.4 Threat of new entrants
4.5 Threat of substitutes
4.6 Threat of rivalry
4.7 Music Production Software Market condition
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5 Market Segmentation by Product
5.1 Market segments
5.2 Comparison by Product
5.3 Music Production Software Market opportunity by Product
6 Market Segmentation by Distribution channel
6.1 Music Production Software Market segments
6.2 Comparison by Distribution channel
6.3 Offline – Market size and forecast
6.4 Online – Market size and forecast
6.5 Market opportunity by Distribution channel
7 Customer landscape
7.1 Music Production Software Market Overview
7.2 Music Production Software Market drivers
7.3 Music Production Software Market challenges
7.4 Music Production Software Market trends
8 Vendor Landscape
8.1 Music Production Software Market Overview
8.2 Vendor landscape
8.3 Landscape disruption
9 Vendor Analysis
9.1 Vendors covered
9.2 Market positioning of vendors
10 Appendix
11 Scope of the report
11.1 Currency conversion rates for USD
12 Research methodology
13 List of abbreviations
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From farming to fermentation: How New Zealand could 'brew up' new foods to reduce agricultural emissions – Phys.org
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October 31, 2022
by Ian Mason, The Conversation
New Zealand agriculture contributed 50% of the country’s greenhouse gas emissions in 2020, an unusually high proportion by world standards. Dairy farming was responsible for about half of the 39.1 megatons of carbon dioxide equivalent (CO₂-eq) emitted, or 25% of all emissions.
Addressing the problem of New Zealand’s agricultural emissions has mainly focused on technical fixes aimed at reducing methane and nitrous oxide produced by livestock and fertilizer and relying on voluntary agreements with the industry.
But these measures may not result in substantial emissions reductions any time soon. Reductions of less than 1% are predicted according to one analysis of a government/industry accord, which forms the basis of a recently announced pricing scheme for agricultural emissions.
New Zealand farmers will start to pay a levy on agricultural emissions by 2025 https://t.co/d2x9zYiGTI
— Bloomberg Green (@climate) October 25, 2022
New Zealand farmers will start to pay a levy on agricultural emissions by 2025 https://t.co/d2x9zYiGTI
Exploring alternatives to conventional farming is therefore timely and urgent. One such alternative with the potential to drastically reduce agricultural emissions—while at the same time helping restore ecological quality—is to use fermentation technology.
This would allow some yet-to-be-determined proportion of dairy and meat farming to be replaced by “precision fermentation” of high-protein products, a process akin to brewing.
It might seem like a radical step for a traditional agricultural nation, but given the urgency of the problem, New Zealand needs to consider it at least.
Using bacteria to make protein
In his recent book Regenesis, British journalist and activist George Monbiot discusses the prospects for precision fermentation, or single-cell protein (SCP) production. In particular, he highlights a process developed by Finnish startup Solar Foods.
This process employs hydrogen-oxidizing bacteria as an alternative means of food production with a much lower climate impact. The end product is a nutritious high-protein powder suitable for use as a food ingredient and as a component of new foods.
Key to this process are the production of hydrogen by electrolysis of tap water and the direct capture of carbon in the form of carbon dioxide from the air. Hydrogen produced in this way can also be used to make ammonia for use as a nitrogen source for the bacteria.
In a comprehensive life-cycle analysis, Finnish researchers determined that each kilogram of product made using hydroelectricity created about one kilogram of CO₂-eq emissions, requiring 18 kilowatt-hours of electricity.
The product itself is comprised of 65–75% protein, 4–10% fat, 18–20% carbohydrates, 4–10% minerals and 5% moisture. This means it has a high protein content, complemented by smaller amounts of fats (mostly polyunsaturated), carbohydrates and nutrients.
Where could the electricity come from?
New Zealand has a world-class wind resource, both onshore and offshore. Major developers have recently revealed plans for more than six gigawatts (GW) of offshore wind farms off the Taranaki and Waikato coastlines. The first is due to be operational by the end of this decade.
Using a 1GW offshore wind farm as an example, this could supply enough electricity to produce about 240,000 tons of SCP product a year, containing about 160,000 tons of protein. The carbon footprint, based on the Finnish life-cycle analysis, would be around 0.25 megatons of CO₂-eq emissions.
The same amount of milk protein produced at a dairy farm would have a carbon footprint of about 3.6 megatons of CO₂-eq emissions (based on the average emissions intensity from a recently updated life-cycle analysis).
If replaced by the SCP product, this would result in an 18.9% reduction in dairy-sector emissions and milk production based on 2019–2020 levels. Net emissions to the global atmosphere would also be reduced.
Milk contains a large proportion of fat—about 125% of the protein content compared to about 10% for the SCP product. Lactose and other nutrients, plus meat and by-products from culled cows and bobby calves, would also be removed from production under this process.
The extent to which these might be substituted with plant-based or precision-fermentation alternatives requires further investigation. Using vegetable oils to supply the difference in fat would add about 0.7 megatons of CO₂-eq emissions to the SCP footprint.
If the equivalent land area was retired from intensive dairy farming this would allow a range of alternative land uses, including rewilding of sensitive areas.
Given New Zealand’s serious degradation of water quality due to nutrient runoff associated with intensive farming, this would have obvious environmental and ecological benefits.
It would also provide a permanent carbon sink of native bush, adding further to the net emissions reduction.
Transition to a new system
Animal agriculture is deeply embedded in New Zealand’s culture, society and economy. Discussing alternative means of food production will therefore require a thoughtful, detailed and respectful conversation focused on a just partial transition to new systems.
