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Steely Dan’s November 1972 debut release Can’t Buy A Thrill has often been overlooked in the wake of the band’s later, mega-impactful hit albums like September 1977’s Aja and November 1980’s Gaucho. But the reality is, the template for the Steely Dan sound was born in full flower on their first album, and is thus ground zero for understanding and appreciating the trajectory of the band.
The new, standard-edition 180g 1LP version of Can’t Buy A Thrill is the first entry in Geffen/UMe’s fine new reissue series of the core ABC and MCA Records-era Steely Dan catalog. The series includes both standard 33 & 1/3rpm 180g 1LP versions via UMe, and super-deluxe 45rpm 200g 2LP ultra-audiophile UHQR editions via Analogue Productions. (More on all that in a bit.)
One thing that’s really interesting when you go back and listen to older albums like this one with fresh ears and 20/20 hindsight [or should that be 2022 hindsight?—MM] is you hear things differently than you did many years before. When Can’t Buy A Thrill came out in 1972, it sounded like nothing else on the radio, really — although it did have several touchstones that made the music feel at once familiar: strong, hook-filled pop melodies, intriguing lyrics this side of Bob Dylan and later-stage Beatles, and harmonies that embraced the close-knit aesthetics of Crosby, Stills & Nash (the latter of which were then top of the pops as far as public taste went).

And then, there were those infectious, witchy-mesmerizing grooves crafted from a recipe that included a pinch of jazz, a hint of future funk, a spritz of gospel-informed soul, and a big heaping dash of good ol’ rock & roll. True, Steely Dan lyrics could be oblique, yet their hooks were at times bubblegum-worthy, and the music sophisticated enough to resonate with a generation raised on John Coltrane, Miles Davis, Horace Silver, Dave Brubeck, and Jimi Hendrix.
With all that in mind, Grammy-nominated producer Gary Katz did a great job of clarifying their sound to make Steely Dan radio-worthy — a sound that had one foot in AM radio of the past (mono, very compressed) and the other foot in the higher-fidelity future of FM radio (stereo, much more dynamic range).
I’ve owned many original ABC Records pressings of Can’t Buy A Thrill over the years including the 1972 black-label edition, and the later “rainbow” design from the mid-’70s. Exactly none of these pressings were perfect, as far as listening experiences went — thus, my ongoing quest for better versions. [Me, I still have a so-so rainbow copy I can’t bring myself to play anymore—MM]
Unfortunately, Steely Dan’s popularity ascension in the 1970s coincided with two conflicting cultural phenomena: the music industry’s explosive growth, and the Middle East oil crisis (oil being a key ingredient in making vinyl, of course). The band’s original label, the above-noted ABC Records, was never known for especially great pressings when it came to rock recordings. From my then-junior-high-age perspective as an aspirant novice audiophile, the parent company seemed to pay more attention to those sonic details for their jazz releases on Impulse!, which generally sounded better than most rock records I heard from them. Three Dog Night, Steppenwolf, Emitt Rhodes, Jim Croce, Joe Walsh, and James Gang were all Steely Dan labelmates around that time period — and they all made some great records that sounded “just ok,” even to my inexperienced ear back then. As the company grew, pressings quality seemed to suffer at times. (To be fair, this happened at other labels as well.)

