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By Kay Kipling November 14, 2022
Cornelius Davis, Cordell Cole, Travis Keith Battle, BillyD Hart, Jordan De Leon, Lauren Teyke and Charlie Tingen in Something Rotten!
Image: John Jones
Whether you love or hate actually watching a play by William Shakespeare, there’s always something intriguing in watching work that’s about him—perhaps because so little is really known of his life, it’s fun to let our imaginations run wild. Something Rotten!, now onstage at Florida Studio Theatre’s Gompertz Theatre, isn’t really about Shakespeare so much as it is about two writing brothers, his contemporaries, who are trying desperately to beat the Bard. But it’s close enough.
Shakespeare is a character in this musical comedy, with a book by Karey Kirkpatrick and John O’Farrell and music and lyrics by Kirkpatrick and his own brother, Wayne. And he’s entertainingly portrayed by Charlie Tingen as a preening rock star clad in black leather pants and given to tossing his long blond mane as he struts around the stage. But at the heart of the plot are big brother Nick Bottom (Cordell Cole) and his younger, in-the-shadows brother Nigel (Cornelius Davis).
They’re under pressure to have a hit in their 1590s England theater world, and the wolf is at the door for Nick and his wife Bea (in a strong performance by Jillian Louis). That’s why Nick turns to soothsayer Nostradamus (no, not that Nostradamus) to find out what the next big Elizabethan-era play is going to be, so they can write it. But the prophet (played by Kraig Swartz with a lot of gusto and a suitably ridiculous wig) tends to get garbled messages from the future, so (spoiler alert!) he comes up with the title for this masterpiece: Omelette (er, that should be Hamlet). Which leads to the Bottom brothers concocting a brand-new thing: a musical! And one about breakfast, to boot.
Cordell Cole and Kraig Swartz
Image: John Jones
Of course, Shakespeare himself frequently used music in his plays, but the Bottoms are on to something different: a true musical where the songs tell part of the story. And it’s clear the creators of Something Rotten! have a deep affection for the art form, tossing multiple references to Broadway musical hits around on numbers like, well, “A Musical.” If you’re a true Broadway baby, you can have lots of fun trying to identify all the “Easter eggs” in the lyrics.
Meanwhile, away from the stage, the sensitive Nigel falls for fellow poetry maven Portia (Elana Ramos Pascullo), but the course of true love never did run smooth, etc.—she’s the daughter of a rabid Puritan (James Patterson), who somehow accidentally always ends up turning his religious rants into sexual innuendos. Nigel also needs to figure out how to find his own path as a writer, so “To Thine Own Self” be true and all that.
Something Rotten! is clever, and well staged here for the most part by director/choreographer Ellie Mooney. Occasionally the Gompertz stage feels a little crowded on ensemble dance numbers; conversely, one might wish for a larger ensemble cast to deliver those numbers.
But you can’t have everything, and Something Rotten! is definitely a fun night out, whether you’re into Shakespeare or not. The production continues through  Jan. 1; for tickets, call (941) 366-9000 or go to floridastudiotheatre.org.
The Next Act
03/02/2022 By Kay Kipling
Coming Up
09/14/2022 By Kay Kipling
Review
08/11/2022 By Kay Kipling
Review
07/10/2022 By Kay Kipling

source

An oil filter is probably one of the simplest parts of your car. No one tends to give them much thought since we assume that one is very much like another, and they get tossed every oil change anyway. But did you know that fake oil filters exist and are, in fact, becoming a very real problem for car owners?

It sounds almost like a bad joke, but the reality is far from it. TCCN Automotive Inc. elaborates on this in a recent YouTube video regarding a customer’s car that faced this rather serious issue.
As related in the video, a 2008 Toyota Highlander with a single owner and good maintenance history was brought into their shop with a very noticeable ticking noise from the top end of the engine.
While this is known to be a weakness of the Toyota 3.5 liter V6, which is caused by the Variable Valve Timing gears developing problems, most often caused by low oil pressure, there was more to this case. On the subject vehicle, TCCN found that the VVT-i on the rear bank of the engine was not functioning at all, which indicated the need for a major repair with significant disassembly.
More: Toyota Master Technician Argues Against 10,000-Mile Oil Change Intervals With Busted Engine Teardown

Before starting on the work, they had decided to inspect the oil and the filter. As shown in the video, they were shocked to find that the inner material of the oil filter fitted to the vehicle appeared to have had a complete loss of structural integrity and was effectively falling apart. It’s believed that the installed oil filter was counterfeit, with TCCN demonstrating what a used genuine filter should look like.
As a result of the failure in the filter, the engine was unable to develop proper stable oil pressure, which led to the VVT-i system being unable to function as designed. Unfortunately for the vehicle owner, the system appeared to have sustained some major damage because, although the ticking initially disappeared after the oil and filter were changed, after some running, it had returned. TCCN states that they advised the customer to keep running the vehicle while monitoring the sound, and that they would investigate further if it got worse.
The customer had informed them that the oil filter in question was purchased from what was thought to be a trusted source. But perhaps the only reliable source to obtain Toyota genuine parts is a Toyota dealership, and this filter had not been purchased at one. In the end, that small oversight led to a very large repair being needed.

Plus, Jay Leno taken to hospital after garage fire, and a Wakanda-themed Lexus RX 500h.
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The 2023 Nissan Versa kicks off from $15,730 compared to $15,080 last year.