New development funding would be well spent on comprehensive consultation, pilot trials of the SCP technology under local conditions and on training.
What is signaled is a very real prospect for capping and then reducing the scale of our industrial animal farming. It’s an opportunity to fit within the greenhouse gas budget we need to live within to avoid the 2.7℃ warmer world we now appear to be heading for.
It is also an opportunity to write a new chapter in New Zealand’s environmental history. Adding to the menu the “rich, mellow and filling” SCP pancake George Monbiot enjoyed in Finland sounds like a good option, too.
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Uvalde shooting 911 recordings reveal fear of people at Robb Elementary – The Texas Tribune
Audio obtained by The Texas Tribune and ProPublica shows just how long police and dispatchers likely knew that children and teachers were in danger before taking action at Robb Elementary School.
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Editor’s note: This story contains audio of people calling 911 during a mass shooting incident.
The first two 911 calls came in at 11:29 a.m.
A man had crashed his truck into a ditch by Robb Elementary School in Uvalde, and he was rushing toward the school with a gun.
The gunman fired more than 100 rounds by the time police dispatchers received another call two minutes later. An adult voice could be heard making “shh” sounds for nearly 44 seconds before the phone abruptly cut out.
Monica Martinez, a STEM teacher who was hiding in a closet at the school, was among several callers from inside the school who followed.
What happened on May 24 in Uvalde is well documented. Hundreds of law enforcement officers from nearly two dozen local, state and federal agencies rushed to the scene. It took more than an hour before they entered the rooms where the gunman was located. They treated the crisis as one of a barricaded suspect who was no longer an active threat. Ultimately, 19 children and two teachers were killed in the worst school shooting in Texas history.
In the ensuing five months, the delayed law enforcement response has spurred state and federal investigations. The school district’s police chief was fired. He has publicly contested his termination, saying he was unfairly blamed. The acting Uvalde police chief has also been suspended and a state trooper fired. The chief of the Texas Rangers, the Department of Public Safety unit that is leading the state investigation, retired abruptly in September, as did his deputy in August. Several state police troopers remain under investigation. Officers facing punishment either could not immediately be reached for comment or declined to respond.
The Texas Tribune and ProPublica have for the first time obtained recordings of more than 20 emergency calls and dozens of hours of conversations between police and dispatchers that lay bare the increasing sense of urgency and desperation conveyed by children and teachers. In chilling, muffled 911 calls, they begged for help from inside the school.
Although the existence of some 911 calls and body camera footage has been reported publicly, the totality of the recordings show the pervasiveness of the miscommunication that unfolded that day.
During some calls, dispatchers and officers warned that class was supposed to be in session in rooms where the gunman had been shooting. On others, law enforcement officers said they were unaware that anyone aside from the gunman was in the classrooms, even as dispatchers received calls from children seeking help.
Ten-year-old Khloie Torres was one of those children. While state officials previously released a transcript with excerpts from one of Khloie’s phone calls, the news organizations obtained additional recordings of her pleading for help that had not been made public. Khloie survived that day.
In an interview, her father, Ruben Torres Jr., said he is “disgusted” that police did not quickly intervene. The fact that his daughter had to wait so long to get help is “mind-boggling,” Torres said.
“There was no control. That dude had control the entire 77 minutes,” said Torres, a U.S. Marine Corps veteran. “They didn’t have him barricaded. He had the police barricaded outside. It’s plain and simple. The police didn’t go in. That’s your job: to go in.”
DPS officials did not respond to questions from ProPublica and the Tribune about the recordings. A spokesperson for the city of Uvalde, the police chief, the Uvalde mayor and the county’s chief executive declined to comment.
Communication was a key failure throughout the response. Many officers assumed the school police chief, Pete Arredondo, was in command. He did not have his radios with him, issued few orders and later said he never viewed himself as the officer in charge. County officials said emergency communications were overwhelmed in the rural community, which typically has only two dispatchers answering 911 calls and juggling the transmission of key information to emergency responders.
The emergency radio system has two 911 lines and three emergency channels. Its frequency is designed for the vast, 15,000-square-mile stretch of scrubby desert terrain, rather than for high-density urban areas where equipment must work inside buildings, said Forrest Anderson, the county’s emergency management coordinator who oversaw the radio system’s implementation two decades ago. A legislative committee that later examined the response noted that city police radios worked only intermittently inside the school.
Radio traffic and footage obtained by the news organizations show that some police knew about the 911 calls, but just how many officers remains unclear.
High-stakes emergency responses always have some communications gaps, but skilled incident commanders should be prepared to overcome such challenges, said Bob Harrison, a former California police chief and homeland security researcher at the Rand Corp., a national think tank.
Harrison noted that many of the radios used by Border Patrol agents also did not work during the Uvalde shooting response, but the agency’s SWAT team, which does not typically lead the response in school shootings because it is a federal agency focused on immigration and national security, mobilized to breach the classroom once it arrived and determined no one was in control.
“If a strong unifying command scene was set up quickly, these discrepancies wouldn’t have been necessarily relevant, and there would have been one voice and one command,” Harrison said of the problems with 911 and radio communication.
The state legislative committee reached a similar conclusion in its July investigative report, which stated that a capable incident commander would have realized that the radios were “mostly ineffective” and that responders needed other means of communication to transmit key details such as calls from victims inside the classrooms. The report highlighted that law enforcement is trained to be “prepared to respond effectively without reliable radio communications” and could employ a series of strategies including using “runners” to deliver messages in person.