One of my biggest challenges with Can’t Buy A Thrill over the years has been finding a copy that was not off-center. Especially when you get to the end of Side One and the song “Only A Fool Would Say That,” wherein there are some full-stop breaks by the band featuring a big, Beatle-esque guitar chord that chimes on its own. When the album is off-center, that chord can easily waver annoyingly in and out of tune.
That said, this is a good time to discuss the details of how these new Steely Dan reissues have been crafted — many details of which MM initially covered in his News post from September 16, which you can refresh yourself with here.
I do want to share the following (in italics below) from the official press release for the series, which explains the nuance between the different versions of the albums that will be made available:
All albums are being meticulously remastered by Bernie Grundman from the original analog tapes except for Aja, which will be mastered from an analog, non-EQ’d, tape copy, and Gaucho, which will be sourced from a 1980 analog tape copy originally EQ’d by Bob Ludwig. (There’s no evidence the original tapes containing the flat mixes of Aja and Gaucho were delivered to the record label and it’s presumed the tapes no longer exist.) Lacquers for UMe’s standard 33 1/3 RPM 180-gram version will be cut by Alex Abrash at his renowned AA Mastering studio from high-resolution digital files of Grundman’s new masters and pressed at Precision. They will be housed in reproductions of the original artwork.
As noted both above and in MM’s earlier News post, the Steely Dan catalog up to Gaucho will also be issued in limited-edition premium 45rpm formats in the Ultra High-Quality Vinyl (a.k.a. UHQR) series from Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds. (When are we reviewing the latter version, you ask? Early next week.)
These are important distinctions needed to be understood from the get-go of this series, and I bring it up fairly early in my review because I’ve seen some people commenting/assuming in the socials that this new standard edition from Geffen/UMe is “all-analog.” That status seems to be reserved for the UHQR editions, all of which we will also be reviewing as they are released. So, to restate for the sake of clarity: the standard edition’s lacquers were cut from high-resolution digital files of Bernie Grundman’s new masters.
With those technical distinctions in mind, I will go on record stating I think this new standard edition of Can’t Buy A Thrill is really very good — all things considered. In fact, after several back-to-back listens, in general, I find it pretty fine when comparing it to my mid-1970s pressing (i.e., the rainbow label version). There is no doubt a brighter high-end here than on my old copy, but also the vinyl itself — 180g, dark and black, and pressed at Precision — is generally much quieter than any of the original copies I’ve had over the years.
I italicize the word generally here, as there is one caveat: I have heard a couple minor “non-fill” type glitch moments at a couple points during my listening sessions with this new edition. They weren’t dealbreakers, however, as they were short and irregular during loud passages and not annoying, but I have to report two or three “pfft” type sounds came up — and thus far, they have not worked their way out, if you will, with repeated plays (as sometimes happens).

While this new pressing of Can’t Buy A Thrill is indeed better than my original in terms of centering, it still wasn’t perfect. Thus, I still heard a bit of that wavering thing going on at the end of Side One on “Only A Fool Would Say That.”
Once I got used to the increased brightness, I grew to like the sound of this new edition. In comparison, my original sounds muddy, and overly compressed. This was effectively a jazz-rock band playing pop, so producer Katz could have easily gone the other direction and made Can’t Buy A Thrill a very dynamic, wild-ride recording. But since it was a mainstream release with AM-radio hit aspirations, I think he, and they, wisely decided to constrain the dynamics a bit. I suspect this was also done to ensure there wouldn’t be any returns from average teenage record players not being able to track the albums (a practice dramatically exemplified by Atlantic Records’ treatment of Led Zeppelin’s infamous/legendary October 1969 second album, Led Zeppelin II, and its initial amazing mastering by Robert Ludwig that was soon enough recalled).
As Steely Dan grew in popularity, their strengths as a studio group increased accordingly — as did the fidelity of their later albums, paralleling the growth of higher-fidelity FM radio and the advent of affordable, audiophile-leaning component audio systems that were all the rage at that time. If you went into most any stereo shop back in the day, there were almost always Steely Dan records being used for speaker demos (especially by the time of May 1976’s The Royal Scam and the aforementioned Aja).
This new 2022 reissue of Thrill shines fine light on the little details of the recording. Listen closely for the cymbal crashes and related decay on “Do It Again,” “Reelin’ In The Years,” and “Dirty Work” for some quick examples. Said crashes, courtesy drummer Jim Hodder, are much more natural, realistic, and present on the new version than on my original copy. Additionally, Denny Dias’ acoustic guitar strums on “Dirty Work” sound more full-bodied and woody.
Walter Becker’s bass on “Midnight Cruiser” is punchier than on my original LP, and the instruments and vocals on “Only A Fool Would Say That” feel richer and rounder comparatively, especially the acoustic guitars. Donald Fagen’s acoustic piano on “Fire In The Hole” sounds very natural, rich, and open, complemented by those beautiful pedal-steel guitar lines by Jeff “Skunk” Baxter. Then listen for that badass amplifier tone on the guitar solo during “Change Of The Guard,” which never came through this strongly on the original edition I have. I went back again to double-check, and the whole song sounds very squashed down on the ’70s mastering, comparatively.
In general, this new edition of Can’t Buy A Thrill is a solid, basic reissue. If you don’t have it on vinyl or are hoping to upgrade from an older copy without breaking the bank, this will be more than adequate for most general high-fidelity listening situations.
Again, it is important to understand that great-sounding original pressings of Can’t Buy A Thrill were never easy to find, and many later reissues of the Steely Dan catalog were decidedly lackluster — especially in the late-’70s and into the ’80s, when MCA Records took over the catalog, and quality controls suffered greatly.
In some ways, it is even harder today to track down a decent used copy of Can’t Buy A Thrill, seeing how it was a popular album back in the day, especially among collegiate audiences. So many original copies of the album in the collector’s universe (a.k.a. “out in the wilds,” as they say) have been played on average to sub-average equipment quite often, not to mention in party settings. Notably, I’ve frequently come across copies with annoying groove distortion towards the center of the disc, a telltale sign of it being played on a turntable or record player that was improperly aligned. [Hence, the latter being one of the main reasons I don’t play my own rainbow copy anymore, as mentioned earlier—MM]
Due to the relative scarcity of finding these albums in good condition, prices of original pressings have escalated to fairly absurd levels these days. At the time of this posting, there were just eight near-mint original 1972 pressings on Discogs, with prices starting at just under $100 and maxing out at around $220. That’s a lot of money for a popular record that was far from obscure back in the day, seeing how it reached No. 17 on the Billboard album charts, and was subsequently certified Platinum (i.e., 1 million copies sold) by the early-1990s.