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Photo: Steven Chee
interview
"I was unprepared for how much it would shift me off my axis," Cate Blanchett says of the new musical language and world she inhabited for her starring role in 'TÁR.'
"I was unprepared for how much it would shift me off my axis in a wonderful and deep way," Cate Blanchett says of her work on the sublime new film TÁR. The Todd Field-helmed film centers on the actor’s performance as the titular conductor, a woman navigating conflicted power dynamics and personal struggles while also attempting to write an orchestral masterwork.
As the film delves deeper into her psyche, that dreamlike music seems to consistently ring out just past the edges of her hearing. Paired with a score from Hildur Guðnadóttir (in her first film since her Oscar-winning composition for Joker), Blanchett’s performance allows TÁR to stretch and mold across revelatory levels of realism and tumultuous emotion. 
A big part of building to that point came in Blanchett’s quest to submerge herself not only in orchestral music, but in the language of music — an experience which has changed her entire world. "Since completing production, I have felt an enormous orchestral-shaped hole in my daily life," she tells GRAMMY.com. 
Where other "music films" relish the big performances, the epic expression, TÁR presents unique look at the other side of musical creativity. As Lydia Tar, Blanchett gives the audience access to the innermost thoughts and feelings that occur in rehearsal rooms and practice spaces. With that unique vantage point, in a world where everything is inherently political, Blanchett and TÁR ask the audience whether they separate the art from the artist. The film, too, asks whether the artist can achieve that feat themselves.
Fresh off the national theatrical release of TÁR, the celebrated actor spoke with GRAMMY.com about how preparing for the film impacted her personal life, the unique communicative skill of the conductor, and the film’s complex study of power dynamics.
The phrase "losing yourself in the art" has almost become a cliche, without thinking about the emotional impact that that kind of commitment will have on an actor. Before you took on this role, did you think about what kind of impact it would have on your day-to-day life and your psyche?
I was ready and hungry for the opportunity to approach the ideas so dangerously alive in Todd Field’s screenplay, but I was unprepared for how much it would shift me off my axis in a wonderful and deep way. I have never had a static sense of identity — maybe that’s why I’m an actor. So I have never feared losing myself in anything.
However, this was such an immersive and electric project, I feel somehow newly minted by it. I’m still tingling from the intensity of it all. You are laid bare in ways through your work that you can’t fully comprehend, but that you should comprehend — and that is often deeply confronting.
What was your familiarity and interest in classical music coming into this project, and how has your understanding of it changed over time?
This was a deep dive for me. Prior to this project I was a classical music tourist. I fear I still very much am, but I needed to understand the map of the canon and the institutional wrestle to bring it into the contemporary listening experience in a way that was deep and authentic. Additionally, [I needed] to be able, as much as humanly possible, to understand the secret language of musicians and composers.
All I can say is, since completing production, I have felt an enormous orchestral-shaped hole in my daily life, so something has certainly shifted. To be honest, it’s hard to discuss as I’m still processing how to incorporate the deep aspects of the musical experience into my everyday life and work.
How did learning the intricacies in the language of music and composing differ from learning an accent or language for another project?
They are very similar processes. Technical and muscular at first, but then one has to throw away the homework and just converse. Music is a language after all, and as a conductor one gets to express umpteen lines simultaneously and bring them all together. What a powerful skill!
I loved the line in the beginning of the film where your character mentions that the only real discovery is in the rehearsal, never in performance. Does that sentiment resonate with you as an actor? 
When I was at drama school, I adored rehearsal and felt too exposed by turning it all out in the performance. Over many years on stage, I have learned to relish the performance — the ephemeral, truly temporal nature of it all. The danger. I love the cut and thrust of being part of an ensemble in dialogue with an audience [that] gets to go out each night to discover something fresh.
The role and the film have a lot to do with power structures, something we don't always keep in mind when we are listening to music or watching a film. Do you think the film would have the same reception or focus if it weren't for its timing in regard to public reviews of people in power?
Art transcends politics, it transcends the quotidian, yet it can work through and beyond these boundaries whilst still touching on both experiences. That is its power. It does, as you suggest, transport us.
The film is, amongst many other things, an examination of power which is much more ancient and urgent than a critique of zeitgeist-y subjects like "cancel culture." I find it very hard to define this film. In fact, I’m loath to. I’d much prefer others to see it open-heartedly and discuss it amongst themselves.
Read more: 'TÁR' Composer Hildur Guðnadóttir On Making Music For A Film About Making Music
Obviously, you worked with a lot of musicians in this role, but how did you interact with Hildur Guðnadóttir's score?
It was integral to my understanding of the character. Lydia Tár is a composer in the midst of a composition while she is more celebrated as a conductor, but passionate about finding her voice in this form. The fact that she dedicates this piece to her daughter — the primal relationship in the film — is an indication of how central the composition is to the understanding of her emotional core. Hildur was alive to this and innately understood the performer vs. composer push and pull.
Was that something that was utilized while you were on set at all, or only something you discovered later? 
We discussed what this composition should be at length in pre-production, as I wanted to fold its sound and ambition into my own preparation. I wanted to know what Lydia was reaching for. I also needed to know the piece as Todd had written several scenes where Lydia was returning to the piece, playing it, finessing it, obsessing over a misstep in the composition — finding herself in "pastiche."
"House Of The Dragon" Composer Ramin Djawadi On Rhaenyra's Themes, The "Epic" Season 1 Finale & The Possibility Of A Live Show
Photo: Dimitrios Kambouris/Getty Images for FLC
interview
"Every film is a universe," Hildur Guðnadóttir says of her composing work. For 'TÁR,' the new film starring Cate Blanchett as a difficult conductor with a tempestuous life, Guðnadóttir explored the process of rehearsal as much as the music itself.
The drive for sublime communication and its breakdowns sits at the core of the dizzyingly immersive film TÁR. Written and directed by Todd Field, the film revels in its study of a high-profile classical composer attempting to write her own masterpiece while simultaneously fighting through noise and conflict — often of her own making. The always-magnificent Cate Blanchett turns in a tour de force as Lydia Tár, while the unparalleled sound design demonstrates how even the smallest intrusion can pick and pluck at any shred of calm she hasn’t already destroyed with her own choices.
In her first score since her Oscar-winning work for Joker, Hildur Guðnadóttir faced the unenviable task of writing music for a film about a music virtuoso. But rather than merely attempt to write the career-defining music at the story’s core, the Icelandic composer masterfully crafted a score about the act of rehearsing, making, and struggling to make music instead. 
"That's what I find so unbelievably interesting about music," Guðnadóttir says. "What you hear as the final version is just the very tip of the iceberg because, behind the music, are so many years of practicing, rehearsing, failed attempts."
The result is a score that haunts the film’s edges: the chatter of musicians, wordless vocals, and snippets of music as viable and important as any concerto or symphony. "It's almost like an invisible layer, as if there's a ghost in the room that you can feel, but you don't see," she explains. The music represents one layer of an intricately stratified sonic whole, roiling at all the right places and darting out of sight at others.
TÁR was released nationally on Oct. 28, alongside a concept album on the legendary classical label Deutsche Grammophon (a vinyl release, and international release of the film, will come early next year). The GRAMMY-winning composer spoke with GRAMMY.com about "tempo mapping" each character and scene before a second of the film was recorded, and the difficulty of representing a conductor’s role via music.
How does it feel to be finally sharing the finished product of all of your work?
Oh, it's feeling wonderful. It's amazing how the film seems to be speaking to people. When you finish a project, you never know what life it's gonna have beyond the finish of post-production. 
When you're writing music or recording or creating something, you're having this conversation either with yourself or with other people. In the process of making a film, you're obviously having a large conversation with quite a few people. When what you're working on actually reaches the audience that you're speaking to,as in any conversation, it always really feels lovely when you feel like you're being heard. 
It feels really lovely to feel that the conversation is actually continuing, like the audience is resonating with what you're saying, and continuing that conversation actually. 
And that's an absolute testament to the film and the work that you did. There are so few places in the music world where communication is as important as it is for the conductor. It was so striking listening to your score with that in mind and thinking about the communication breakdowns that run through the film. 
Music is just communication. It's a conversation that goes beyond words. A conductor can use words to express, like, "Okay, it should be in this tempo" or "imagine this when you're playing," but then what's actually being performed or rehearsed or what's being composed goes beyond that. And that's what I find so unbelievably interesting about music, especially about the process of making music. It's so much more than just what you end up hearing. 
What you hear as the final version is just the very tip of the iceberg because behind the music are so many years of practicing, rehearsing, failed attempts, having to re-record takes, all of this. And that's the part of music that I almost find more interesting than the actual track or record. As a performer, that's something that I've thought about a lot: How do you just connect to an audience without having to tell them how? How do you just reach that subconscious level of communicating without having to say anything about it? 
And I think that's what the film is dealing with in such a beautiful way. The frustrations that Lydia Tár is experiencing in the film [have] so much to do with the miscommunication and misalignment with her own musical drives, and what she actually wants to be doing. The music that she's writing…is from a completely different world from the music that she's conducting and that she's best known for. And that's bringing her to this tough place. 
That's probably why she subconsciously works so hard at tearing that down and coming back to the place that she genuinely wants to be working from, which is a place of softness and experimentation. In the very early stages of the script, this was one of the main ideas that formed her character: Where does her actual music that's not this frustrated, angry version of her — where does that actually lie?
Where does it lie for you? Having followed your music for a while, it's clear that it's a natural, living thing for you. How do you approach a project like TÁR that requires that kind of emotional connection and communication?
I try not to work on many projects simultaneously. That's why I basically haven't been working on that many films. I think most people were expecting me to do, like, 10 films a year with a big crew of assistants and all of this after the success of Joker. But that's just not really how I work. 
I really enjoy taking enough time for every single project that I work on to really be able to live in the universe that we're creating. Every film is a universe of a story that's being told. And for me to really fulfill my creative needs, basically, I need to have the time and the space to live in that world, in order to serve it best. That means that I can't really work with a whole bunch of assistants and a lot of people that I have to navigate. I have to be by myself a lot with a project to be able to really be honest to it. When I take on a project, it's important that I really feel like I can honestly bring something to the table that is of benefit to whatever's being told. If I'm just taking on a project to sprinkle some underscore, it doesn't fulfill my creative engine in the same way. 
Like with TÁR, when I can really work from the script on and I can really be a part of the strands of the DNA of the film, the character building and the temp mapping of the whole film, that's when it's really interesting to me. Music is just such a powerful part of the storytelling process. Having the music existing parallel to the making of the film and getting to grow with the making of the film is just so much more fun for me than running after an edit and post-production.
You live in Berlin, which is also where the film is set. The city has such a powerful musical lineage. Was there any particular inspiration or touchstone that inspired you there?
Yeah, absolutely. What was quite important was that the music and the film was European. From the geological aspect of the film being set in Berlin, it really felt like the music needed to be as European as the setting. 
Tell me a little bit about the concept album — which combines recordings of Gustav and Mahler, which Lydia conducts in the film, with your vision of the completed versions of her compositions. How did you initially conceive the project and how it would live alongside the film?
I thought it was incredibly important for this record to exist, because the film itself is all about the process of making music. We're really looking at what it is to write the music, what it is to rehearse the music, but we never actually really hear the music. We just hear snippets of it. 
That's what's so beautiful about the film: that's not the important part. The important part is the process. It's such a rare opportunity to be able to work in that way. But it felt like the music still needed to exist as it's finished form. In the film she's working on a release for Deutsche Grammophon, so we thought it was just very important that we did that in reality, in our parallel universe. I recorded the finished version [of the music in the film] and there are also pieces [from] the tempo mapping of the film that Todd and I did with the script before they started shooting. We started by tempo mapping each character and the scenes. And then also there's parts of Mahler that Cate is conducting. And there are also snippets of me talking to the orchestra during the recordings, telling them the emotional direction that I imagine would be helpful for the recordings. 
It was a rare and beautiful thing to get to do, this whole musical universe, all of the aspects of music that are so important and so necessary, but the parts that someone that's not a musician will probably never be privy to. There's a lot of score that you don't actually hear. So it's almost like an invisible layer, as if there's a ghost in the room that you can feel, but you don't see.
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Hildur Guðnadóttir wins Best Original Score at the 2020 Oscars
Photo: Kevin Winter/Getty Images
news
She is the fourth woman in the Academy Awards' history to win the category
Icelandic musician and composer Hildur Guðnadóttir won Best Original Score for her score for the 2019 film Joker at the 2020 Oscars. She is the fourth woman in the Academy Awards’ history to win the scoring category and the first to do so in more than 20 years; Anne Dudley, the last woman to win the category, notched the scoring Oscar in 1998 for her work on the 1997 British comedy The Full Monty.

In her acceptance speech, Guðnadóttir nodded to the lack of female representation in the scoring field. “To the girls, to the women, to the mothers, to the daughters who hear the music bubbling within: Please speak up,” she said, “we need to hear your voices.”
Guðnadóttir has been making history this year for her scoring work. Earlier this year, she became the first solo female composer to win the Golden Globe Award for Best Original Score and the BAFTA Award for Best Original Music. Last month at the 62nd GRAMMY Awards, she also won a GRAMMY for Best Score Soundtrack For Visual Media for her work on the HBO drama “Chernobyl.”
Read: Watch Janelle Monáe Open The 2020 Oscars In Sparkling Performance
All counting, Guðnadóttir has won a GRAMMY, an Emmy, a Golden Globe, a BAFTA Award and now an Oscar in the past five months, according to Deadline.