But that day, children and teachers, including Martinez, waited to be rescued.
In the dark closet of room 116, Martinez stayed on the phone with a dispatcher and tried to practice a key tenet of the school’s active-shooter protocol: Be quiet.
When a new round of gunshots rang out from behind the closed door of the two adjoining classrooms, Uvalde police Sgt. Daniel Coronado sprinted outside, panting heavily as he relayed an urgent message on his radio to city police dispatchers.
“He’s inside the building,” Coronado said of the shooter at 11:38 a.m. “We have him contained.”
He asked for ballistic shields and requested that someone call DPS.
Then he repeated: “He’s contained. We’ve got multiple officers inside the building at this time. We believe he’s barricaded in one of the offices. Male subject is still shooting.”
Four minutes later, a male voice, unclear from which agency, asked that someone check the classroom of fourth-grade teacher Eva Mireles, a 44-year-old educator and the wife of Ruben Ruiz, a Uvalde Consolidated Independent School District police officer. Mireles was assigned to classroom 112, one of two adjoining rooms where the shots were coming from.
“See if the class is in there right now or if they’re somewhere else,” the official said.
Another officer gasped.
“That’s going to be Ruben’s girl,” he said, referring to Mireles.
“Oh no, oh no,” Coronado muttered under his breath.
The exchange demonstrates some officers knew early on that the gunman was not barricaded alone in the classroom. More indicators, and clear confirmations, would come soon after — yet for much of the response, they would not be heard.
At 11:48 a.m., Ruiz, who was standing in the hallway outside of the classroom, told officers that his wife had been shot. Ruiz said his wife had called him and said she was “dying.” Mireles later died in an ambulance.
Officers escorted Ruiz outside, taking away his weapon for his safety, according to interviews officers at the scene later gave to the Texas Rangers. But they did not attempt to enter the classroom. One of the police lieutenants who heard Ruiz’s announcement told investigators that they were waiting for DPS and Border Patrol to arrive “with better equipment like rifle-rated shields.”
By that time, Martinez, the teacher, had been on the phone with 911 for more than 10 minutes. She had told the dispatcher that she could hear people in the hallway. The dispatcher urged her to stay quiet and remain barricaded in the closet.
“You still there with me?” the dispatcher asked at about 11:47 a.m.
“I’m still here,” Martinez whispered.
Seven minutes later, an officer asked if any children were inside with the gunman.
“No, we don’t know anything about that,” another officer replied on the radio.
“Everything is closed, like the kids are not in there,” a third responded.
About a minute later, an officer asked for the shooter’s location.
“The school chief of police is in there with him,” another officer replied.
As the back-and-forth continued, law enforcement officers rescued people from other classrooms. At 11:58 a.m., Martinez told the dispatcher that she again heard someone knocking. She said the person had identified themselves as a police officer.
“Open the door,” the dispatcher said, confirming that the person on the other side was law enforcement. “Stay on the line with me until you make contact with him.”
“I’m coming,” the teacher whispered.
Her sobs carried through the phone.
The teacher did not return calls and emails seeking comment.
Some children in classrooms 111 and 112 with the gunman kept calling 911, seeking help even when they suspected it was not safe to speak. One of the first calls from a trapped student, at 12:03 p.m., was barely audible.
The call lasted a minute and 24 seconds. The child was silent as the dispatcher asked their name and what room they were in.
“Hello, ma’am? Can you hear me?” the dispatcher asked.
Then at 12:10 p.m., Khloie called.
“There is a lot of bodies,” The New York Times previously reported that she told a dispatcher, adding that her teacher had been shot but was still alive.
Khloie stayed on the phone for more than 17 minutes. While she spoke, another city police dispatcher answered a call from DPS and erroneously reported that the school police chief was inside the classroom with the gunman.
“We’re sending everybody that we can, um, heading out there, but do you have any injuries, fatals, anything?” the DPS dispatcher responded.
Only one female was shot, and perhaps an officer was injured, the Uvalde dispatcher replied.
A dispatcher’s voice crackled through the Uvalde police and Border Patrol radio traffic, notifying that she had a child on the line.
Hallway surveillance video from inside the school at the time shows at least four law enforcement officials, one with a shield, kneeling outside the classroom door with their guns drawn.
It is not clear if the officers heard that message.
At 12:14 p.m., a state trooper’s body camera captured someone saying, “There’s victims in there, dude.” The trooper was standing outside a door to the school, with at least eight officers from different agencies visible from that camera angle.
“We need to get in there,” one responded.
No one did.
Five minutes later, another girl in room 111 called 911. The recording of the call, which lasted a minute and 17 seconds, is mostly inaudible.
In the hallway, Uvalde County Constable Emmanuel Zamora wrongly suggested that the gunman may have already shot himself.
“One shot at the end was self-inflicted, maybe,” Zamora said in the recording, referring to an earlier burst of gunfire.
Zamora did not respond to texts and emails about his comments, which had not been previously reported.
It was the first time he acknowledged to other responders that anyone was wounded inside the two classrooms, according to new footage obtained by the news organizations. The legislative report noted only that he acknowledged “some casualties” 14 minutes later. Arredondo did not return a message seeking comment shared with him by his former attorney.
A minute later, the gunman fired again.
Officers in the hallway flinched, formed a line and started walking down the hall, then suddenly stopped, a state trooper’s body camera footage reveals.