If I have any nits to pick at all, it is that it would have been a nicer touch if the album’s designers had been able to make the record labels look a little bit more like the original 1972 editions. To UMe’s defense, however, they may very well have had their hands tied to some degree, given they probably don’t own the ABC brand or stamper outright.
[MM interjects: We’ll look into confirming that for future SD LP reviews, but I must also point out here that the word “Reeling” is spelled out with the “g” at the end on the label that appears on Side Two (as was the case on the earlier ABC label), whereas the title is spelled with the “g” dropped and the apostrophe in place — “Reelin’ In The Years” — on the back cover and on the inner gatefold. Which way do you prefer? Share your thoughts in the Comments section below, either way.]
The album cover itself is made from a thinner white-card stock than the sturdy, thick brown cardboard used back in 1970s. Feeling more like album covers from the 1980s, the printing quality is quite good.
Taken as a whole, and considering the $29.99 SRP, this new 33 1/3rpm standard edition 180g 1LP reissue of Can’t Buy A Thrill is a very fair deal indeed, and worthy of your consideration. As to whether you need the more expensive super deluxe UHQR version — which spins at 45rpm, is 200g, and comes in a much more elaborate packaging design — tune in early next week as we will explore that edition in full. Ultimately, whether you get one, or both, of these versions will depend on how much you love Steely Dan music, what kind of audio gear you own, and the current state of your wallet.
For those of you who already consider Can’t Buy A Thrill an all-time Steely Dan favorite, owning the ultimate UHQR pressing of it may well be an investment-worthy Holy Grail. But for many, having a simple, clean, and nice-sounding standard edition may well be more than thrilling enough.
(Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for AudiophileReview.com, among others, and you can see more of his impressive C.V. at LinkedIn.)

STEELY DAN
CAN’T BUY A THRILL
180g 1LP (Geffen/UMe)
Side One
1. Do It Again
2. Dirty Work
3. Kings
4. Midnite Cruiser
5. Only A Fool Would Say That
Side Two
1. Reelin’ In The Years
2. Fire In The Hole
3. Brooklyn (Owes The Charmer Under Me)
4. Change of the Guard
5. Turn That Heartbeat Over Again

COMMENTS

Cant buy this thrill so I will not be reeling in any years.

Submitted by ivansbacon on Fri, 2022-11-11 13:36

Sadly it looks like i will not be getting one.
I don’t want one cut from digital files and i can not purchase anything from Analog Productions because they refuse to use USPS to ship to Alaska.

Waiting for a good Quad mix to pop up for a “resonable” price.

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ETA Dates For “Countdown To Ecstasy” and “The Royal Scam”

Submitted by estimatedprophet on Fri, 2022-11-11 19:31

Have release dates for the Geffen/UME releases of “Countdown” and “Royal Scam” been announced?

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Countdown to Royal

Submitted by Mike Mettler on Sat, 2022-11-12 08:39

No additional release dates have yet been officially made known for the remainder of the Steely Dan ABC/MCA-era catalog releases from Geffen/UMe and Analogue Productions, though it would stand to reason that if they continue to proceed chronologically after Can’t Buy A Thrill, July 1973’s Countdown To Ecstasy would be next. followed by February 1974’s Pretzel Logic and March 1975’s Katy Lied ahead of May 1976’s The Royal Scam. We will keep you posted once we learn about any further release dates — especially since we plan to review all of them!