In addition to her scoring work, Guðnadóttir has performed and recorded with rock, experimental and electronic bands like Pan Sonic, Throbbing Gristle, Múm and Stórsveit Nix Noltes. She’s also toured with experimental pop band Animal Collective and experimental metal group Sunn O))), in addition to her solo works.
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Photo: Han Myung-Gu/WireImage
list
Get ready for the next BTS solo release — RM's highly anticipated debut album, 'Indigo' — with all the details we have so far, from release date to preorder info.
When global hitmakers BTS announced they would focus on solo music back in June, it gave way to "BTS' Chapter 2." So far, this new era has seen a debut studio album from J-Hope, Jack in the Box — as well as a history-making Lollapalooza appearance — and a solo single from Jin, "The Astronaut." Next up, RM will show off his individual talents with a new solo album, Indigo.
As RM's fans know, he has released mixtapes and collaborated with other artists in the past. He's even branched outside of music on his own, recently announcing his role as MC on the variety show "The Dictionary of Useless Human Knowledge" and serving as an art patron for creators in his native South Korea. But Indigo marks RM's official introduction to solo stardom as a singer, and it comes at a pivotal time for both BTS and its leader.
The beloved K-pop group has been on an unofficial hiatus since June, and their break will now extend until 2025 so all seven members can complete mandatory military duties in South Korea. Luckily for ARMY, that doesn't mean the music is stopping — and for RM, it means he gets to really focus on the music he wants to make.
"Finally, my 1st album will be releasing thanks to everyone," the singer wrote in a WeVerse post. "I worked hard on it for the past 4 years … It will be very different from my past projects."
Fans will soon find out exactly what "very different" means. In the meantime, take a look at everything we know about RM's forthcoming debut solo album, Indigo.
Indigo
2022.12.2.
2PM (KST) | 12AM (ET)#RM #Indigo pic.twitter.com/6xjd0uHdrA
On Nov. 10, RM revealed in a series of Instagram stories that his debut album is slated for a Dec. 2 release. His label, BigHit Music, followed with the official announcement shortly thereafter, sending ARMY into a frenzy of excitement on social media.
RM has previously released two mixtapes, his eponymous project from 2015, and Mono from 2018. He's also released solo singles like 2017's collaboration with Wale, "Change," 2019's "Crying Over You" with HONNE and BEKA, and most recently, he featured on Balming Tiger's song "SEXY NUKIM" in September. 
All of the solo music RM has released so far has demonstrated that he can really do it all —  from slow crooning R&B, to conscious hip-hop, to moody alternative sounds. As RM teased himself, this album will be "very different" from his previous releases, so fans are likely very eager to see what new sounds he has in store.
A post shared by RM (@rkive)
Although RM nor BigHit Music have revealed what the sound of Indigo will be, BigHit did give some insight into the album's content in a Weverse post.
"Through Indigo, RM delivers his candid thoughts and feelings and showcases wide-ranging music through collaborations with various artists," BigHit wrote. "We hope everyone's excited about RM's latest release!"
RM also shared in a livestream on Weverse that Indigo will be "completely different" from Mono. "If 'Mono' recorded my 2016 to '18, then I think this new album serves as my diary and archive for 2019 to '22," he said. And in a Nov. 14 Instagram post, RM also hinted that Indigo is "the last archive of my twenties."
As part of Rolling Stone's Musicians on Musicians series, RM sat down with Pharrell Williams to discuss their respective careers — and also to tease that they have a collab coming. While it hasn't been confirmed if that team-up will be featured on Indigo, RM has mentioned on Weverse that "fun friends" are included on the project.
A post shared by RM (@rkive)
RM's Mono featured a white album cover, and his first mixtape cover was black and white. This time, Indigo consists of a photo of blue — dare we say, indigo — fabric. The album title will be bleached in white. Much like the title suggests, this album may be more colorful than his previous releases, as hinted by the change in aesthetic. 
If you're looking to hear Indigo as soon as possible, preorders begin on November 15. After RM has put in four long years of hard work on Indigo, the wait will surely be worth it for RM's official solo debut. 
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Photo: Marc Silverstein
list
"Any and everyone can be involved in the movement to support more women in music."
From pay gaps to the relative dearth of women in senior management roles, there is significant inequality in today’s workforce. The music industry is no different and the stats are even more harrowing: According to the Recording Academy's Women In The Mix study, women represent only 21 percent of artists, 12.6 percent of songwriters, and 2.6 percent of producers.
Despite some of the most impactful music artists and songwriters being women — from Beyoncė (seven No. 1 albums) and Joni Mitchell (notably credited for influencing Prince, Chaka Khan, Taylor Swift, Neil Diamond, Herbie Hancock, Annie Lennox, among others) to Carole King (who wrote 118 Billboard 100 hits) and Taylor Swift (11 No. 1 albums and the only artist to sweep all top ten spots in the Billboard 100)  — 57 percent of women in the industry are forced to work more than one job to make ends meet. Twenty-four percent of Women In The Mix respondents worked over 40 hours a week, and an additional 28 percent log over 50 hours a week.
Music permeates every aspect of our lives. It’s a vital way in how we express ourselves and connect with others. It’s long past time that women got an equal say in that conversation. "Any and everyone can be involved in the movement to support more women in music on various levels" says Girls Makes Beats Founder Tiffany "Delilah" Miranda.
Miranda's organization is one of many dedicated to developing professional opportunities, including mentorship, for women and girls in the music industry. "Providing the tools needed goes a long way towards successful career paths," she says, adding that consumers "can support women in music by listening to, sharing, and supporting female creators."
There are a number of organizations supporting women and girls in audio engineering and production who are working hard to change this narrative. Here are six such orgs that empower women and gender-expansive people to create the future of music.
Girls Make Beats is passionate about helping young women have successful, sustained careers in music. Since 2012, Girls Make Beats has been dedicated to increased female representation in music production and empower the next generation of producers, DJs, and audio engineers by "creating real-world opportunities."
Influenced by jazz greats, like Nina Simone and Etta James, with their larger than life voices, Founder Tiffany "Delilah" Miranda had grown tired of being stifled by male producers. "This inspired me to create my own music," says Miranda. "I quickly realized how male-dominated most of the creative control spaces were and wanted to create a safe space for girls to find their own sound without having to face many of the challenges I had to overcome."
Through their various programs and initiatives, Girls Make Beats emphasizes the tenets of sisterhood, empowerment, mentorship, access and opportunity, leadership, and social-emotional learning. They recently opened an official Girls Make Beats Academy in Los Angeles and also have scholarships available, globally, for their year-round programming.
Based in the San Francisco Bay Area, Women’s Audio Mission (WAM) will soon be celebrating its 20th anniversary. WAM offers training and mentorship for the "advancement of women and gender-expansive people in music/audio production and creative technology, fields in which they are critically underrepresented."
Founded by Terri Winston while she was a Professor and Director of the Sound Recording Arts Program at City College of San Francisco, WAM resides at the intersection of creativity and technology, weaving "art and music with science, technology, and computer programming" in an effort "to close the critical gender gap in creative technology careers."
WAM’s goals are twofold: Increase the number of women and gender-expansive people in the music industry (who make up less than 5 percent of its workforce), and to combat the 70 percent drop in women and gender-expansive people entering college STEM programs since 2000.
Throughout its storied existence, WAM has worked with over 22,000 individuals; been declared the "Best Hope for the Future of Music" by San Francisco Weekly; placed over 1,000 students in jobs throughout the industry (in companies like Dolby Labs, Sony, Pixar, Disney and Google); worked with award-winning artists (such as Sheila E., Kronos Quartet, Neko Case, Angélique Kidjo); and has been recognized by the White House for its innovations in education.
Legendary singer, songwriter, and producer Linda Perry of the 4 Non Blondes has teamed with philanthropist and activist Alisha Ballard to create EqualizeHer, a new initiative and organization working to help bring gender equality to the music industry. 
EqualizeHer is focused on four actionable goals: Release and distribute music produced, written, and performed by women; host live music events produced entirely by women; provide opportunities for young female artists to perform in front of live audiences to gain experience and be heard; and work with existing organizations to fill the gaps and join forces.
Through their combined efforts, they’re rallying artists like Paris Jackson (who played a live benefit for EqualizeHer at the renowned LA venue the Troubadour on Oct. 9 with Aimee Mann, Tinashe, Tish Melton, and more). Billie Eilish and Christina Aguilera have also expressed interest in being ambassadors for this organization.
From industry professionals to songwriters, She is the Music, is devoted to increasing the number of women working in music across. They’ve created an international database of women to help the industry discover, connect, and create with women, all of whom have been vetted and verified. 
Spearheaded by the inimitable Alicia Keys, along with a cadre of influential and talented women in the industry, "We want to create a model for change that affects women across all industries," Keys told Essence. "We deserve the utmost respect, and so many of these women across industries are telling our culture that time is up on double standards, and it’s over for pay inequity and colleagues who are at best disrespectful and at the worst unsafe — so it’s over for that." 
The organization also hosts songwriting sessions and mentorship programs to develop and empower the next generation of women in music. Participants work with artists and receive pertinent, experiential insight into all areas of production, business, touring, and songwriting.
"We are an independent, global network that operates as a unifying organization for women from across the industry,"  their website states, "creating strength and impact on a global scale. As an umbrella nonprofit, we also provide resources and support for female-focused initiatives that are working to create meaningful change — both through our own programs, as well as external efforts around the world."
As its name indicates, She Knows Tech, concentrates on bringing talented female-identifying producers and engineers and tech performers to the forefront of the industry. The organization provides a safe space and platform for women to give and receive training in music technology.