Just after the shots were fired at 12:21 p.m., the school chief began trying to talk to the shooter for the first time, according to communications and records.
“If you can hear me, sir, please put your firearm down, sir,” Arredondo said. “We don’t want anyone else hurt.”
Just after 12:30 p.m., three troopers again advanced toward the classrooms before an unidentified person said “no, no, no,” according to body camera footage.
Once again, they stopped.
A DPS trooper who made his way into the hallway around that time asked another officer if there were children in the classroom. The response was, “We don’t know.”
By then, more than 20 minutes had lapsed since Khloie first begged a dispatcher for help. She ended the initial call when she feared the gunman, who she felt taunted the children, was getting close, her father later recalled.
She called 911 again at 12:36 p.m.
About two minutes later, Khloie once more asked for police.
Yet again, a dispatcher tried to reassure her.
“I have someone that is trying to get to you, OK,” she said.
Khloie whispered that she thought she heard the police next door.
As the Border Patrol strike team was almost ready to breach, DPS Capt. Joel Betancourt went on the radio and ordered the agents to wait.
The captain did not respond to requests for comment left for him through DPS.
The team ignored the order and entered the classroom, quickly killing the shooter. The previously silent hallway filled with officers waiting to act.
Someone yelled, “Make a hole!” as police carried out wounded children. Law enforcement officers motioned for those who were not as severely injured to walk out on their own.
As the onsite paramedics focused on the most critically injured, officers began taking other hurt children to the hospital. Khloie was among them.
“I was on the phone with a police officer,” she told the trooper examining her as the screams of other wounded children reverberated in the background.
The officer, whose body camera had earlier picked up a dispatcher describing that call, seemed surprised.
“Oh, that was you?” the trooper asked.
Uriel J. García contributed reporting.
Disclosure: The New York Times has been a financial supporter of The Texas Tribune, a nonprofit, nonpartisan news organization that is funded in part by donations from members, foundations and corporate sponsors. Financial supporters play no role in the Tribune’s journalism. Find a complete list of them here.
Correction, Nov. 3, 2022: A previous version of this story included incorrect details of a request to check the classroom of teacher Eva Mireles early in the police response. The request was to check Mireles' room, 112, not the adjoining 111. It was made by an unidentified male official, not a dispatcher. And class was reported to be in session by a school district police officer, not a Uvalde officer. That same officer, not a dispatcher, also wrongly reported over the radio at 11:50 a.m. that the school chief was "in the room with the shooter."
Perhaps it goes without saying — but producing quality journalism isn’t cheap. At a time when newsroom resources and revenue across the country are declining, The Texas Tribune remains committed to sustaining our mission: creating a more engaged and informed Texas with every story we cover, every event we convene and every newsletter we send. As a nonprofit newsroom, we rely on members to help keep our stories free and our events open to the public. Do you value our journalism? Show us with your support.
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Right-wing legislators admit editing audio used in Fox News report attacking SC schools – Charleston Post Courier
Areas of patchy fog early. Cloudy early with peeks of sunshine expected late. High 82F. Winds light and variable..
Some passing clouds. Slight chance of a shower throughout the evening. Low 63F. Winds light and variable.
Updated: November 7, 2022 @ 5:46 am
River Bluff High School in Lexington County School District One.
State Rep. R.J. May, R-Lexington, serves as vice chairman of the South Carolina Freedom Caucus, known for its hardline conservatism. File/Staff
K-12 Education Reporter
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River Bluff High School in Lexington County School District One.
State Rep. R.J. May, R-Lexington, serves as vice chairman of the South Carolina Freedom Caucus, known for its hardline conservatism. File/Staff
COLUMBIA — A right-wing legislative group now admits it had a role in editing an audio recording that became the basis of a Fox News report attacking a South Carolina school district.
The admission from the South Carolina Freedom Caucus comes a day after a Post and Courier article that quoted claims the clip had been doctored from the CEO of a nonprofit education group that employs the person speaking on the recording.
State Rep. R.J. May, R-Lexington, previously said his group did not create the recording of an EL Education employee, purportedly instructional specialist Tarika Sullivan. But on Nov. 1 he acknowledged that members of his organization altered the raw footage they received.
May said the S.C. Freedom Caucus removed the voice of the person who provided them with the audio in order to protect the identity of that person, described by May as a “whistleblower.” The caucus also edited background noise from the conversation, May said, but he denied altering the speaker’s words.
Scott Hartl, president and CEO of the New-York based nonprofit EL Education, said Oct. 31 that the speaker on the recording is an EL employee but did not confirm it was Sullivan. He said the speaker was recorded without consent under false pretenses by a hotel employee who pretended to be interested in her work.
Remarks from different parts of their conversation appear on the clip without any context on what came in between. At one point, she references the Lexington One School District, one of several in the state that contracts with EL Education. Later she mentions critical race theory.
But the fragments give no indication as to what she was responding to at any point, including whether she was discussing her own work or views or answering a pointed question about someone else. The clip created a “false and crudely edited narrative,” Hartl said on Oct. 31. Whether the audio had also been edited prior to the caucus receiving it remains unclear, as does the date of the recording.
May denies that the resulting audio misrepresents what the speaker said, which he said was to tout a critical race theory curriculum for Lexington County School District One.
“The far left will stop at nothing to destroy those who challenge their radical ideology,” May said. “Therefore, the video was edited to ensure the protection of the whistleblower. In doing so, we preserved the integrity and intent of Mrs. Sullivan’s words.”