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DSD…

Submitted by latheofheaven on Fri, 2022-11-11 22:12

I believe that I saw in print that the file that Bernie sent over was indeed a DSD file (don’t know if it was 64 or Quad) But, that is a BIG leap over the standard 24/192 file that say Abbey Road routinely uses, and should be specified. Especially since the extremely revelatory video on YouTube by ‘The Audio Analyst’ and his interview with Dr. David Robinson, owner of Positive Feedback, who with Chad (of all people) and another known Audio person in doing blind tests could NOT even 1 time tell the difference between the original master tapes and DSD Quad copies 🙂

As a matter of fact Robinson said that these guys as Abbey Road should get off their @sses and go to the Quad DSD format and ditch the PCM files.

https://www.youtube.com/watch?v=5uFieIMK4QM&list=WL&index=4&t=2301s

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An elaborate, insightful review; but …………

Submitted by Steve Edwards on Sun, 2022-11-13 09:03

one element I wish it included would be comparisons to other reissues, specifically the Speakers Corner version of 2000.

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Thrill

Submitted by xtcfan80 on Sun, 2022-11-13 15:51

I have a nice Canadian pressing of CAN’T BUY A THRILL…probably from the early 1980s…Nice sounding LP. From my experience, during the late 70s and into the late 80s, the Canadian pressing of a given pop title is often much better sounding than the US pressing, better vinyl, better mastering.

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The UHQR and Geffen

Submitted by Russo7516 on Mon, 2022-11-14 04:38

Both re issues are done by BG . So whats the point of a UHQR at 149.99 plus taxes and shipping and handling from the Chad .Plus his You Tube critic’s pushing the UHQR . The In Groove guy and Micheal 45 . Funny an above comment mentioned it is hard to get a copy to Alaska yet Micheal 45 on You Tube got it the next day and a white label promo from the Chad within two days of release to do a review. He lives in Germany .I often wonder if those You Tube reviewers are on the pad.I feel todays record are done well but at 149.99 for UHQR and the huge box and 45 rpm’sand 30 buck for a Geffen reissue . It is an easy choice and I can buy a few other used records in Brooklyn .
As an avid collector I have an 1972 pressing VG at best.Sounds as described in this artcile
I doubt most wont hear the difference of BG UHQR or BG Geffen reissue.

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Ain't terrible

Submitted by Lemon Curry on Mon, 2022-11-14 05:05

I bought this LP based on this review. I was never going to shell out $150 for the UHQR, but I wanted to be in the game – I didn’t own this particular album.
I would say the 8/8 review is exactly right. The bass is a little boomy, but that’s what tone controls are for. I like it, will get some spins this week.

As for the digital step: this is a $25 album. That’s what digitally sourced music should cost. This isn’t where the war should be fought.

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There are several NM or M

Submitted by rl1856 on Mon, 2022-11-14 11:20

There are several NM or M black label pressings available on Discogs at 3 figure prices. But these are from dealers who hope someone will purchase… For the rest of us, a black label copy in EX to NM condition can be found for about the cost of the new single disk 33rpm pressing. I suspect the same relationship will hold for future SD reissues.

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Agree with rating

Submitted by Bskeane on Mon, 2022-11-14 14:12

I would agree with the rating and may even boot the pressing up to a 9. As for the fight between digital and analog, who cares. If it sounds good and is affordable to you, buy it.
Its all about enjoying the music. Yes I prefer all analog but prefer is the key word.