"Upon learning of the striking gender imbalance and lack of female role models within the industry, we started She Knows Tech to support each other and find mentors to connect, within and outside the educational space," say Founders Jasmine Kok and Meghan Smyth.
The two have amplified their mission through a series of events, culminating with the  She Knows Tech Summit.
Established in 2021, the multi-day event  includes workshops, masterclasses, a job fair, showcases, camps, and conversations moderated by GRAMMY-winning engineers, and is presented by 30+ gender expansive audio professionals. The hybrid event "created an empowering experience for our community to learn from role models that represent them in the space."
She Knows Tech has chapters in Valencia and Boston, and maintains partnerships with other organizations, like We Are Moving the Needle, She is the Music, and industry heavy hitters around the world, from the Audio Engineering Society to Spitfire Audio.
Founded by Emily Lazar, Chief Mastering Engineer for The Lodge, We Are Moving The Needle is an "inclusive organization working to create measurable change by empowering women in the recording and professional audio industry with the education, equipment and the mentorship needed to succeed at the highest levels."
Only 2.6 percent of producers and audio engineers are women, according to  the USC Annenberg Inclusion in the Recording Studio study, Lazar noted. "I​it was a sobering reality, and I knew then that I had to do something to change that. It was hard for me to understand how the music industry at large was failing so miserably at something that, in actuality, isn’t very difficult to address."
"In addition to donating scholarships, equipment, and funds to We Are Moving The Needle," says Lazar, "those in positions of power can simply hire more women. They can make a conscious effort to consider women for producing and engineering roles on every record."
We Are Moving the Needle's  advisory board includes an embarrassment of riches in terms of experience, success, knowledge, and accolades. Their members include Alanis Morissette, Brandi Carlile, Brittany Howard, Liz Phair, Imogen Heap, Linda Perry, and HAIM.
"I always say," reminds Lazar, "‘if you can see it, you can be it. Representation matters."
Women And Gender-Expansive Jazz Musicians Face Constant Indignities. This Mentorship Organization Is Tackling The Problem From All Angles.
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Welcome to “New Music with Nick.” In this column, I will be reviewing some of the most notable new album releases across various genres, focusing on hip-hop, R&B and pop music. Join me in exploring the ever-shifting landscape of the streaming era. 
Drake & 21 Savage: “Her Loss” (Nov. 4, 2022)
Another year, another Drake album. Or more accurately at this point: another few months, another Drake album. 
Including mixtapes and compilations of older unreleased music, we have gotten at least one full-length Drake project every year since 2015. “Her Loss” marks his third studio album in a span of just 14 months and finds Drake hoping to continue his commercial prominence and reverse the lackluster quality of his previous few projects.
21 Savage, although not nearly the commercial powerhouse that Drake is, has cemented himself as one of the premier mainstream trap artists. After selling over 100,000 units in the first week of sales with his last two studio albums, Savage completed his emergence into full stardom from a crowded group of trap artists. 
More important than the sales, though, he has easily become one of the best (and arguably the best) in the trap lane right now. 2020’s “Savage Mode II” was a great album from front to back, utilizing skillful production from Metro Boomin and hilarious narration from Morgan Freeman to craft a wonderful artistic work. Its predecessor, “i am > i was,” was equally impressive, spearheaded by the smash hit “A Lot” featuring J. Cole, which went on to become a five-time platinum single and one of the best songs of 2018. 
Collaboration albums are always an exciting proposition. Although this one is coming at different points in their respective careers and artistic trajectories, their chemistry and previous history together help to make the result seem fairly predictable and very well-advised. Drake wanted to tap back into his rapping side and connect with a proven great collaborator. With “Jimmy Cooks,” “Knife Talk,” “Sneakin” and “Mr. Right Now,” the two have already put together a solid collection in the past prior to “Her Loss,” with great success.
It turns out that “Jimmy Cooks,” their last single together, was greatly misleading. The fantastic production, captivating flows and great energy far exceeded anything that the two decided to bring to the table for “Her Loss.”
I didn’t come into “Her Loss” with the expectation of an artistic masterpiece, but I did come in wanting just a little bit more than I received. Drake ended up holding the vast majority of delivery on the album, providing 66% of the lyrics compared to Savage’s 26% (with 8% going to guests). It felt like a Drake album with a handful of 21 Savage features rather than a true collab album, and it’s clear to see which side was more invested in the project as a whole. 
Savage delivered at multiple points in the project, but really without too many standouts. Drake held most of the album’s most memorable moments, mostly just because of the frequency with which he appeared and the beats that he was given. 
There are few songs on the album that I would genuinely consider well-made or exciting. Unfortunately, there are several that I would consider bad or mediocre at best. 
“Treacherous Twins” is a disastrous moment, a horrible song in all aspects that must have been made strictly for college girls posting drunk Instagram stories with their best friends. “Circo Loco” is another terrible track, packing corny bars and lame call-outs over awful production. “Hours in Silence” was appropriately titled, as it almost put me to sleep the way that literal hours in silence would. I can sort of see what Drake was going for with “BackOutsideBoyz” and “Jumbotron Shit Poppin,” but the execution was just so far off.
Despite these lows, some songs did deliver. “Middle of the Ocean” was the highlight of the album; it showed Drake flowing smoothly over a refreshing soul beat. “Pussy & Millions,” featuring Travis Scott, was another standout. The production was enjoyable, and every artist fit the track and meshed together nicely, resulting in an entertaining and feel-good hit. “More M’s,” “Major Distribution” and “Broke Boys” were the only other songs that really executed, with quality trap production that situated 21 Savage in his comfort zone and allowed Drake to effectively highlight his versatility.
As a whole, the album lacked the remarkable moments that I would want from these two superstars. The production and delivery felt really uninspired at times, and I was really hoping that they would be much bolder with their approach. Both artists would have benefitted from more soulful and creative production choices across the tracklist. The majority of the album felt like they were playing it safe — just good enough to be passable and hold a place in the mainstream.
I think we’ve fully grown past the days when we expect classic albums from Drake. I still hoped that the collaboration with 21 Savage would inspire Drake a little bit more and bring his sharpest rapping and production choices, but it definitely did not. Ultimately, it’s another hip-hop moment that will be a commercial success but an artistic flop.
Favorite Songs: “Middle of the Ocean,” “Pussy & Millions,” “Major Distribution,” “Broke Boys,” “More M’s”
Album Score: 59/100
Check out this Spotify Playlist and like it to follow along with some of some of my favorite songs of 2022 as the year progresses!
Editor’s Note: This article is a review and includes subjective opinions, thoughts and critiques.
Nick Sligh is a Senior from Athens, Georgia, studying Economics and Psychology. Nick is always open to discuss anything relating to music, NBA basketball, and movies/TV. As somebody with a deep interest in hip-hop/rap, r&b, and pop music, he primarily covers these genres through his articles. Feel free to contact him at nsligh ‘at’ stanforddaily.com
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Accelerated bachelor’s to master’s (ABM) programs allow you to begin master’s studies in your senior year so you can accelerate completion of a master’s degree. You’ll earn both a bachelor’s and a master’s degree quicker.
ABM programs are perfect if you’re interested in proceeding directly from bachelor’s to master’s studies. They allow you to reduce the time it takes to get your master’s degree, giving you a head start on your career. And since any master’s courses taken as an undergraduate are billed at the undergraduate tuition rate, you’ll save money too.
Who is Eligible? Eligibility and admissions requirements vary by program. To find out if you’re eligible, select a program of interest below to review the admission requirements. For additional questions, click the “I’m interested” button to reach out to the program coordinator.
A master’s degree can prepare you for an advanced position in your career immediately after you graduate. A master’s degree can also immediately increase your earning potential. According to the U.S. Census Bureau, median earnings for full-time, year-round workers holding a bachelor’s degree was $66,536 in 2019. With a master’s degree, median earnings for full-time employees jumped to $81,636 — nearly 23% more. With a doctoral degree, median earnings were $113,578, and earnings with a professional degree were $127,487.
*$81,636
*Median earnings for full-time employees with a master’s degree
To earn an advanced degree, typically you would have to complete a bachelor’s program, then reapply for a two-year master’s degree. Accelerated bachelor’s to master’s programs provide qualified undergraduate students the opportunity to begin graduate studies in their senior year and simultaneously satisfy some remaining requirements for their bachelor’s degree. You’ll earn both your bachelor’s and master’s degrees at a faster pace with fewer courses and less cost.
If you are interested in applying for an ABM program, it’s important to speak to your academic advisor early — ideally by your sophomore year. Students must apply and be admitted into the master’s program in the semester preceding the beginning of their ABM program. Programs may offer either a non-thesis or thesis track. 
Note: Admission to an Accelerated Bachelor’s to Master’s degree program is different from Senior Privilege. Please refer to the policy on Senior Privilege for more information.
Search for a program pathway of interest and click to expand for additional details.
The MPA is a professional graduate degree designed for management and administration within the public sector and nonprofit organizations. The MPA degree provides you with focused training to work in a leadership role, helping you master a broad set of skills including budgeting and finance, economic analysis, human resource management, policy analysis, information technology, resource development and grant writing, program evaluation and board governance.
The MPA-ABM with Human Development and Family Science B.S. – Family Services Concentration is designed to allow students to enter the Master of Public Administration (MPA) degree program after completing 75 credit hours. Students admitted into the MPA-ABM program may take up to 12 graduate credit hours within the undergraduate Human Development and Family Science degree program that will count toward the MPA. There must be a minimum of 150 unique credit hours between the two programs.

