Watch what you say – Blizzard is listening. Blizzard will start listening in to voice chat conversations in a bid to curb abuse in Overwatch 2. This comes after many have complained that the community has become more toxic since the release of the sequel, citing the fact that it's now free-to-play as a possible cause. This change has been introduced in the latest update, with players now being notified that their team voice chat may be recorded to "investigate and verify reports of abusive behaviour." This may also be part of a plan to prevent players from being falsely mass-reported, with Blizzard now able to check what was actually said in chat, rather than rely on other users to explain this. Related: Patches Are The Best And Worst Invention In Modern Gaming The implementation of voice chat recording came with the November 17 update, and is further explained in the patch notes. So far, it will only affect those playing on PC, and in certain regions. Under Overwatch's "Defence Matrix" moderation system, voice chat can now be transcribed if a player is reported. "Players will now see a notification when entering voice chat for the first time during a play session indicating that voice chat may be recorded. Make sure you report as close to when disruptive behaviour occurred to maximize this feature’s effectiveness," read the patch notes. "Once reported, a temporary audio recording will be used to make a text file transcript through speech-to-text programs." The explanation continues, seemingly hoping to ease player concerns regarding privacy and how the data will be stored. "No one listens to the temporary audio recording, which is quickly deleted after being transcribed," it reads. "Transcriptions are only made for reports of disruptive behaviour in public voice channels, which includes team and match chat – group party chat is excluded." It remains to be seen if this new feature can bring down complaints of toxic behaviour in-game. Although considering all the abusive messages shared in text chat too, this transcription software might not necessarily get rid of all the toxic players overnight. Next: Marvel's Midnight Suns Is Two Different Games But I Like Them Both Rhiannon is a News Editor at TheGamer, and can often be found starting yet another playthrough of Dragon Age: Origins. Otherwise, she's watching Star Trek, or caring about the Sonic series way too much.
Industry titan Universal Audio added two powerful new plugins to their suite of production tools; a chamber reverb plugin and a polysynth VST. These two plugins are already bolstering an incredible arsenal that all UAD subscribers are privy to and can help add an entirely new dimension to your production workflow. Full reviews are coming soon, but let's dive into what we know so far about these two additions to the illustrious line of Universal Audio plugins and VSTs. Hitsville studio’s attic-converted reverb chambers were essential to Motown's iconic sound. With help from the original engineers who built them, UA captured the whole character and ambiance of the spaces heard on some of the most excellent soul recordings ever made. “The sound of Motown music lives in all of our heads… The attic chambers at Hitsville were crucial to the emotion of those classic recordings, and we couldn't be happier to bring those same inspiring reverb effects to a new generation of music creators.” - Bill Putnam Jr., CEO of Universal Audio Hitsville Reverb Chambers features simple controls, allowing users to dial in classic reverb sounds on vocals and instruments quickly. And with Dynamic Room Modeling technology — the same used on UA’s Capitol Chambers and Ocean Way Studios plug-ins — users can go deeper by repositioning the chamber mics to explore new sounds beyond the original positions. For Apollo/UAD hardware owners and UAD Spark subscribers, Hitsville Reverb Chambers comes alongside PolyMAX Synthesizer and C-Suite™ C-Axe Noise Suppressor in UAD Software v10.2. This vintage-inspired synth gives producers, sound designers, and musicians fat tones from the golden age of analog polyphonic synths. With an approachable user interface and album-ready presets, PolyMAX allows creators to dial in the perfect sound quickly, regardless of genre. Onboard studio-quality UA effects include the sound of a classic digital “Hall B” reverb, tape delay, and modulation textures such as phasers. Available for Apollo and UAD hardware owners and for UAD Spark subscribers, PolyMAX Synth comes alongside the Hitsville Reverb Chambers and C-Suite™ C-Axe Noise Suppressor in UAD Software v10.2. Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager
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The Federal Reserve, the central bank of the United States, provides the nation with a safe, flexible, and stable monetary and financial system. Federal Open Market Committee Monetary Policy Principles and Practice Policy Implementation Reports Review of Monetary Policy Strategy, Tools, and Communications Institution Supervision Reports Reporting Forms Supervision & Regulation Letters Banking Applications & Legal Developments Regulatory Resources Banking & Data Structure Financial Stability Assessments Financial Stability Coordination & Actions Reports Regulations & Statutes Payment Policies Reserve Bank Payment Services & Data Financial Market Utilities & Infrastructures Research, Committees, and Forums Working Papers and Notes Data, Models and Tools Bank Assets and Liabilities Bank Structure Data Business Finance Dealer Financing Terms Exchange Rates and International Data Financial Accounts Household Finance Industrial Activity Interest Rates Micro Data Reference Manual (MDRM) Money Stock and Reserve Balances Other Regulations Supervision & Enforcement Community Development Research & Analysis Consumer Resources November 04, 2022 For release at 1:30 p.m. EDT
The Federal Reserve Board on Friday invited public comment on a proposal to publish a periodic list of depository institutions that have access to Federal Reserve accounts—often referred to as “master accounts”—and payment services. The proposal would result in a transparent and accessible source of this information for the public. In August, the Board adopted final guidelines that establish a transparent, risk-based, and consistent set of factors for Reserve Banks to use in reviewing requests to access these accounts and payment services. “Today’s proposal will enhance transparency to the public by periodically publishing a comprehensive list of financial institutions that have access to Federal Reserve accounts and payment services,” said Vice Chair Lael Brainard. “I look forward to getting feedback on this proposal for enhanced transparency.” The proposal issued today would build on the transparency of the guidelines by requiring Reserve Banks to periodically disclose which depository institutions have access to their accounts and payment services. Comments will be accepted for 60 days after publication in the Federal Register. For media inquiries, please email [email protected] or call 202-452-2955. Federal Register notice: Guidelines for Evaluating Account and Services Requests Board of Governors of the Federal Reserve System 20th Street and Constitution Avenue N.W., Washington, DC 20551
Your digital subscription includes access to content from all our websites in your region. Access unlimited news content and The Canberra Times app. Premium subscribers also enjoy interactive puzzles and access to the digital version of our print edition – Today's Paper. There’s a new place to stop and take a break from all that shopping at the Canberra Outlet Centre.
Homegrown outfit EQ Bakehouse and Cafe has opened in the Premium Mall and will be operating seven days a week. Owner Vim Soneri told us the cafe would be open early – 8.30am – for coffee and something to eat before the centre opened at 10am. It will close every day at 6pm. Saturday was the first day of operation. “We’ve had a very good response,” he said. Vim was keen to get into the Canberra Outlet Centre because he believed it attracted a younger generation.
“There is also a lot of foot traffic,” he said. EQ Bakehouse and Cafe has its original venue in Deakin. Vim said the Canberra outfit was also looking to open another EQ Bakehouse and Cafe in Gungahlin in February and then also Brindabella Park. “We’re looking for other locations as well,” he said.
“We hope the locals will come our and support us.” We’ve made it a whole lot easier for you to have your say. Our new comment platform requires only one log-in to access articles and to join the discussion on The Canberra Times website. Find out how to register so you can enjoy civil, friendly and engaging discussions. See our moderation policy here.
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Moogerfoogers are among some of the most sought after effects pedals out there. They were originally introduced in 1998 and were in many ways direct descendants of some of the original Moog synth modules. They were discontinued in 2018, but even during their lifespan they could be difficult to get a hold of thanks to limited production. Because of this they command quite the premium on the used market, with the MF-104 Analog Delay sometimes fetching north of $1,500. But just four years after pulling the plug, Moog is bringing the family back to life, just as a series of plugins that digitally recreate the original pedals. All seven – the MF-101S Lowpass Filter, MF-102S Ring Modulator, MF-103S 12-Stage Phaser, MF-104S Analog Delay, MF-105S MuRF, MF-107S FreqBox, and MF-108S Cluster Flux – are available as part of a single collection for $249. Though, Moog is offering the bundle at an introductory price of $149, which is not a bad deal. I’ve had a few days to play with them at this point, and in general I’m pretty impressed. But I do want to be clear that I have never had the pleasure of playing any of the original pedals. I can’t tell you how convincingly the plugin version of Cluster Flux recreates the real deal. I can only tell you that, as plugins, they’re pretty solid.