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Sadly it looks like i will not be getting one.
I don’t want one cut from digital files and i can not purchase anything from Analog Productions because they refuse to use USPS to ship to Alaska.
Waiting for a good Quad mix to pop up for a “resonable” price.
Have release dates for the Geffen/UME releases of “Countdown” and “Royal Scam” been announced?
I believe that I saw in print that the file that Bernie sent over was indeed a DSD file (don’t know if it was 64 or Quad) But, that is a BIG leap over the standard 24/192 file that say Abbey Road routinely uses, and should be specified. Especially since the extremely revelatory video on YouTube by ‘The Audio Analyst’ and his interview with Dr. David Robinson, owner of Positive Feedback, who with Chad (of all people) and another known Audio person in doing blind tests could NOT even 1 time tell the difference between the original master tapes and DSD Quad copies 🙂
As a matter of fact Robinson said that these guys as Abbey Road should get off their @sses and go to the Quad DSD format and ditch the PCM files.
https://www.youtube.com/watch?v=5uFieIMK4QM&list=WL&index=4&t=2301s
one element I wish it included would be comparisons to other reissues, specifically the Speakers Corner version of 2000.
I have a nice Canadian pressing of CAN’T BUY A THRILL…probably from the early 1980s…Nice sounding LP. From my experience, during the late 70s and into the late 80s, the Canadian pressing of a given pop title is often much better sounding than the US pressing, better vinyl, better mastering.
Both re issues are done by BG . So whats the point of a UHQR at 149.99 plus taxes and shipping and handling from the Chad .Plus his You Tube critic’s pushing the UHQR . The In Groove guy and Micheal 45 . Funny an above comment mentioned it is hard to get a copy to Alaska yet Micheal 45 on You Tube got it the next day and a white label promo from the Chad within two days of release to do a review. He lives in Germany .I often wonder if those You Tube reviewers are on the pad.I feel todays record are done well but at 149.99 for UHQR and the huge box and 45 rpm’sand 30 buck for a Geffen reissue . It is an easy choice and I can buy a few other used records in Brooklyn .
As an avid collector I have an 1972 pressing VG at best.Sounds as described in this artcile
I doubt most wont hear the difference of BG UHQR or BG Geffen reissue.
I bought this LP based on this review. I was never going to shell out $150 for the UHQR, but I wanted to be in the game – I didn’t own this particular album.
I would say the 8/8 review is exactly right. The bass is a little boomy, but that’s what tone controls are for. I like it, will get some spins this week.
As for the digital step: this is a $25 album. That’s what digitally sourced music should cost. This isn’t where the war should be fought.
There are several NM or M black label pressings available on Discogs at 3 figure prices. But these are from dealers who hope someone will purchase… For the rest of us, a black label copy in EX to NM condition can be found for about the cost of the new single disk 33rpm pressing. I suspect the same relationship will hold for future SD reissues.
I would agree with the rating and may even boot the pressing up to a 9. As for the fight between digital and analog, who cares. If it sounds good and is affordable to you, buy it.
Its all about enjoying the music. Yes I prefer all analog but prefer is the key word.

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Los Angeles, CA  USA — It’s November and the pre-holiday theatrical film rush is on with Saban’s latest, Battle For Saipan.
Saipan features a veteran cast of the WWII action film Battle for Saipan which hails from director Brandon Slagle. The movie, which is being described as a full-on war epic with blistering hand to hand fight action, stars Starship Troopers alum Casper Van Dien as well as Louis Mandylor (The Debt Collector films) and genre favorite Jeff Fahey in an original production from the Hillin Entertainment team of Daemon Hillin and Carolina Brasil.

Saban Films will be unveiling this latest theatrical release mid-month. And although director Slagle is no stranger to action after having directed multiple horror films such as Escape from Ensenada and the sci-fi action hybrid Crossbreed, this films score strikes a fresh cord with action adventure fans familiar with Slagle’s work.
This interesting musical approach can be credited to veteran Brazilian film score talent, Daniel Figuereido, now based out of Los Angeles.
Figuereido is well known to global film audiences with his extensive pedigree including written music scores for over 20 TV series broadcast in over 150 countries, besides many films. Successful telenovelas soundtracks such as “The Mutants”, “Opposite Lives”, “The Law and The Crime”, “Joseph from Egypt”, “The Promised Land”, and the successful Moses and the Ten Commandments.
Battle For Saipan marks Figueiredo’s second American domestic film release and the last three months. He also scored the previous release Maneater, a shark attack thriller also from the Hillin Entertainment team.
Daniel holds the record as the “Greatest number of songs in simultaneous execution in a TV series.” Between February and November 2017, he had 794 songs played in a single TV series. As a songwriter, he participated as a composer/performer in over 16 thousand recordings.
The music and film industry in Hollywood has been quick to notice Figueiredo’s trademark style, leading to several high-profile projects such as his scoring for the highly anticipated telenovela The 10th Commandment.
But as with any film score professional, there is always the challenge of conjuring creative and visionary notes on tight deadlines. For his part, Figueiredo remains game for the challenges scoring presents to his creative abilities and limited time.
“The biggest struggle was how this project had a huge amount of songs and a very short deadline”, Figueiredo said.
Daniel is also a busy recording exec in his role as co-founder and CEO of the companies MusicSolution (music production for films and TV), Up-Tracks (music library) and Audio Xpression (digital audio applications).
As an emerging TV/Film composer, entrepreneur, and Music Producer in Hollywood, Daniel Figueiredo keeps expanding his collaboration with the music business while overseeing the widely awaited launch of his XpandMusic record label.
XpandMusic’s catalog can be found now on every music streaming platform.
Organization: XpandMusic
Contact: Tony Viegas
Ph: (310)709-8671
Press Release Distributed by The Express Wire
To view the original version on The Express Wire visit Saban Films’ “Battle For Saipan” Showcases Epic Score By Brazil’s Daniel Figueriedo