The MPA is a professional graduate degree designed for management and administration within the public sector and nonprofit organizations. The MPA degree provides you with focused training to work in a leadership role, helping you master a broad set of skills including budgeting and finance, economic analysis, human resource management, policy analysis, information technology, resource development and grant writing, program evaluation and board governance.

The MPA-ABM with Recreation B.S. is designed to allow students to enter the Master of Public Administration (MPA) degree program after completing 90 credit hours. Students admitted into the MPA-ABM program may take up to 12 graduate credit hours within the undergraduate Recreation degree program that will count toward the MPA. There must be a minimum of 150 unique credit hours between the two programs.

Provides the opportunity to complete requirements for two degrees in an accelerated fashion. It reduces overall cost and time to complete a master’s degree.
To apply, a student must be at least a junior in their bachelor’s program.
To be considered you must complete this form. Once you complete your undergraduate requirements, you will submit a graduate application.
This varies by program- most require you to earn a B or better in the graduate level coursework.
Once enrolled in an ABM program and all of your undergraduate requirements have been completed, you will need to submit a graduate application for graduate program enrollment. 
Some programs might require a thesis. Be sure you are speaking with the bachelor’s and master’s advisors when making your choice. 
You must begin graduate classes when your graduate admit term starts. Your start term depends on when you complete your undergraduate requirements and when your graduate program admits you. 
Speak to your admissions counselor to see if this is a beneficial pathway.
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Snow this morning will give way to lingering snow showers this afternoon. High 36F. Winds ENE at 5 to 10 mph. Chance of snow 70%. Snow accumulations less than one inch..
Variable clouds with snow showers. Low near 30F. Winds NE at 5 to 10 mph. Chance of snow 60%. About one inch of snow expected.
Updated: November 15, 2022 @ 8:30 am

NEW YORK, N.Y., Nov. 14, 2022 (SEND2PRESS NEWSWIRE) — In order to enable users to satisfy various needs easily and efficiently, HitPaw, as the industrial pioneer, brings the AI-enabled features to its flagship product. HitPaw Video Converter V2.6.0 has been released with 5 remarkable functions, including Spotify Music Converter, Vocal Remover, Video/Image Compressor, DVD Converter, and Image Editor.
Let’s dive into the amazing features of HitPaw Video Converter V2.6.0:
* Spotify Music Converter
Unlike Spotify Free, Spotify Premium allows you to download music so that it is always with you. Spotify Music Converter enable users to convert Spotify music to MP3/WAV/M4A with a 120x quicker conversion speed and complete ID3 tag information.
* Vocal Remover
Music producers may easily and quickly extract voice and instrumental tracks from their music with this AI-powered Vocal Remover.
* Video/Image Compressor
Unable to send huge movies by email? Attempting to upload videos but the file size is too big? When the storage is full, are you unsure about which videos to delete? Users of Video/Image Compressor can downsize video and image files without compromising quality. The audience may access high-quality material from creators.
* DVD Converter
With HitPaw Video Converter, DVDs may be played on any player or gadget without sacrificing quality. There are currently over 1000 different video and music formats that may be extracted from DVD discs, DVD Folders, ISO, and IFO files, including MP4, MOV, MKV, AVI, FLV, MP3, and WMA.
* Image Editor
You may crop and rotate pictures with HitPaw Video Converter’s 7 presets, change the brightness, contrast, saturation, and hue of pictures, and add a watermark to pictures. Users can always share the ideal photo with friends or on their personal social media accounts.
Compatibility and Price:
HitPaw Video Converter is now compatible with Windows including Windows 11 and macOS Monterey. Its pricing starts from $19.95 per month, $39.95 per year, and $79.95 for the lifetime license.
For more information checking, you can visit: https://www.hitpaw.com/purchase/buy-hitpaw-video-converter.html
About HitPaw:
HitPaw is an emerging software company specialized in files compressing, video editing, screen recording, watermark removing, image editing, photo enhancing, etc. We help users turn their inspiration into reality so that we can generate more ideas to make the world be full of more creativity.
To know more, you may visit https://www.hitpaw.com/about.html and https://www.hitpaw.com/
Our Social Media:
YouTube: https://www.youtube.com/channel/UCQwRggaotgiMcPbiCOsJeBA
Facebook: https://www.facebook.com/hitpawofficial
Twitter: https://twitter.com/HitPawofficial
Instagram: https://www.instagram.com/hitpawofficial/
Pinterest: https://www.pinterest.com/HitPawofficialwebsite/

NEWS SOURCE: HitPaw

This press release was issued on behalf of the news source (HitPaw) who is solely responsibile for its accuracy, by Send2Press® Newswire. Information is believed accurate but not guaranteed. Story ID: 86665 APDF-R8.7
© 2022 Send2Press®, a press release and e-marketing service of NEOTROPE®, Calif., USA.
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Print Studio One’s Wide Format Specialist and lead Kongsberg operator Sam Toews, seen putting the X24 through its paces.
Design and print specialist Print Studio One has invested in the latest digital finishing technology from Kongsberg Precision Cutting Systems (‘Kongsberg PCS’) to boost production capacity and expand its product offering.
The Manitoba, Canada-based business, alongside sister company Three-Six North Marketing, has installed a new Kongsberg X24 Edge cutting table and a range of advanced tooling in order to drive throughput and meet increasing demand at its facility in Steinbach.
“Print Studio One and Three-Six North Marketing partner with clients to build their brands across physical and digital platforms, ultimately connecting people to their products and services,” said Tim Penner, Partner – Operations. Tim, together with brother Matt, runs the family business first acquired by their parents Dave and Lois nearly 20 years ago.
“On the production side, our expertise is in print, signage and vehicle decals, with digital services and design also being developed and delivered under one roof,” said Tim. “As we continue to increase our offering, for example with the introduction of new packaging products, we recognized we needed to cut faster without compromising on quality or accuracy – and that’s what led us to the Kongsberg table.”
Vince Tuccitto, Kongsberg PCS Territory Sales Manager for Eastern Canada, said that with the X24 Edge, Print Studio One has acquired a combination of tried and tested Kongsberg productivity, flexibility and best-in-class reliability.
“The Kongsberg X24 Edge can easily handle the full spectrum of display, signage and packaging materials from kiss cutting vinyl through to heavy duty milling,” said Vince. “There is no sacrifice on machine configuration with all the X-Series options available, and perhaps most importantly the X Edge can evolve to keep pace with the changing demands of Print Studio One.
“Packed with specialty tools, the cutting table handles a wide range of applications, offering speed, power and the flexibility to add new tools for new materials, new applications, or more capacity,” said Vince. “This means that a business can add volume and enter new market segments – just as Print Studio One has done.”
The new Kongsberg X24 has been fitted out with a 3KW router and an assortment of tool options, including vinyl kiss cutting tooling and packaging and creasing tools. “For a business like ours, the ability to deliver quality results in a faster time is crucial – quality is one of our core values, it’s something our clients have come to expect from us,” said Tim Penner. “The ease of operation plays into that, and we have enjoyed significant overall efficiency and productivity gains.
“Having the ability to turn around a wider array of jobs in a quicker time has allowed us to not only expand our offering, but also to attract new opportunities by being able to think outside the box,” he said. “We believe all organizations should have access to first class, full-service marketing support and that business is about more than just making a profit – it’s an opportunity to make a difference. The Kongsberg X24 will allow our business to continue to make a difference in the world.”
For more on the Kongsberg X Edge or the entire range of digital finishing solutions and tools visit www.kongsbergsystems.com. 
For more on the work of Print Studio One and Three-Six North Marketing, visit psone.ca.
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AUGUST BURNS RED has announced its “20 Year Anniversary Tour”. The North American trek, which will take place over two legs between February and May 2023, will see the Grammy-nominated Lancaster, Pennsylvania five-piece play material off all nine of its albums.
“Where does the time go?,” says guitarist JB Brubaker. “I can remember playing 250 shows a year and touring in our van like it was yesterday. We are so grateful to have had the support of our fans year in and year out for two decades. We thank you, and cannot wait to celebrate with you!”
The first leg of the tour kicks off on February 15 in Silver Spring, Maryland and runs through March 14 in Charlotte, North Carolina. The second leg launches on April 13 in Philadelphia, Pennsylvania and wraps on May 12 in Quebec in Canada. The tour marks the first time the band has played Canada since 2019. The support acts are THE DEVIL WEARS PRADA and Scottish band BLEED FROM WITHIN, which will be touring the U.S. for the first time. The bands will appear on both legs of the tour.
VIP packages are on sale right now at this location and include an exclusive, 200+ page photo book that spans each year of AUGUST BURNS RED‘s entire career. Tickets go on sale on Friday, November 18 at 10am local time.
Feb. 15 – Silver Spring, MD – The Fillmore Silver Spring
Feb. 16 – Raleigh, NC – The Ritz
Feb. 17 – Atlanta, GA – Heaven at The Masquerade
Feb. 18 – Orlando, FL – Heart Support Festival*
Feb. 20 – Fort Lauderdale, FL – Revolution Live
Feb. 21 – Pensacola, FL – Vinyl Music Hall
Feb. 23 – Houston, TX – House of Blues
Feb. 24 – Dallas, TX – South Side Ballroom
Feb. 25 – San Antonio, TX – Vibes Event Center
Feb. 27 – Tempe, AZ – The Marquee
Feb. 28 – San Diego, CA – Soma
Mar. 01 – Anaheim, CA – House of Blues
Mar. 02 – Sacramento, CA – Ace Of Spades
Mar. 04 – Portland, OR – Roseland Theater
Mar. 05 – Seattle, WA – Showbox Sodo
Mar. 07 – Salt Lake City, UT – The Complex
Mar. 08 – Las Vegas, NV – House of Blues
Mar. 10 – Denver, CO – Fillmore Auditorium
Mar. 12 – Little Rock, AR – The Hall
Mar. 13 – Nashville, TN – Marathon Music Works
Mar. 14 – Charlotte, NC – The Fillmore Charlotte
Apr. 13 – Philadelphia, PA – The Fillmore Philadelphia
Apr. 14 – New York, NY – Palladium Times Square
Apr. 15 – Albany, NY – Empire Live
Apr. 16 – Worcester, MA – The Palladium
Apr. 18 – Niagara Falls, NY – Rapids Theater
Apr. 19 – Royal Oak, MI – Royal Oak Music Theatre
Apr. 21 – Grand Rapids, MI – The Intersection
Apr. 22 – St. Louis, MO – Red Flag
Apr. 23 – Kansas City, MO – The Truman
Apr. 25 – Oklahoma City, OK – Diamond Ballroom
Apr. 26 – Omaha, NE – Slowdown
Apr. 28 – Minneapolis, MN – The Fillmore Minneapolis
Apr. 29 – Chicago, IL – Concord Music Hall
Apr. 30 – Cincinnati, OH – Bogarts
May 02 – Cleveland, OH – House of Blues
May 03 – Pittsburgh, PA – Stage AE
May 05 – North Myrtle Beach, SC – House of Blues
May 06 – Richmond, VA – The National
May 07 – Sayreville, NJ – Starland Ballroom
May 09 – Toronto, ON – Danforth Music Hall
May 11 – Montreal, QC – MTelus
May 12 – Quebec, QC – Theatre Capitole
*Festival date