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The MF-104S Delay is an obvious standout. It pretty convincingly recreates the sound of an analog BBD (bucket brigade delay). It, like all the rest of the plugins has a UI that recreates the look of its physical counterpart. There’s footswitches at the bottom, plus an array of knobs and switches across the face for changing parameters. You can also click the CV button to expose virtual inputs that would normally be used to connect to other modular gear. Here they expose ways for your DAW or other plugins to control the Moogerfooger for some truly out there sounds. This ability to be controlled by, or control other gear has always been a selling point of the Moogerfoogers. As has their builtin LFOs. Being able to modulate parameters easily allowed them to make sounds that other effects pedals really couldn’t. But in the world of audio plugins, it’s pretty standard. Moog makes it easier than some others, where you might have to manually map the controls you want to automate. But it’s not really a huge differentiator. Like most of the plugins, the MF-104 can do subtle, such as the preset named for Mort Garson’s classic Plantasia album, but really excels at the weirder end of the spectrum. Constantly shifting delay times, cranking the drive, or using the LFO to slowly raise the feedback level until you get a crescendo of noise and then sharply pulling it back down create the sort of textures that other effects might struggle to conjure without some outside help. The MF-105S MuRF is another highlight. It’s hard to describe exactly what it does, but it’s basically a bank of resonant filters that you can control using an onboard pattern generator. This can create phasing or flanging type effects, or a sort of complex wah, or even a tremolo. There’s few things in the world quite like it. It can even turn something simple and melodic into a sharp rhythm track. The 107-FreqBox is probably the lowlight of the collection for me. It’s a collection of synced oscillators with FM modulation. It does harsh, cold and weird relatively well. But I found most of the factory presets to be almost unusable. So much of the effect relies on distorted and overdriven sounds, and that’s an area that I think Moog could greatly improve here across the board. Lastly, it’s worth talking about MF-101 Low Pass Filter and MF-108 Cluster Flux. (The phaser and ring modulator are fine, but more or less just do what it says on the box.) The low pass filter is a solid recreation of the iconic filter that makes a Moog synth sound like a Moog synth. Except here it’s easy to apply to guitar, bass or even vocals. The Cluster Flux is a flanger, a chorus and a vibrato all in one. It can cover everything from lo-fi tape warbles, to thick 80s chorus for that goth kid drowning in his own tears vibe. The Moogerfooger Effects plug-ins are available now and come in AUv2, VST3, and AAX formats, so they’ll work whether you’re using GarageBand on your MacBook or ProTools on your Windows PC. Subscribe to our two newsletters: – A weekly roundup of our favorite tech deals – A daily dose of the news you need Please enter a valid email address Please select a newsletter
The pedal is based on the vintage Pultec studio EQ of the 1950s. British brand Origin Effects has launched its M-EQ DRIVER pedal today (22 November), which intends to give users a range of mid-focused tones from subtle boosts to thick overdrive. Sonically, this pedal is based on the vintage Pultec studio EQ of the 1950s and has been compacted down into a pedal which offers control dials for level, drive, mids and cut. It comes with the Adaptive Circuitry previously introduced in its Halcyon Green Overdrive, which Origin Effects says “allows for a smooth transition from warm overdrive to bright clean tones in response to playing dynamics or guitar volume knob changes”. There’s a choice of three mid-range frequencies, which Origin Effects says (via a press release) “ensures that you can boost just the right part of your guitar signal and, when pushed harder, can elicit a range of saturation from a classic ‘mid-hump’ overdrive to fierce ‘cocked wah’ distortion”. The M-EQ DRIVER lets you choose between 0.8, 1.0 and 1.3 KCS (kilocycles per second, like old times) for your mid boost frequencies. Get a closer look in the video below:
The future of tuning shops already looks bleak with the rise of EVs. OTA (over-the-air) updates give manufacturers the power to remotely lock or unlock features on your vehicle, including its performance, and of course they’re going to make you pay for it. Mercedes is already getting this ball rolling with a subscription-based performance package that will increase the power output of its EQ line of EVs. All for the low, low price of $1,200.00 (not including tax). Called “Acceleration Increase,” the update increases both torque and maximum power output for your EQ EV. Mercedes says that power output will increase by 20-24 percent, while increasing the overall performance of the EV. Depending on the model, zero to 60 mph times drop 0.8 to 0.9 seconds which, if this were a normal ICE-engined vehicle being tuned, would be pretty impressive.