A US trial over Elon Musk’s $50 billion compensation package at Tesla began Monday in a Delaware court.
The estranged wife of the billionaire owner of New York’s Chrysler Building is entitled to more than $43 million under prenuptial agreements.
Spear phishing is a phishing method that targets specific individuals or groups within an organization.
Sitting in the dark, wearing a traditional Indonesian batik shirt and surrounded by candles, Elon Musk offered a vision for the future.
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Music is never out of fashion as a gift idea. Here are some outstanding vinyl box sets for lovers of Neil Young, Billie Holiday and Ella Fitzgerald, Iron Maiden and a certain ex-Beatle, a book about the beginning of rock at Sun Records and another about The Byrds, some tough-looking boots made in collaboration with The Clash, and even a perfume inspired by Whitney Houston.
ALWAYS YOUNG: Neil Young is releasing his 1972 album “Harvest” as a 50th anniversary edition. Young’s fourth solo album remains one of his most beloved, with the songs “Heart of Gold” and “Old Man.” The box sets will be released Dec. 2 on vinyl and CD, boasting the original album, three studio outtakes, and an unreleased live 1971 BBC solo performance on CD, LP and DVD. Also included is the film “Harvest Time,” a previously unseen two-hour documentary capturing the “Harvest” recording sessions. The package also contains a hardbound book and fold-out poster. Cost: $150.
BOOTS MADE FOR WALKIN’: The Clash and Dr. Martens — two British icons — have gotten together again for some punk-approved footwear. An eight-eye, high-shine boot ($180) has a military green base, and a three-eye shoe ($140) has a cherry red base. The heels are marked with The Clash’s logo, and each pair comes with a set of dog tags based on those worn by the band, and seven sets of laces inspired by the colors of their most iconic albums. Here’s a way to “Rock the Casbah” in style.
BABY ROCK: You can’t talk about the birth of rock ‘n’ roll without talking about Sun Records, which recorded Elvis Presley, Roy Orbison, Jerry Lee Lewis, Carl Perkins and Johnny Cash. To celebrate Sun’s 70th anniversary comes “The Birth of Rock ’n’ Roll: The Illustrated History of Sun Records & the 70 Records that Changed the World” (Simon and Schuster). It’s written by Peter Guralnick and Colin Escott, and has entries for such hits as “Blue Suede Shoes,” “Whole Lotta Shakin’ Goin’ On,” “Breathless,” “I Walk the Line,” “Mystery Train” and “Good Rockin’ Tonight." Cost: $60.
SIR PAUL: Paul McCartney’s three solo albums have been packaged into a single box. His first, “McCartney,” was released in 1970 and features “Every Night,” “Junk” and “Maybe I’m Amazed.” “McCartney II” came out in 1980 and contained “Coming Up,” “Waterfalls” and “Temporary Secretary.” The third, in 2020, had tracks “Find My Way” and “Women and Wives.” The vinyl versions come in creamy white or black, and there is a three-CD set. They include three photo prints with notes from McCartney about each album. Cost: $40-100.
SMELL LIKE WHITNEY: Whitney Houston’s estate has released a perfume inspired by the singer’s “luminous” personality, warmth and zest for life. Simply named “Whitney,” the scent features notes of pear and citrus, balanced by gardenia, ylang-ylang and jasmine. A touch of amber grounds the fragrance with a warm, sensual note, according to its maker. The bottle was similarly inspired, taking its tall, sleek silhouette from Houston’s “elegant stature.” Cost: $9.95 for a 3 ml sample.
BILLIE & ELLA: Limited edition vinyl box sets from legendary jazz vocalists Billie Holiday and Ella Fitzgerald will make anyone’s holiday brighter. Never before released on vinyl, the four-LP box collection, “Billie Holiday: The Complete Decca Recordings” has 50 tracks, including “Guilty” and “Solitude,” and a 20-page booklet. The three-LP box set “Ella Fitzgerald: Jukebox Ella: The Complete Verve Singles, Vol.1” gathers her singles together for the first time, including “The Sun Forgot to Shine This Morning” and “Hotta Chocolatta.” Cost: $90 for Holiday; $45 for Fitzgerald.
IRON GIFT: In honor of the 40th anniversary of Iron Maiden’s third album, “The Number of the Beast,” the heavy metal kings have released a three-disc vinyl rerelease. That was the album that first featured Bruce Dickinson on vocals and catapulted the band to international stardom, with songs like “Run To the Hills” and "Murders In the Rue Morgue.” In the set, the band is also offering for the first time on vinyl their live concert from March 1982 at Hammersmith Odeon in London, “Beast Over Hammersmith.” Cost: $49.50.
BYRDS, PART ONE: “ The Byrds: 1964-1967” is a 400-page coffee-table photo book that was curated by the band’s three surviving founding members. It is available in three versions, signed by the surviving members, Chris Hillman, Roger McGuinn and David Crosby. The book features more than 500 images from legendary photographers such as Henry Diltz, Barry Feinstein, Curt Gunther, Jim Marshall, Linda McCartney, Tom Gundelfinger O’Neal and Guy Webster, as well as restored images from the Columbia Records archives. Cost: $125-$1,700.
BIRDS, PART TWO: Fans of our feathered friends may love a massive, 20-LP set containing 242 recordings of original songs and readings inspired by or incorporating birdsong — all to benefit the National Audubon Society. Some of the artists included in The Birdsong Project are Mark Ronson, Beck, Karen O, Nick Cave, Elvis Costello, Robert Pattinson, Jonathen Franzen, The Flaming Lips, Bobby Cannavale, Greta Gerwig and Ad-Rock. There’s also a 60-page book with essays from Randall Poster and Shearwater’s Jonathan Meiburg, and 27 artists contributed original paintings and illustrations. Cost: $400-$440 depending on outlet.
TOP OF THE CHARTS: Who has the best album in the land? Rolling Stone magazine has weighed into such a fraught and contentious debate with “The 500 Greatest Albums of All Time." This is a book that will spark a thousand arguments — is “Superfly” by Curtis Mayfield better than “Red” by Taylor Swift and is Pearl Jam’s “Ten” correctly ranked above “The Bends” by Radiohead? The magazine got its ranking by polling critics and musicians like Stevie Nicks, Questlove and Beyoncé. Let the debates begin (likely as soon as this gift is unwrapped). Cost: $50.
—-
For more AP Gift Guides, go to https://apnews.com/hub/gift-guide.
___
Mark Kennedy is at http://twitter.com/KennedyTwits
Copyright 2022 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