AUGUST BURNS RED will release a new album, “Death Below”, on March 24 via SharpTone Records. Pre-order it here.
“It’s no secret that the past few years have been extremely dark and challenging,” Brubaker said. “‘Death Below’ is here as a result of that time in each our lives and the emotions that came with it. We were motivated by uncertainty, fear, outrage, and triumph. I feel this is the darkest, most personal album we’ve ever written, and I couldn’t be more proud of what the five of us made together.”
“Death Below” features guest spots from KILLSWITCH ENGAGE singer Jesse Leach, guitarist Jason Richardson of ALL THAT REMAINS, as well as JT Cavey of ERRA and Spencer Chamberlain of UNDEROATH.
AUGUST BURNS RED is likely the only metal act ever described as “thrillingly empathetic” (Kerrang!). It’s a testament to the ferocious band’s ability to recognize and connect with the mixture of brokenness and hope found in their audience and within themselves. A hard-working collective with a shockingly stable lineup for the vast majority of their career, AUGUST BURNS RED pour every ounce of themselves into their music. Atmospheric, riff-laden, aggressive bursts of controlled chaos, filled with shifting time signatures and tempos, deliver confessional, self-reflective, and authentic emotion.
Tour stops with LAMB OF GOD, KILLSWITCH ENGAGE, PARKWAY DRIVE and BRING ME THE HORIZON; several major international hard rock festivals (Rock Am Ring, Download and Aftershock, to name a few); and the Vans Warped Tour are among the destinations around the world to witness AUGUST BURNS RED‘s live prowess. Massive headlining treks celebrating tenth anniversaries for “Constellations” and “Leveler” demonstrated the enduring relevance of the band’s catalog, nearly 20 years into AUGUST BURNS RED‘s storied career. 2020’s “Guardians” debuted at No. 1 on Billboard‘s Hard Music, Rock Albums and Vinyl Albums charts.
Revolver, which put AUGUST BURNS RED on its cover the same year, observed the band’s “embrace the pain so well.” It’s a truth never more evident than on “Death Below”, AUGUST BURNS RED‘s stunning ninth studio album. Recorded with longtime producers Carson Slovak and Grant McFarland, “Death Below”




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The Green Bay Packers (3-6) will attempt to snap a five-game losing streak with Mike McCarthy and the Dallas Cowboys (6-2) in town for a Sunday afternoon showdown at Lambeau Field.
Stick with Packers Wire for all the live updates, scoring plays and highlights from Packers vs. Cowboys in Week 10.
Jeff Hanisch-USA TODAY Sports

No points in the first quarter. Aaron Jones and A.J. Dillon combined for 65 rushing yards on 13 attempts, and the Packers twice drove into Cowboys territory, but Mason Crosby missed a 54-yard field goal (short) and a failure on third down resulted in a punt.
Methodical drive. @_CeeDeeThree in the backfield. Nice little screen play for the TD!
📺: @NFLonFOX | #DALvsGB pic.twitter.com/etQD9QzHv0
— Dallas Cowboys (@dallascowboys) November 13, 2022

The Cowboys cashed in a 17-play, 83-yard drive with a touchdown pass from Dak Prescott to CeeDee Lamb inside the 5-yard line. Packers safety Rudy Ford missed the tackle in the flat on the touchdown. The scoring drive took up over eight minutes of game clock and featured two third-down conversions and a fourth-down conversion.
It's going the other way!
INT FOR FORD! 💪#DALvsGB | #GoPackGo
📺 FOX pic.twitter.com/4kENYTulkz
— Green Bay Packers (@packers) November 13, 2022

After the Cowboys stripped Aaron Rodgers on a third-down sack and recovered the fumble, the Packers defense immediately responded, with safety Rudy Ford intercepting Dak Prescott in the end zone on third down. On the turnover trade, the Packers actually gained 16 yards of field position. Huge stand for the defense with a two-score deficit staring the Packers in the face.
The TD.
The backflip.
58 yards to @ChristianW2017! 🙌#DALvsGB | #GoPackGo
📺 FOX pic.twitter.com/IHnJdiECLj
— Green Bay Packers (@packers) November 13, 2022

Finally, the deep ball hits. Aaron Rodgers connected with speedy rookie Christian Watson on a 58-yard score to tie the game with 4:54 left in the first half. After dropping a pair of passes in the first quarter, Watson found redemption by making an over-the-shoulder catch against the coverage of Anthony Brown. Once in the end zone, he did a backflip celebration. Rudy Ford’s interception might have been a game-saving play for the Packers.
RUDY! RUDY! RUDY!
Ford's second INT of the half 💪 #DALvsGB | #GoPackGo
📺 FOX pic.twitter.com/neSSVXF325
— Green Bay Packers (@packers) November 13, 2022

No. 2 for Rudy Ford. The new Packers starting safety jumped a Dak Prescott pass over the middle on third down and returned the pick to the Cowboys 24-yard line. Moving Darnell Savage into the slot and starting Ford at safety has produced two huge plays in this game. Ford came into Sunday with one career interception.
.@Showtyme_33 with the TD! 🙌 #DALvsGB | #GoPackGo
📺 FOX pic.twitter.com/vZpxyxOKdh
— Green Bay Packers (@packers) November 13, 2022

The Packers turned Rudy Ford’s second interception into another touchdown, this time on Aaron Jones’ 12-yard scoring run just after the two-minute warning. Jones carried on all three plays on the 24-yard drive. The Packers have their first lead at 14-7 and will get the ball to start the second half.
Delayed handoff to @Tp__5 and he creeps through his blocks for a TD!
📺: @NFLonFOX | #DALvsGB pic.twitter.com/0hONHmM1wE
— Dallas Cowboys (@dallascowboys) November 13, 2022

The Packers got a quick three-and-out on defense, but Amari Rodgers fumbled away the punt, Darnell Savage got beat in coverage for a big play and then Tony Pollard ran in an easy touchdown to give the Cowboys back the lead. Dallas needed only four plays to get into the end zone. The Packers, loser of five straight, trail in the second half of a do-or-die game.
The Cowboys converted a 2nd-and-21 situation and then drove the rest of the field for another touchdown. On the scoring play, Lamb appeared to beat Jaire Alexander for the touchdown. The Packers were up seven and expecting to get the ball with a lead to start the second half. Since then, the Cowboys have rattled off three straight scores. Matt LaFleur’s team is now down 14 with around 18 minutes left.
A second TD for the rookie!@ChristianW2017 🙌 #DALvsGB | #GoPackGo
📺 FOX pic.twitter.com/pqLUltB61H
— Green Bay Packers (@packers) November 14, 2022