This performance increase isn’t limited to specific models either, it’s available across the EQ range:
Mercedes-EQ EQE 350 4MATIC: increasefrom 215 kW to 260 kW, with 0-60 time changing from 6.0 seconds to approx. 5.1 seconds. Outsource your vacuuming to iRobot. This smart roomba is on sale and ready to suck up dust, pet hair, or whatever else is lingering on your floor. Mercedes-EQ EQE SUV 350 4MATIC: increase from 215 kW to 260 kW, with 0-60 time changing from 6.2 seconds to approx. 5.2 seconds. Mercedes-EQ EQS 450 4MATIC: increase from 265 kW to 330 kW, with 0-60 time changing from . 5.3 seconds to approx. 4.5 seconds Mercedes-EQ EQS SUV 450 4MATIC: increase from 265 kW to 330 kW, with 0-60 time changing from 5.8 seconds to approx. 4.9 seconds While the power increase is welcome, the downside is that this is a subscription. To unlock this performance requires that owners drop $1,200 a year to keep this performance upgrade. Perhaps Mercedes missed the writing on the wall, considering the backlash BMW received over its heated seats subscription, their subsequent assurance that the U.S. wouldn’t see something like that, or the data that shows some 75 percent of car buyers don’t want subscriptions. I’ve reached out to Mercedes for comment and will update if and when they respond.
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This is a carousel. Use Next and Previous buttons to navigate Aaron “Y-A” Rogers and Rashad “Snacks” Johnson, both New Haven born-and-raised, in the studio. Both have been nominated for a Grammy for their work with R&B superstar Chris Brown on his latest album, “Breezy.” The Breed Entertainment co-founders Rashad Johnson, left, and Aaron Rogers speak about their involvement with the upcoming Black Wall Street Festival at Temple Street Plaza in New Haven Aug. 24. NEW HAVEN — The world is full of hard-working, creative, musically-inclined people who have never been nominated for a thing. So you have to respect folks like Aaron “Y-A” Rogers and Rashad “Snacks” Johnson of The Breed Entertainment, both New Haven born-and-raised, who each just got nominated for a Grammy — their second nomination — for their work with R&B star Chris Brown on his latest album, “Breezy.” And while their successful careers as music producers has taken them all over the country, and they both have second homes in Atlanta and spend lots of time working in Los Angeles, they never really left New Haven — and continue to give back to it. In fact, two students from The Breed Academy, the music and music production school Johnson and Rolgers started in New Haven, were working with them on Brown’s latest album: David Burgess and Muhssiah Lott also are nominated for Grammys. Getting nominated for a Grammy “shines a bigger light on you and gives you a bigger opportunity to showcase your work,” said Brown in a recent phone call. “Your network gets bigger.” But as their careers continue to grow, and Atlanta now is where they spend a lot of their time — and where they keep their cars — New Haven remains a big part of their lives. “We’re just big on trying to do what we do where we’re from,” Rogers said. “We’re going to have some kind of connection to New Haven forever.” Both men grew up in the city — Rogers, 34, in the West Hills section and Johnson, 31, in The Hill. When they found out about the latest nomination, “We actually were at our academy, watching the stream live,” said Johnson. “They said ‘Chris Brown, best R & B'” and the room erupted, he said. “We just happened to be together during a meeting for our academy school,” he said. “Breezy” was nominated for “Best R&B Album” — a category that puts them up against Mary J. Blige’s “Good Morning