Also on Nov. 1, Fox News updated its article from the week prior after the Post and Courier pointed out a misquotation of the audio.
Since 2013 EL Education has worked with six schools in the Columbia area, all of them in Lexington County School District One, which is the state’s sixth-largest district at more than 27,000 students, including from the towns of Lexington, Gilbert and Pelion.
Hartl said the nonprofit’s research is “based on the science of reading and learning.” The most prominent example of the role EL plays in Lexington One is likely the “Crew” program at River Bluff High School, which is a team-building program for teachers, and for students is a random grouping of them — regardless of background or grade level — to organically foster study groups and mentorships.
The S.C. Freedom Caucus said in a statement that EL Education is actively attempting to “circumvent state law” by teaching critical race theory to students.
Lexington One spokeswoman Megan Moore said the comments heard on the recording “do not represent the views or educational practices” of the school district.
EL Education also works with schools in Charleston and Greenville counties.
“Lexington District One will continue to look into this matter and is committed to ensuring all Lexington District One schools adhere to South Carolina standards and statutes,” Moore said in an Oct. 25 statement.
Click here for more news from Columbia, S.C.
K-12 Education Reporter
T. Michael covers education in the Columbia area. He studied journalism at the University of South Carolina and communications at the University of Denver, and worked as a reporter covering Denver Public Schools.
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EQ Resources (ASX:EQR) to raise $4.56m for Mt Carbine expansion – The Market Herald
EQ Resources (EQR) has received firm commitments to raise $4.56 million in a “well-supported” placement.
The share placement comes at 4 cents per share, with one free-attaching unlisted option for every four new shares subscribed and issued, exercisable at 6.5 cents each. The issue price marks an 18 per cent discount to the most recent closing price, and a 14 per cent discount to the 15-day VWAP.
The company said the placement attracted both domestic and international interest from new and existing investors, and will be paid out in two tranches.
Subject to shareholder approval, the directors of EQ Resources have also committed to subscribe for $200,000 in the placement.
“We are pleased having secured support from existing high-profile investors while at the same time seeing new investors joining the register,” EQR Chief Executive Officer Kevin MacNeill said.
EQR said the proceeds of the placement will go towards funding the ongoing Mt Carbine expansion program and additional drilling towards the open pit western extension.
“The work to date related to the upcoming bankable feasibility study update has highlighted significant upside potential in some areas, including the open pit western extension, which require additional work by the team,” Kevin MacNeill continued.
“In addition to the recently announced royalty funding currently being finalised, this placement allows us to bridge our cash flow as the Government grant documentation requires a few more weeks until completion.”
EQ Resources was down 12.2 per cent, trading at 4.3 cents at 1:56 pm AEDT.
Report released in fatal plane crash that killed doctor – WSMV 4
BRENTWOOD, Tenn. (WSMV) – A preliminary report from the National Transportation Safety Board (NTSB) offers new details regarding a fatal plane crash in Brentwood last month.
Christopher Wiltcher, a 62-year-old OBGYN, was the pilot who died in the Oct. 18 plane crash, according to his family. Wiltcher crashed in his Piper-PA-32-300, built in 1969, on Old Smyrna Road after taking off from the Springfield Robertson County airport. The NTSB report shows Wiltcher was on the way to Fayetteville Municipal Airport for avionics repairs.
The report says Wiltcher declared an emergency at 7:33 a.m. due to partial loss of engine power. The air traffic controller speaking with Wiltcher agreed the Nashville International Airport was the closest option for an emergency landing.
At 7:38 a.m., the pilot announced the engine had “stopped” and the plane was “heading down.”
A witness said the plane was at about 75 feet above the ground when he spotted it, before it crashed into trees. The witness saw fire come from the plane, which was tangled in trees. Shortly after, the witness heard the plane shift and fall into the street, where it “exploded” and became engulfed in flames.
The cockpit and cabin were consumed by post-crash fire. Wiltcher was pronounced dead on the scene.
He had all the proper certificates and training, according to the NTSB. Before the fatal crash, Wiltcher asked the air traffic controller to tell his family he loved them. At his family’s request, WSMV4 shared the audio recording with them, but we chose not to air it.
Copyright 2022 WSMV. All rights reserved.
Gryffin & Elley Duhé release a lovely lyric video for their euphoric club anthem, entitled, “Forever” – Bong Mines Entertainment
Gryffin is a multi-platinum producer from San Francisco, California. Elley Duhé is a singer-songwriter from Alabama. Not too long ago, they released a lovely lyric video for their euphoric club anthem, titled, “Forever,” a soaring track brimming with ambition and optimism via Darkroom/Interscope Records. This is the second time the powerhouse duo has collaborated, the first being 2019’s “Tie Me Down,” one of Gryffin’s biggest songs to date.
Polished and pristine, “Forever” is a danceable meditation on the frailty of life — and the need to live in the moment. “I run the red lights just to see how it feels, waving my hands high,” Duhé belts over Gryffin’s ethereal synths. “Not even touching the wheel, take in the moonlight and the heaven I feel goes on forever and ever and ever.” It’s a heartfelt, nuanced dance track that is quickly becoming the producer’s trademark.
‘Forever’ boasts multi-layered production with complex arrangements and ambitious hooks that straddle the pop or dance worlds. Also, it delivers a poignant message, delivered with real emotion by “MIDDLE OF THE NIGHT” hitmaker Duhé. Furthermore, “Forever” is featured on Gryffin’s sophomore album, entitled, “Alive.” The dynamic, hook-filled LP is a must-hear for dance-music fans everywhere.