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by Isthmus Staff
November 14, 2022
5:32 AM
Nonprofit Night Out & Volunteer Fair, Monday, Nov. 14, Lodgic Everyday Community, 4-7 p.m.: Many people never consider how nonprofits make their community a better place, but increasingly these groups and agencies are taking on a greater share of the responsibility for making strong communities. Nonprofit Night Out & Volunteer Fair will highlight more than a dozen Madison area nonprofits. If you’ve been harboring thoughts of volunteering or otherwise giving back, this event can help you explore what nonprofit might be a good fit for you. Tabling groups range from the Literacy Network to the UW Arboretum. Free, but organizers ask that you register for tickets at eventbrite.com/e/432218285527.
courtesy Union Square & Co.
Andrew L. Seidel
Andrew Seidel, Monday, Nov. 14, Central Library 7 p.m.: In the new book American Crusade: How the Supreme Court is Weaponizing Religious Freedom, constitutional and civil rights attorney Andrew Seidel examines pivotal Supreme Court cases over the last 30 years and argues that the constitutional right to religious freedom has been invoked not just to argue cases, but to force religion onto others. From historic cases to the recent fall of Roe v. Wade, Seidel explains how religious freedom has been weaponized by the Supreme Court. Join Seidel at this event presented by the Wisconsin Book Festival.
Thanksgiving Basket Drive, through Nov. 20, Goodman Community Center: Each November, the Goodman Community Center assembles meal kits for a full Thanksgiving dinner for Dane County families, and this year their goal is to serve 4,000 households (the deadline to sign up was Oct. 28). That’s a lot of turkeys and other items to collect, and you can be a part of it by donating food items from the list or a monetary donation by Nov. 20. Find the grocery list, drop-off times and more info on donating at goodmancenter.org/thanksgiving.
courtesy Lyla June
Lyla June
The Power of Indigenous Knowledge in an Age of Neocolonialism, Monday, Nov. 14, UW Discovery Building-DeLuca Forum, 7 p.m.: Don’t let the weighty title of this talk scare you off; it should be an empowering evening. Speaker Lyla June is of Diné (Navajo), Tsétsêhéstâhese (Cheyenne) and European heritage, and is a poet, musician and community organizer. She will discuss Indigenous rights, sustainable traditional land practices and more as part of the Wisconsin Union Directorate’s Distinguished Lecture Series.
Eric Baillies, through Nov. 20, Garver Feed Mill: Madison photographer Eric Baillies has distinguished himself by using 19th century photographic techniques and equipment to create a stunning body of work. Baillies uses large format cameras, glass plates and a variety of chemicals to produce photos the way Mathew Brady did during the Civil War. The exhibit runs through Nov. 20; gallery hours are noon-6 p.m. Thursday and Saturday, noon-8 p.m. Friday, and noon-4 p.m. Sunday.
Jim Barnard
Amy Quan Barry
Journeys: An Evening with Quan Barry, Tuesday, Nov, 15, UW Discovery Building, 7 p.m.: Amy Quan Barry, the Lorraine Hansberry Professor of English at UW-Madison will read from her work that spans two decades at the university as poet, novelist and playwright. Register at warf.org (including for a Zoom option) for this Crossroads of Ideas series event.
Stones in His Pockets, through Nov. 20, American Players Theatre, Spring Green: It’s getting chilly out there, as APT introduces its final show of the season inside the Touchstone. Stones in His Pockets, a story of Irishmen down on their luck hired as Hollywood extras, is sort of a seize-the-day tragicomedy. Nate Burger and Marcus Trushinski play every role in the show, and the audience will be in good hands. Find the schedule and tickets at americanplayers.org, and read Gwendolyn Rice’s review here.