Gorgeous,” Robert Glasper’s “Black Radio III,” Lucky Daye’s “Candydrip” and PJ Morton’s “Watch the Sun.” But they feel pretty good about their chances. “We love our chances,” said Johnson. “I don’t think we can love ’em any more right now.” People who know Rogers and Johnson were not surprised by their continued success. “I think it’s amazing — and actually, I think it speaks to the impact that The Breed Academy and The Breed Entertainment can have on people’s lives,” said Adriane Jefferson, the city’s director of cultural affairs, who worked with Johnson and Rogers over the summer on the city’s first Black Wall Street Festival, which took place in August. “When you have Grammy-nominated residents, that’s not a little thing,” Jefferson said. “It elevates your career. When you think about the two students that were involved, to me, that’s just a direct embodiment” of the kind of good things The Breed Academy can do, she said. “I think the fact that they come” back to New Haven to work with younger people says something, Jefferson said. “They could be anywhere in the world. … But the fact is, they chose New Haven, and that’s because of their deep commitment to the community they’re from.” In certain ways, the two are following a path that their mentor, Troy Oliver, also followed. “I’m really proud of those guys,” said Oliver, another New Haven-raised music producer who also lives these days in Atlanta. “I’ve been working with them it seems like forever” — actually, since 2009, Oliver said. “They put in a lot of work over the years, so I’m super proud of them — all the blood, sweat and tears, all the sacrifices.” He also jokingly said, “They’re some of the only ones I’ve had who have ever actually listened to me. “And I wasn’t easy on them,” Oliver said. “I’m super-proud of them. They’ve come a long way. They’re super creators. … It just does my heart good to see two young people from New Haven, Connecticut” do that well. “The school, The Breed Academy, is an amazing thing,” he said. “They’re still attached and connected.” Rogers’ and Johnson’s previous nomination was in 2013 for their work on Tamar Braxton’s “Love and War.” They have an established relationship with Brown and have been working on music with him for nine years, said Rogers. Their work on “Breezy” began in 2020 — and all happened pretty much in the midst of the COVID-19 pandemic. Johnson said that was not the problem one might think it would be. “I would say it was easier,” he said. “It was easier for us just to focus on music,” with fewer distractions. Much of it was done remotely. Brown “has a studio at his house,” said Rogers. They also worked back-and-forth with two writers, Arnold Dudley and Will Tittens, he said. “We put together the music and then he laid tracks over it,” he said. They have done additional work with Brown since the album came out. “We released a new song with Chris Brown two weeks ago,” said Rogers. “It’s called ‘It’s Giving Christmas.’ I think we got it done in one night.” [email protected] Mark Zaretsky, a Chicago native and longtime New Haven resident, is an award-winning reporter and music writer for the New Haven Register and Hearst Connecticut Media. His beats include East Haven and Branford, regional issues and occasional blues and roots music stories. He also makes a point of knowing where all the good ethnic and hole-in-the-wall restaurants, bars and bakeries are — and is an unapologetic Cubs, Bears, Blackhawks and Bulls fan. In addition to his work as a journalist, Zaretsky is a front man for The Cobalt Rhythm Kings and The Chicago Dawgs and occasionally performs with Rock & Roll Hall of Famer Mark Naftalin and the Paul Butterfield Blues Band.