The Packers aren’t dead yet. On 4th-and-7, Aaron Rodgers connected with Christian Watson for another touchdown, this one from 39 yards out. The rookie got a clean vertical release from a bunch formation and ran past the Cowboys secondary for the score. Great throw from Rodgers, too. Watson has two catches for 97 yards and two scores.
HAVE A GAME, @ChristianW2017!
3️⃣ TDs FOR THE ROOKIE.#DALvsGB | #GoPackGo
📺 FOX pic.twitter.com/IavGOnJMfB
— Green Bay Packers (@packers) November 14, 2022

No. 3 for the rookie. Christian Watson converted on third down, and then he finished the drive with a 7-yard touchdown to tie the game at 28-28. His speed has changed everything for the Packers offense. Game on!
THAT'S THE GAME!#PACKERS WIN IN OT‼️#DALvsGB | #GoPackGo
📺 FOX pic.twitter.com/dCIDl38CXn
— Green Bay Packers (@packers) November 14, 2022

The Packers got a fourth-down stop on the first drive of overtime, and Allen Lazard’s 36-yard catch on 3rd-and-1 helped set up Mason Crosby’s game-winner.
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November 14, 2022
Oregon Law welcomes to campus the second cohort of the Lane County Bar Association (LCBA) Bar Fellows. Five UO law students earned the fellowship during the 2022-23 academic year. This year’s LCBA Fellows are Julie Foss, Amy Huynh, Raman Mann, Michelle Rodriguez, and Alyssa Whitcomb-Zeidel. This class builds on the four Fellows in last year’s inaugural group.   
This highly selective program is designed to help diversify Oregon’s legal community by recruiting and supporting diverse law students. The program provides a paid internship for recipients’ first summer in law school, a scholarship throughout law school, and multiple networking opportunities, judicial mentorship, and other resources designed to support the Fellows’ success in law school and in their Oregon legal career. 
The internships will take place during the summer of 2023. The students will be matched with the following Summer Sponsors: Hershner Hunter, Hutchinson Cox, Johnson Johnson Lucas & Middleton, the Local Government Law Group, Public Defender Services of Lane County, the U.S. Attorney’s Office, and the U.S. District Court for the District of Oregon. Thank you Summer Sponsors for your leadership and support of this important program. 
Alyssa Whitcomb-Zeidel received a bachelor’s degree in Public Policy, Management, and Planning from the University of Southern California. Prior to law school, she worked for the National Domestic Workers Alliance helping distribute pandemic relief funds to domestic workers. She has worked in software technology roles for several media organizations, including Pandora, and served on the board of directors for an organization that helps to increase representation of women and non-binary people in the audio engineering and recording industry. She is interested in advocating for others at the “…intersection of community advocacy, public policy, and technology” and is especially interested in serving historically underrepresented groups.
Raman Mann is a recent graduate of the University of California, Davis, where she received a degree in International Relations, with minors in History and Human Rights. While in school, she was the Vice President of her school’s Punjabi Kabaddi as well as the Sikh Cultural Association. Prior to law school, she completed internships at the Sikh Alpha Foundation, and at a domestic violence support organization. She also worked for a summer camp for underprivileged Hispanic children. She wishes to serve underserved communities in Oregon, including members of the Punjabi community, and looks forward to contributing to the diversity of the legal profession in the state.
Amy Huynh is a graduate of University of California, Los Angeles, where she majored in Philosophy. While in school, she worked for the San Diego County District Attorney’s Office, and volunteered in various capacities with her school’s transfer student organization. Prior to attending law school, she worked in quality assurance for a substance abuse healthcare company. She is interested in several areas of law, including family law and criminal law. Her previous work experiences lead her to an interest in law school, and she wishes to “…be the person who advocates for others and represents their interests when they’re unable to.”
Michelle Rodriguez is a recent graduate of the University of Texas at Dallas, where they received a degree in Literature and a minor in Political Science. While in school, she also completed a summer legal reasoning course at Duke University School of Law, as well as a global entrepreneurship and innovation course at Columbia University’s campus in Singapore. She was also involved in her school’s QTPOC group, as well as being a member of the pre-law society. She is interested in public interest and civil rights law, and after law school, she wishes to help vulnerable people and underserved populations navigate the legal system.
Julie Foss grew up in Oregon and is a graduate of Astoria High School (where she was valedictorian) and is a student of the 3+3 program through the law school and the Clark Honors College. She majored in Political Science and minored in Legal Studies, and her honors thesis focuses on the Prision Litigation Reform Act. She plays the violin and studies ballet, and was a member of several regional symphonies. Her legal interests include civil appellate litigation. She believes it’s vital to have more Arab and Muslim representation in law and government and wishes for future generations will face less difficulties due to their racial identities and ethnic backgrounds.

Visit us on Facebook Visit us on Twitter Visit us on Youtube Visit us on Instagram Visit us on LinkedIn UO prohibits discrimination on the basis of race, color, sex, national or ethnic origin, age, religion, marital status, disability, veteran status, sexual orientation, gender identity, and gender expression in all programs, activities and employment practices as required by Title IX, other applicable laws, and policies. Retaliation is prohibited by UO policy. Questions may be referred to the Title IX Coordinator, Office of Affirmative Action and Equal Opportunity, or to the Office for Civil Rights. Contact information, related policies, and complaint procedures are listed on the statement of non-discrimination.

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editions
Hit-Boy has revealed how Jay Electronica helped to personify some of the bars Nas spit for their collaborative King’s Disease III (KD3) album.
While engaging with fans on Twitter and remarking on the release of the album on Friday (November 10), the West Coast-bred producer revealed how the veteran Roc Nation signee organically brought a new meaning to one of the Illmatic MC’s lines on the album track “Hood2Hood.”
According to Hit-Boy’s tweet, Jay Electronica called him during the session they were actually recording the song so he put him on speakerphone with Nas in the room to let the “Ghost Of Soulja Slim” rapper know they were working on music. Jay Electronica’s response was so comically superb, it seemingly influenced Nas’ writing process — and the rest is history.
“‘Rappers wanna shoot up the studio they tired of us’ no [Baseball cap emoji] jay electronica called me randomly while me and Nas were working on ‘Hood2Hood’ and i put him on speaker he said ‘if y’all in there working on more music i’m coming to shoot the studio up’ jokingly of course,” Hit-Boy wrote in the tweet.
To be even more specific, on “Hood2Hood,” Nas appears to reference the call in pre-hook bars as he raps: “If one clique make a million today, it probably be us / Probably because my Midas touch for viral stuff / Rappers wanna shoot up the studio, they tired of us.”
“Rappers wanna shoot up the studio they tired of us” no 🧢 jay electronica called me randomly while me and Nas were working on “Hood2Hood” and i put him on speaker he said “if y’all in there working on more music i’m coming to shoot the studio up” jokingly of course 😂😂😂
— Hit-Boy (@Hit_Boy) November 11, 2022

Though Hit-Boy clearly pointed out Jay Electronica was merely giving him and Nas a hard time for their insane work ethic, there was some small sliver of truth in Jay’s reaction. KD3 is the fourth collaborative album to come from the pair in two years, following their nine-song 2021 album Magic.
Not to mention the inaugural 2020 edition of their collaborative King’s Disease LP series earned Nas his first Grammy Award for the Best Rap Album in 2021.
Along with recalling his chance experience with Jay Electronic and Nas in the studio while working on KD3, Hit-Boy also shared another remarkable moment with his Twitter followers on November 10, as he detailed how his 2-Year-old son Chauncy Hollis II helped out with the album on one of the key tracks on the latter half of the project.
related news
November 11, 2022
In addition to sharing a clip of the moment his son laid his vocals for the song “Once A Man, Twice A Child,” Hit-Boy explained how his son earned himself a production credit for the work he put in on the anthemic record.
“My 2 year old son C3 has production credit on KD3 that’s his voice on “once a man twice a child” can’t thank @Nas enough [Salute emoji],” Hit-Boy wrote in the tweet.
Revisit the stream for KD3 below.

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Sheldon Pearce
Rap is youth culture, but, in recent years, older rappers have carved out more and more space to tell the stories of middle-age. 40-year-old Detroit rapper Boldy James has taken it a step further: he has really found his voice in maturity, acclimating to a composed persona, first as an original signee of Nas’ Mass Appeal records and recently as a member of the indie stable Griselda. His songs bear the wariness that comes with experience and the poise that comes from a hard-scrabble life navigating obstacles.
James, always prolific, has been particularly productive since 2020, releasing his best music across nine projects, and his streak continues with the Futurewave-produced Mr. Ten08. The standout, “Jam Master J,” is full of his patented roiling flows but it is the imagery that elevates them: a plate that looks like shaving cream on a straight razor, a cup of lean so noxious it should bear the health hazard symbol, a lost rap icon as an avatar for achieving greatness.
◈ Stream “Jam Master J” by Boldy James