The album kicks off with the anthemic title track featuring Calle Lehmann, a pop-tinged house record destined for countless spins in clubs across the world. Other highlights include “Scandalous” featuring Tinashe, a dynamic collaboration that showcases Gryffin’s mastery of dance anthems, and the standout banger, “Colors,” a collaboration with Eyelar and Blanke. With more new songs featuring guest spots from salem ilese on “Glitch In The Simulation” and Matt Maeson on “Lose Your Love,” Gryffin’s sophomore effort has made him synonymous with dance-music excellence.
With his debut album, Gravity, Gryffin displayed an uncanny ability to craft emotionally nuanced electronic anthems that soar to delirious heights and immediately get lodged in your brain. Now, with “Alive,” he has further perfected his dazzling brand of club music, composing elaborate arrangements that are poised, urgent, and addictive.
Gryffin recently performed a sold-out show at Denver’s famed Red Rocks Amphitheatre and will celebrate the release of “Alive” with another sold-out show at L.A.’s State Historic Park (his two largest headlining shows to date). Next, he will finish out this run of tour dates with stops in Dallas, Texas, and Washington, D.C.
Gryffin got his start in music as a classically trained pianist and guitarist while also playing in several bands. After receiving an electrical engineering degree from the University of Southern California, he pursued a path in music production, drawing equally from his carefully honed musicality and edgy ingenuity.
Gryffin made his breakthrough in 2016 with two singles showcasing his melodic take on dance music: “Heading Home” ft. Josef Salvat (which shot to #1 on Spotify’s US and Global Viral charts) and the Gold-certified Bipolar Sunshine collaboration “Whole Heart.” In addition, his 2017 smash single and first Platinum record “Feel Good” — with Illenium and featuring Daya— peaked at #18 on the Dance/Mix Show Airplay charts.
Gryffin’s major triumphs also include “Tie Me Down” ft. Elley Duhé, which hit #2 on the Spotify US Viral Chart, #9 on the Global Viral Chart, and was recently Platinum-certified. His “Remember” single ft. Zohara garnered 6.5 million streams in its first few weeks and earned support from Tiesto, who featured the track on an Instagram story. “All You Need to Know” with SLANDER ft. Calle Lehmann is a Gold-certified smash that surpassed 320 million streams globally. Gryffin’s debut album, Gravity, quickly climbed to #1 on Billboard’s Dance/Electronic Albums chart. Now, with “Forever,” the rising producer is becoming an undeniable force in the world of dance music.
“I have so much light and positivity in me, but I also have shadows. It all coexists in harmony.” – Elley Duhé stated
Elley Duhé’s music is about finding hope in the face of whatever faces you. Her love for music began early in small southern towns surrounded by her musically inclined family. By 14, she was writing her own songs on guitar, and it proved to be a lifeline. Empowered by her newfound creative voice and having soaked up the sounds and the soul of the south, Duhé could feel that her ambition was calling her elsewhere.
In the past few years, Duhé has gone from playing cafes, bars, and private parties to playing at Coachella and Lollapalooza, signing with RCA and dropping her 2016 debut single: the blissed-out lullaby of ‘Millennium’ with Tarro. Since then, across a long run of smash singles, the personal but pristine pop of her ‘Dragon Mentality’ EP, Duhé has racked up millions and millions of streams, recorded with the likes of Gryffin and Zedd, and formed a tight and unbreakable bond with her legions of fans online.
Duhé’s most recent single, “Middle of the Night,” has once again blown her fans away with over 1.9B streams on DSPs and became RIAA-certified gold and multi-platinum worldwide. With global recognition and an increasing following, Duhé says, “When I see the streaming numbers, it’s just a reminder of the impact and that the knowledge is right. It’s not like I had a delusional dream, it’s really happening.”
We recommend adding Gryffin’s and Elley Duhé’s “Forever” single to your favorite dance playlist. Also, let us know how you feel in the comment section below. Mel Blanc’s famous catchphrase, That’s All Folks! Thanks for reading another great article on Bong Mines Entertainment – the hot spot for new music. Always remember that (P) Positive, (E) Energy, (A) Always, (C) Creates, (E) Elevation (P.E.A.C.E). Contact us on social media via Twitter, YouTube, Instagram, or Facebook, and let us know what’s going on. Disclaimer: This post contains affiliate links. If you make a purchase after clicking a link, we’ll collect a share of sales or other compensation.
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Shock Poll: Liberal Pollster Has Blake Masters Tied With Mark Kelly in Arizona Senate Race – Washington Free Beacon
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Republican Blake Masters is now neck and neck with Sen. Mark Kelly (D., Ariz.) in Arizona’s pivotal Senate race, according to a surprise poll from the left-wing research firm Data for Progress.
Masters and Kelly are tied at 47 percent in a Data for Progress survey of nearly 900 likely voters, conducted from Oct. 11-17.
The poll suggests Masters is gaining momentum in the race, as concerns about the economy continue to hamper Democrats. According to the survey, 45 percent of respondents said they were most concerned with economic issues like inflation and the cost of food. Just 17 percent said they were most concerned with abortion, the primary issue of focus for Democrats since the Supreme Court overturned Roe v. Wade.