The new development will be 14 stories. Image via NYC Housing Connect A lottery has launched for 199 affordable apartments in an under-construction development at 1911 Atlantic Avenue in Bed Stuy. The 14-story building will include studio, one-, two- and three-bedroom apartments for households of one to seven people who earn between 30 and 70 percent of the Area Median Income. That ranges from $16,218 for a single person to as much as $132,400 for a family of seven. The cheapest unit is a studio that rents for $375 a month, and the most expensive is a three-bedroom that goes for $2,501 a month. For those earning 30 percent of AMI, a three-bedroom is available for as little as $652 a month. Image via NYC Housing Connect The apartments have Caesarstone quartz countertops, vinyl floors, stainless steel appliances and a variable refrigerant flow (VRF) heating and cooling system , according to the NYC Housing Connect website. The latter is an efficient type of HVAC that can be used with green technologies such as geothermal. The building includes a shared laundry room, gym, elevator and accessible entrance. The ground floor of the building will be a community facility with a fully equipped kitchen, and the roof will have a landscaped deck. The building is smoke free and pets are not allowed. Tenants pay for electricity and cooking gas. 1911 Atlantic Ave in 2019. Image via Google Maps The building is being constructed through the Extremely Low and Low-Income Affordability program run by the city’s Housing Development Corporation and Department of Housing Preservation and Development, as well as the Mandatory Inclusionary Housing program run by HPD. DTF Atlantic LLC is listed as the building owner on the Department of Building permits, and Thomas Campbell as the managing member. The corner site at 1911 Atlantic Avenue was previously home to a late 19th century wood frame townhouse that had an auto repair shop on the ground story at the time of the circa 1940 tax photo. It was dilapidated when a demolition permit was issued in late 2019. The lottery closes January 4, 2023. To apply, please visit the listing on Housing Connect. Related Stories Email [email protected] with further comments, questions or tips. Follow Brownstoner on Twitter and Instagram, and like us on Facebook.
Black Friday 2022 is officially here. Like every year there are some exciting and jaw-dropping deals going on during this time of the year and the music industry is no different. Plugin developers, sample pack curators, music production tutorial outlets & everyone related to the technical side of music offer massive discounts on their products. We have curated a wide list of deals ranging from plugins to sample packs in our dedicated campaign. For the purpose of this article, we will be listing down the Best Black Friday & Cyber Monday deals on music courses.
Jimi Jules has been releasing massive hits in the past few years. He has an unconventional workflow and is extremely creative with his music-making ways. In this masterclass by PML, they captured his whole production process in his Studio in Milan to provide in-depth insights into his cutting-edge and innovative approach to making music. 2+ hours of studio session is recorded within the masterclass in which he will go through the following topics:
Definitely, one of the best deals you can avail this Black Friday. Ben Bohmer demonstrated his immaculate music production skills in this 2+ hrs course. His masterclass is currently available for 50% off this Black Friday
If you are just testing the waters of music production at the moment and are pretty new to using Ableton, this might be the one for you. Its always recommended having a solid grasp on basics when you are just trying out and this course will help you in achieving exactly the same.
Techno has been for decades, but only recently started coming into the mainstream. A wide number of releases be it from any electronic music sub-genre is inspired by Techno sounds. If you are someone who is getting into the Techno music industry or would like to learn new skills, this makes up for a good purchase
u-he Diva is one of the most popular synth plugins and is placed right in the elite category of VST synths alongside Serum, Omnisphere, Massive, etc. The analog feel of the plugin makes it very different from its competitors. If you currently own Diva and want to increase the potential of your sound design with it, this course is a great option.
Stil vor Talent artist Cioz walks you through his process of remixing a track step by step and in close detail. You will see all original stems from Diplo, Damian Lazarus & Jungle’s cooperation in “Don’t be afraid”. Currently available for 52% off.