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Washington @ Philadelphia
Current Records: Washington 4-5; Philadelphia 8-0
Get ready for an NFC East battle as the Philadelphia Eagles and the Washington Commanders will face off at 8:15 p.m. ET on Monday at Lincoln Financial Field. Philadelphia has a defense that allows only 16.88 points per game, so Washington’s offense will have their work cut out for them.
It was all tied up 14-14 at the half for the Eagles and the Houston Texans last week, but Philadelphia stepped up in the second half for a 29-17 win. Philadelphia relied on the efforts of RB Miles Sanders, who punched in one rushing touchdown, and TE Dallas Goedert, who caught eight passes for one TD and 100 yards. That receiving effort made it the first game that Goedert has posted more than 100 yards receiving.
Meanwhile, it was close but no cigar for Washington as they fell 20-17 to the Minnesota Vikings last week. A silver lining for the Commanders was the play of WR Curtis Samuel, who snatched one receiving TD.
The Eagles are the favorite in this one, with an expected 11-point margin of victory. Those burned by picking them against the spread last Thursday might want to keep in mind that the squad has not yet dropped back-to-back games against the spread this season.
Philadelphia’s victory lifted them to 8-0 while Washington’s loss dropped them down to 4-5. We’ll find out if Philadelphia can add another positive mark to their record or if Washington can shake off the defeat and take the spring out of Philadelphia’s step.
The Eagles are a big 11-point favorite against the Commanders, according to the latest NFL odds.
Over/Under: -111
See NFL picks for every single game, including this one, from SportsLine’s advanced computer model. Get picks now.
Philadelphia have won nine out of their last 15 games against Washington.
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Shygirl has dropped her new album Nymph and you’ll be able to see her at The Wiltern in Los Angeles on Friday, Mar. 24, 2023, along with more tour dates across the globe. On it, the South London artist offers up an eclectic glimpse into the intimate depths of her musical mind, saturating it all in the heady sensuality that’s characterized her soundscapes since the first single and music video.
But the album is as much introspection as it is an outpouring of vocal identity. And Shygirl — an almost oxymoron at this point — invites you in with gusto (if you can handle it). The album’s first two tracks — the simmering self-reflector “Woe” and shuddering call-and-response “Come For Me” — reveal Shygirl’s tendency for experimentation. Settling into cavernous electronica as easily as she does when she’s dropping fiery bars amidst concussive beat tracks devised by longtime producer Sega Bodega.
While tracks like “Shlut” and “Firefly” represent the fluctuations of style and genre that makeup Shygirl’s sonic palette. From galloping percussion rhythms to throwback R&B layers and instrumental mixups — the entirety of Nymph is built on the stunningly woven intricacies of her music.
There’s the raw rush of bittersweetness that fills the break-up ballad “Heaven” and its combustive counterpart “Missin u.” While the heavily Eurodance-inspired club bumper “Poison” and thrumming energies of “Wildfire” serve as a reminder that, whatever the tempo, Shygirl is always ever potently in control.
See Shygirl at The Wiltern in Los Angeles on March 24, 2023, and check out the rest of their tour below!
Visit Shygirl on their website, Twitter, and Instagram to stay updated on new releases and tour announcements.
Shygirl tour
11/5 – Sao Paolo, BR @ Primavera Sound
11/12 – Santiago de Chile, CL @ Primavera Sound
11/13 – Buenos Aires, AR @ Primavera Sound
12/1 – London, UK @ Printworks
12/2 – Manchester, UK @ Albert Hall
12/6 – Berlin, DE @ Astra
12/7 – Amsterdam, NL @ Melkweg
12/10 – Paris, FR @ Trianon
12/31 – Perth, AU @ Beyond the Valley Fest
1/1 – Sydney, AU @ Field Day Festival
1/4 – Sydney, AU @ Manning Bar
1/6 – Melbourne, AU @ Max Watts
1/7 – Brisbane, AU @ Field Day Festival
North America
3/15 – Vancouver, BC @ Celebrities Nightclub
3/17 – Seattle, WA @ Neumos
3/21 – San Francisco, CA @ The Regency Ballroom
3/24 – Los Angeles, CA @ The Wiltern
3/25 – San Diego, CA @ Music Box
3/31 – Chicago, IL @ Thalia Hall
4/3 – Toronto, ON @ The Axis Club
4/4 – Montreal, QC @ Le Studio TD
4/6 – Philadelphia, PA @ The Foundry at The Fillmore
4/8 – New York, NY @ Webster Hall
4/9 – New York, NY @ Webster Hall
4/12 – Washington, DC @ 9:30 Club
4/14 – Atlanta, GA @ The Masquerade – Hell
4/15 – Miami, FL @ The Ground
Words by Steven Ward
Listen to Shygirl’s new album Nymph below!









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OBJ.social is supported by the generous patronage of Mark Motors and Marilyn Wilson Dream Properties® Inc. Read their stories here.
Solomon Friedman brought the house down as host of the 17th Annual Steel Toes & Stilettos Gala held Saturday for a cause that’s all about doing quite the opposite, building new houses of the affordable kind.
The Ottawa criminal defence lawyer gave a priceless performance as emcee and charity auctioneer for Habitat for Humanity Greater Ottawa’s signature gala. It saw a crowd of 330 supporters gather at the Shaw Centre for an exceptionally fun night of dinner and dancing. 
The evening raised  $173,982 for the non-profit organization and its mission to put more roofs over the heads of hard-working, low-income families struggling to get ahead. 
“Each and every one of you here tonight in this room is helping families find strength, stability and self-reliance through affordable home ownership and, for that, I give you my thanks,” the organization’s CEO, Mushtaq Kazani, told his audience of sponsors, donors and volunteers in the Trillium Ballroom. Attendees included leaders in the construction and real estate industry, as well as professional services.
Shawna Blanchard, Habitat’s director of development, told OBJ.social how thrilled they were to celebrate in person after running the gala virtually during the pandemic. “It’s such a nice reminder of what we’re doing and why we’re doing it.”
Laurin General Contractor, which also has offices in Toronto and Calgary, was back for its eighth year as top sponsor. Owner Dennis Laurin and his wife, Andrea, told OBJ.social how much they respect the core values of Habitat for Humanity, particularly its focus on hard work, community outreach and families. “We love what it represents,” Laurin told OBJ.social.
Laurin again matched up to $5,000 in donations. The goal was easily achieved, prompting Friedman to work the room and, within a couple of minutes, get another $3,000 in pledges to be matched by him and his law partner, Fady Mansour.
A rock and roll-themed painting completed by artist Eric Waugh during the dinner service was later auctioned off. Laurin and Claude Thivierge from Capital Taxi each offered $5,000 on the agreement Waugh whip up a second painting, at a time to be determined.
Also unique to the live auction was the “Flight to Remember” package for two that included a one-hour scenic flight with Friedman, who’s also a licensed pilot, followed by dinner at Atelier and a stay at the Andaz Ottawa ByWard Market. It sold for $1,300 to the winning bidder, who may have had second thoughts after Friedman comically cast doubt about his flying skills: “If everything goes well, the winners of that flight will be here next year to tell you all about it.”
The audience heard how Habitat for Humanity GO has built nearly 100 homes since 1993. Board chair Scott Stevenson, a retired assistant deputy minister, shared the board’s belief that everyone needs a place to call home, and spoke about its motivation and drive to scale up and build the next 100 homes even sooner. 
Eight more Habitat families gained home ownership this past summer with the completion of Titus Landing, an eight-unit stacked townhome on the former Canadian Forces Rockcliffe Airbase.
Habitat GO has just broken ground on a new project in Kemptville, in partnership with Habitat for Humanity Thousand Islands. The energy-efficient development of 15 stacked homes is slated to be completed in 2024. Twelve of the units will be three or four bedrooms. The remaining three will be barrier-free/accessible units. It’s being constructed with a focus on using locally manufactured products.
Adrian Schut, director of construction for Habitat for Humanity GO, expects hundreds of volunteers in total to work on the Kemptville build. He also told OBJ.social how much he enjoys the positive energy and enthusiasm that the volunteers bring.  “It makes the job site a more interesting place, a much more diverse worksite.”
eQ Homes and Regional Group are major development sponsors of the build. Josh Kardish, senior vice president of eQ homes, told OBJ.social how much his staff love getting involved. The group builds are so popular that they draw names to decide who gets to go, he said. “It’s such a meaningful day.”
Highlights of the night included hearing how Habitat homeowner Makhtar Tall, together with his wife Seynabour and their three kids, have built a better life for themselves since moving into their home in nearby Perth in 2017. The couple moved to Canada from Senegal some 15 years ago.
The father recalled how he used to struggle to afford their two-bedroom apartment in a neighbourhood that wasn’t safe for his kids to play outside. He had no extra money, despite his job in retail management. “It was a very stressful situation,” said Tall. “I was spending so much money on rent (that) there was no opportunity to save for my children.” 
Then, he learned about Habitat for Humanity. “At first, I thought this was too good to be true but I decided to take a leap of faith and apply for the home ownership program.”
Anyone can apply to become a Habitat homeowner but must be in need of housing, able to make affordable mortgage payments and be willing to actively partner with their Habitat organization, including a commitment to complete 500 volunteer hours.
Tall recalled the excitement as they moved into their four-bedroom home five years ago. “For me, I felt a great deal of relief. I was able to stop worrying,” he said while choking back the emotion that occasionally overwhelmed him at the podium. 
Seynabour has since become a personal support worker and is taking further courses. Tall is studying business management in his own effort to further himself. As for his kids, he spoke with such pride about how well they’re doing in school and the community.
He also talked about his home as a safe and welcoming place. “When my children are older, no matter where they go, I want them to know that they can always come back to this home,” said Tall, who received a long and heartfelt standing ovation from the room.
The gala’s theme reflected the organization’s Global Village volunteer program to build new homes around the world. There were live performances reflecting South Asian, Indigenous and Asian cultures interspersed throughout dinner.
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Trump told Arizona GOP Senate nominee ‘you’ll lose if you go soft’ on election fraud claims  CNN
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