Kelly was once considered a heavy favorite against Masters, but his lead has dwindled since the summer. Kelly led Masters by 6 points in a RealClearPolitics polling average in September but is up now by just 1.5 points. The shift toward Masters is in line with battleground Senate races in Pennsylvania, Georgia, and Ohio, where Republicans are either leading or within striking distance of their Democratic opponents.
The poll is certain to add to Democrats’ mounting fears that they will lose the Senate in November. Sean McElwee, the executive director of Data for Progress, expressed pessimism over Democrats’ prospects this week, saying that “we thought for a little bit that we could defy gravity, but the reality is setting in.”
Masters’s rebound comes after a debate in which the GOP businessman attacked Kelly as soft on the border and on inflation. Republicans have hammered Kelly over his vote for the $1.9 trillion American Rescue Plan, which economists say contributed to inflation. Phoenix had the highest inflation rate in the country last month, with prices surging 13 percent since last year.
Other findings from the Data for Progress poll could be of concern for Democrats. Thirty-seven percent of Latino voters said they would vote for Masters, versus 58 percent who support Kelly. Forty-two percent of respondents had a favorable view of President Joe Biden compared with 57 percent who hold an unfavorable view.
Published under: Arizona Election, Blake Masters, Mark Kelly, Polls
2022 All Rights Reserved
Update on supply of iPhone 14 Pro and iPhone 14 Pro Max – Apple
This press release contains forward-looking statements, within the meaning of the Private Securities Litigation Reform Act of 1995. These forward-looking statements include without limitation those about expected product shipments and availability. These statements involve risks and uncertainties, and actual results may differ materially from any future results expressed or implied by the forward-looking statements. Risks and uncertainties include without limitation: effects of global and regional economic conditions, including as a result of government policies, war, terrorism, natural disasters, and public health issues, such as the COVID-19 pandemic; risks relating to the design, manufacture, introduction, and transition of products and services in highly competitive and rapidly changing markets, including from reliance on third parties for components, technology, manufacturing, applications, and content; risks relating to information technology system failures, network disruptions, and failure to protect, loss of, or unauthorized access to, or release of, data; and effects of unfavorable legal proceedings, government investigations, and complex and changing laws and regulations. More information on these risks and other potential factors that could affect the Company’s business, reputation, results of operations, financial condition, and stock price is included in the Company’s filings with the SEC, including in the “Risk Factors” and “Management’s Discussion and Analysis of Financial Condition and Results of Operations” sections of the Company’s most recently filed periodic reports on Form 10-K and Form 10-Q and subsequent filings. The Company assumes no obligation to update any forward-looking statements or information, which speak as of their respective dates.
Apple revolutionized personal technology with the introduction of the Macintosh in 1984. Today, Apple leads the world in innovation with iPhone, iPad, Mac, Apple Watch, and Apple TV. Apple’s five software platforms — iOS, iPadOS, macOS, watchOS, and tvOS — provide seamless experiences across all Apple devices and empower people with breakthrough services including the App Store, Apple Music, Apple Pay, and iCloud. Apple’s more than 100,000 employees are dedicated to making the best products on earth, and to leaving the world better than we found it.
Josh Rosenstock
Apple
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Tejas Gala
Apple
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Tigers Travel to Music City to Renew Rivalry with Vanderbilt – University of Memphis Athletics – Memphis Official Athletic Site
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'Black Adam' tops box office again on quiet weekend – Bay News 9
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NEW YORK (AP) — On a quiet weekend in movie theaters before the upcoming release of "Black Panther: Wakanda Forever," Warner Bros.’ "Black Adam" topped the box office for the third straight weekend with $18.5 million in ticket sales, according to studio estimates Sunday.
"Black Adam," Dwayne Johnson’s bid to launch a new DC Films superpower, has surpassed $300 million globally in three weeks of release, including a domestic tally of $137.4 million and $319.7 million globally. That puts the $195 million-budgeted film — the third film this year to lead the box office three consecutive weeks — on a trajectory to likely surpass the $366 million that "Shazam!" grossed in 2019, but less certain to notch a profit in its theatrical run.
When Walt Disney Co.’s "Black Panther: Wakanda Forever" lands in theaters Thursday, it’s expected to score one of the biggest opening weekends of the year. Ryan Coogler’s original debuted with more than $200 million in U.S. and Canadian theaters in 2018, and forecasts suggest it could open with around $175 million.
With "Wakanda Forever" looming, only one new film opened in wide release: "One Piece Film: Red," distributed by Sony Picture’s anime division, Crunchyroll. The Japanese anime sequel, part of the "One Piece" franchise, debuted in second place with $9.5 million. While not as robust as the openings of Crunchyroll’s "Dragon Ball Super: Super Hero, which garnered, $21.1 million in August, or Funimation’s "Jujutsu Kaisen 0: The Movie," which earned $18 million in March, "Red" again showed that anime is proving an uncommonly dependable draw in North American theaters. The 15th film in the franchise but the first to be released widely in the U.S., "Red" attracted an especially young audience, with about 75% of ticket buyers between ages 18-34.
Third place went to "Ticket to Paradise," the George Clooney and Julia Roberts romantic comedy. The Universal Pictures release collected $8.5 million in its third weekend, bringing the $60 million-budgeted rom-com’s cumulative total to $46.7 million domestically and $137.2 million worldwide. For a genre that’s struggled in theaters in recent years, "Ticket to Paradise" is showing staying power, especially as the favored choice for older audiences.
Even with Halloween coming and going, Paramount Pictures’ "Smile" also continued to hold well in theaters. In its sixth week of release, the horror flick added another $4 million to bring it to $99.1 million overall.