Read Next: Black Friday VST Plugins 2022 Image Credits: Production Music Live Hemant has been actively involved in the dance music industry with over 2 years of experience. Currently working as a Project Manager and heading the We Rave You Tech division. Get in touch via email or Instagram [email protected]
Music has changed through the years, and so has the way we buy and listen to it. But one thing that’s remained constant is Weird Harold’s. The record shop in downtown Burlington is making plans for a 50th anniversary celebration on Saturday, Nov. 19. Getting started Weird Harold’s opened in a tiny building on Central Street in 1972, a time when the likes of The Rolling Stones, David Bowie, and Stevie Wonder ruled the music charts. Danny Bessine was Weird Harold’s original owner. He said he started out selling 8-track tapes because only one other store in town was selling them. He also had some vinyl. Bessine said he was not a huge music fan when he opened Weird Harold’s. “Nope, not at all. I was just an entrepreneur looking for a business, and I felt that this was a business that we needed in this town,” he said. But Bessine did become a big music fan over time. He especially enjoys classic rock acts such as The Eagles and Eric Clapton. Bessine said one of the best things about running the store is meeting the variety of people who come in to shop. He said it’s also fun to meet celebrities. He said Johnny Cash and Roy Clark have come in to the store, as did members of Guns ‘n’ Roses. “Their very first tour, they stayed in Burlington for a week, so they were in the store a lot,” Bessine said. He said Weird Harold’s used to sell tickets for concerts throughout the region, and concert promoters would give them two free tickets, which means he got to see a lot of shows. Weird Harold’s moved to a couple other locations before eventually settling into its current storefront at 411 Jefferson St. in the mid-1980s. Why the name Weird Harold’s? Bessine said Weird Harold was one of the characters from the Fat Albert cartoon. He wanted an original name that people would remember, and didn’t think “Danny’s Record Shop” was a memorable name. Looking for a job Andrea Fritz started working at Weird Harold’s in 1994. “I was 16 and I needed a job, and I was hired. And I’ve never left,” she said with a laugh. Fritz said she had the most coveted job when she was a teenager and considers herself very lucky. Yet, like Bessine, she was not a particularly big music fan when she started at Weird Harold’s, but she’s developed a passion for music through the years. Some of her favorites include Johnny Lang, Doyle Bramhall II, Tommy Castro, and Prince. Fritz said she has stayed at Weird Harold’s all these years because it never felt like a job, and it eventually led to a significant change for her and the shop. Ch-ch-ch-changes Bessine sold the store to Fritz in 2019. “She is now the owner and I just kind of come in and help out,” he said. “Do a little book work and don’t do a lot of labor but just do book work and that kind of stuff. The last couple years it’s been that way.” Fritz added, “We switched roles. Everything’s different but everything is still the same kind of situation.” They didn’t tell anyone, and made a quiet transition. They said everything has worked out fine. Bessine said the first few years of running the store in the early ‘70s were rough, but he stuck with it and, even in retirement, he’s still showing up every day. “During this last 50 years that we’ve had the store, it’s been enjoyable to go to work. It’s not what I would consider work. It’s just been fun. That’s why I’m still here even though I’m retired. I still come in because I enjoy it,” he said. Loyal customers Fritz and Bessine said they get customers from around the world. Some people stumble across the store but others hear about it from fellow collectors or come across their online presence. And first-time customers are often impressed when they come into the shop. “A lot of times they’re like, ‘Oh my god, this is my first time in here, this is so cool.’ And then I’ll be like, have you been upstairs to see the 50,000 records upstairs? ‘No, oh my gosh’ and then they’ll come down like, ‘I’ve never seen so many records in my life,’” Fritz said. Fritz said the store adds to its used record collection every day. They don’t need to seek out records because people are always bringing in stuff. They’re seeing more vinyl than CDs now. The shop sells 10 vinyl albums for every CD now. That used to be the other way around. Why do people still buy vinyl records when they can download albums and have them right away? Bessine said there are many other ways of getting music if you just want the music. “But if you’re a collector and you want to have an experience, you buy vinyl. It’s a whole different experience,” he said. “When you’re listening to a vinyl record, you don’t just turn it on and listen to one song and shut it off. You usually listen to the whole side of a vinyl. You sit down, you listen to it, you look at the cover. It’s a while different experience.” Fritz said there’s a difference between someone who just listens to music and someone who loves music. A music listener might hear a song and download it if they like it enough. “But a music lover loves a band, loves an artist, they can tell you everything about it. They know all the words to all the songs. They collect everything. They go to the shows. They know the band members. They know the triangle player in the touring band. They know all that,” she said.