Some of the year’s top Oscar contenders have struggled to make much of an impact in wide release. James Gray’s "Armageddon Time," a coming-of-age tale set in 1980s New York, expanded to 1,006 theaters in its second week, grossing $810,000 for Focus Features. Focus’ "Tár," starring Cate Blanchett as a renowned conductor, took in $670,000 in 1,090 theaters for a five-week total of $3.7 million. MGM’s "Till," about Mamie Till-Mobley’s pursuit of justice for her 14-year-old son, Emmett Till, added $1.9 million in 2,316 theaters for a four-week gross of $6.6 million.
Best of the bunch so far has been Searchlight Pictures’ "The Banshees of Inisherin," starring Colin Farrell and Brendan Gleeson as rowing Irish friends. It took in $3 million in 895 locations in its third weekend of release, brining its global haul to $10.2 million.
Coming Home to New York, but Could She Afford a Manhattan Studio? – The New York Times
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The Hunt
With a decade’s worth of savings in her pocket, a longtime renter looked below 23rd Street for something she could make her own, and rent out down the line. Here’s what she found.
Amanda DiMarco didn’t expect New York City to pull her back, but it did.
Ms. DiMarco, 32, had lived in the area for almost her entire life: She was born and raised in Westchester and spent seven years in Hoboken, N.J., after college. But when her role overseeing client success for a software company went remote in 2020, she sold most of her furniture, put a few things in storage and hit the road with her roommate.
The pair, who had been renting a two-bedroom, two-bathroom Hoboken apartment for $3,500 a month, spent the next 13 months crisscrossing the country. They earned loyalty points at Marriott hotels, where Ms. DiMarco would take Zoom calls in the morning before heading out to hike in national parks.
“It was the biggest self-growth experience I’ve ever had,” she said.
But while she kept expecting to feel a tug in one of the cities she visited between Maine and California, none compelled her to put down roots. “I kept expecting to think, ‘Oh, my god, this feels right. I need to be here,’” she said. Instead, when she made her way back home — where her large Italian family still gathers for Sunday dinner every week — “New York, lo and behold, was what felt most right.”
[Did you recently buy or rent a home in the New York metro area? We want to hear from you. Email: [email protected]]
It was the fall of 2021 — rents were climbing, and mortgage rates were near a historic low. Ms. DiMarco, who had been putting aside funds since college, knew she had enough tucked away to make a 25 percent down payment on a home costing up to $650,000.
Her ideal spot was in Manhattan, preferably below 23rd Street. She expected to eventually return to her Midtown office, and “wasting those hours on a commute was something I didn’t want,” she said.
She knew that her budget and location would limit her to a studio, so she hoped she could find a place that she could eventually operate as a rental. “I hope I’m not living alone in a studio three years from now,” she said. “I wanted to be able to rent and gain that income down the road.”
When she connected with Christiana Beniamino, a real estate agent with Bond New York and an old friend, she was bouncing between hotel rooms in the city and her childhood home in Westchester.
“She had already been nomadic, and she wanted a stable place,” Ms. Beniamino said.
Ms. DiMarco began looking at apartments in early 2022. Among her options:
No. 1
Open-Plan Co-op in the Village
This nearly 500-square-foot corner studio was on the top floor of a six-story co-op building. It was bright and recently renovated, and its breezy, open floor plan made it feel larger. The building’s policy on sublets was generous: Owners needed to live there for only one year before they could rent out their units. But it was also a land-lease address, meaning the building didn’t own the land it stood on, which introduced some uncertainty into the deal. The asking price was $489,000, with monthly fees of about $2,700.
No. 2
Potential Near Union Square
This 16th-floor studio in a full-service co-op was quiet, and Ms. DiMarco liked that it had high ceilings and big closets, and was in a doorman building. The location, steps from Union Square, was a plus, and owners were allowed to sublet three years after buying. The apartment needed work, but there was potential for maximizing the tiny space by knocking down walls and opening up the living and dining areas. The asking price was $525,000, with monthly maintenance of about $1,000.
No. 3
Doorman Building in Chelsea
The elevator, doorman and outdoor courtyard were all perks at this stylish Chelsea co-op. The third-floor studio had a charming sunken living area, an open pass-through kitchen, a glamorous vintage bathtub and ample closet space. But there wasn’t a ton of light, and the building stood at a busy intersection. The co-op also had strict rules on subletting. The apartment was priced at $595,000, with monthly maintenance of about $1,100.
Find out what happened next by answering these two questions:
Which Would You Choose?
Open-Plan Co-op in the Village
Potential Near Union Square
Doorman Building in Chelsea
Which Did She Buy?
Open-Plan Co-op in the Village
Potential Near Union Square
Doorman Building in Chelsea
A New Plan: After a mouse infestation at her West Village rental, a single mother needed a better home for her family, which includes a son with autism. Could she find it downtown?
A Comfortable Pied-à-Terre: A couple based in the Catskills could afford up to $400,000 for a place to stay when in the city. Here are the options they found.
Converted Industrial Spaces: After an impulsive move from California, a New York newcomer tested her $1.8 million budget in Manhattan’s loft-filled neighborhoods.
An Upper-West-Side Romance: After college, Lily Kaplan watched her friends leave the neighborhood in favor of cheaper rents. She stuck it out, and found a studio she loves.
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Live news updates from October 11: Nato to hold nuclear exercise, UK unemployment hits 48-year low – Financial Times
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