One long-time customer is Jordan Garnjobst. He was born and raised in Burlington, and bought his very first album with his own money at Weird Harold’s many year ago. “It was Alice Cooper’s ‘School’s Out,’” he said, adding he played it every day as loud as his little stereo would go. Garnjobst now lives in Macomb, Ill, about an hour drive from Burlington, but he still goes back to southeast Iowa to visit family. And when he does, more likely than not he will stop by Weird Harold’s. “It’s just important to me that every town should have a record store. It’s been there my whole life and I’ll continue to buy from there,” he said. He estimated that he bought his first 100 albums at Weird Harold’s. He does shop at record stores in other communities, but finds himself coming back to Weird Harold’s. He said it is rare and amazing to see a record store last this long. “It’s been around almost 50 years. Almost what, 50 years in November? How can you not support something like that?” Garnjobst said. “And (they’ve) adapted to the internet and sell stuff online and kind of just kind of have survived.” Diversify, diversify, diversify The store was closed for about six weeks at the beginning of the pandemic, but Fritz said she was still coming to the store fill out orders for their eBay store. “And I would see people come to the door, and if they wanted something, I’d go get it for them and sell it to them and take it to the door to them,” she said. The store sold a lot online during that time, and Fritz also had to keep their correctional facility orders flowing. Bessine said Weird Harold’s has been selling music to prisoners for close to 30 years. They sell to prisons all around Iowa, Nebraska, and other states. He said it’s helped keep the doors open. It’s not something they set out to do. It started with the Iowa State Penitentiary in nearby Fort Madison. “At that time it was cassettes. They were only allowed to get cassettes, and at that time they were buying them from a store down in Fort Madison. That store went out of business so they started looking around for somebody else to take over and that’s when we took over,” Bessine said. Now it’s become a big part of the business. They send out stuff to prisons every day, though now it’s CDs rather than cassettes. The store has also diversified in other ways through the years. When CD sales started to decline, the store added more music-related items such as t-shirts, posters, and stickers. Now those items have also become an important part of the business. He said about one-third of their sales are accessories, one-third comes from mail orders, and the other third is what’s sold in the store. Fritz said business has been steady since the pandemic, and she anticipates continuing Weird Harold’s for the foreseeable future. Tri States Public Radio produced this story. TSPR relies on financial support from our readers and listeners in order to provide coverage of the issues that matter to west central Illinois, southeast Iowa, and northeast Missouri. As someone who values the content created by TSPR’s news department please consider making a financial contribution. Copyright 2022 Tri States Public Radio. To see more, visit Tri States Public Radio.
Abrima Erwiah, co-founder and president of fashion label Studio One Eighty-Nine, and visual engineer Dali Gaga collaborated on a capsule collection that features motifs of the iconic Black Panther superhero. The collection is being sold exclusively at Foot Locker. The designers were inspired by the rich cultural history of Africa. The limited-edition hoodies and T-shirts were created using traditional African craftsmanship techniques and feature Adinkra symbolism. “This collection is inspired by traditional patterns, symbols, and techniques interwoven into cloth that communicates our values, history, and message to future generations,” said Erwiah. “Each symbol, pattern and color tell distinct stories that highlight cultural values such as the power of collaboration, legacy, heritage, inheritance, partnering with an iconic retailer like Foot Locker was important to us to connect with Marvel fans and fashion lovers who share our ideals and want to express themselves through their clothing. We are excited for everyone to experience these designs and can’t wait to see how they style these pieces.” The collection is available at footlocker.com, and prices range up to $50. ABOUT EBONY Since 1945, EBONY magazine has shined a spotlight on the worlds of Black people in America and worldwide. Our commitment to showcasing the best and brightest as well as highlighting disparities in Black life has been, and will always be, cornerstone to EBONY.
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