Jeff Alexander
David Hecht & the Who Dat
David Hecht & the Who Dat, Tuesday, Nov. 15, Crystal Corner Bar, 8 p.m.: The long-awaited return of live music to the Crystal Corner Bar includes the return of monthly residency shows as well. New Orleans-inspired David Hecht & the Who Dat plays the bar’s front corner space the third Tuesday of every month. Along with veteran guitarist Hecht (Primitive Culture), the core band includes bassist Phil Lyons (VO5) and Chris Di Bernardo (Natty Nation, Mama Digdown’s). The fourth player can be somewhat of a surprise, from sax player Nicholas Bartell to jazz violinist Jon Vriesacker to keyboardist David Stoler; it’s a clubhouse for quality local musicians of all kinds, folks who simply show up and plug in.
The Driftless Revelers, Wednesday, Nov. 16, Red Rooster, 6 p.m.: Eau Claire’s Driftless Revelers will bring good cheer to Madison with their scrappy string-based freak-folk, featuring songs from their new album, American Fork Standards. Songs like “Meat Raffle Mambo,” “Wisconsin Saturday Nights” and “Jesus Shaves” that both revere and good-naturedly poke fun at state culture may remind listeners of Lou and Peter Berryman or even the old Free Hot Lunch! band.
Questioning Things: A Quarter Century of Material Culture Studies at UW-Madison, through Nov. 20, UW Nancy Nicholas Hall-Ruth Davis Design Gallery: Questioning Things focuses on the study of material culture; that is, the study of the objects of the past, from teapots to chairs to shoes. The “conversational” exhibit is dotted with the kinds of questions that those who study material culture ask, with a nod to the UW’s quarter century of scholars in the field, and visitors are prompted to consider their own answers.
Burrell Sunrise
Alexis Lombre
Coda Fest, Nov. 16-20, Cafe Coda: Cafe Coda has been a steadfast presence since reopening on Williamson Street in 2018 — including a rapid transition to the virtual world in 2020 to keep the music flowing through pandemic times. And in mid-November, the venue will be the center of the jazz world during the inaugural Coda Fest. The lineup: Sun Ra Arkestra (led by Marshall Allen), Roscoe Mitchell, Thaddeus Tukes Trio, Alexis Lombre Quartet, Chicago Yestet, Lynne Arriale Trio…and that is just the start. Evening sets are packaged as a group of shows for one ticket price, and there is also an option for a full-fest ticket; early afternoon shows are free. Find the full schedule and tickets at cafecoda.club, and read Michael Muckian’s preview here.
Ross Zentner
Candace Thomas (left) and Jamal James in “Feeding Beatrice: A Gothic Tale,” Forward Theater, 2022.
Feeding Beatrice: A Gothic Tale, through Nov. 20, Overture Center-Playhouse: This dark comedy by up-and-coming playwright Kirsten Greenidge takes on both the familiar trope of the haunted house and social issues. In this second production of Forward Theater’s season, a young couple buys an old house haunted by the spirit Beatrice, who keeps upping the ante on her invasion into their lives. Greenidge’s exploration of race and class in Feeding Beatrice: A Gothic Tale will be augmented by programs before each Saturday performance (at 6:30 p.m.), discussing horror noire, the history of housing discrimination in Madison, and playwright Lorraine Hansberry. Performances are at 7:30 pm Wednesday-Saturday and 2 p.m. Sundays, plus 2 p.m., Nov. 12 and 19. Read Gwendolyn Rice’s review here.
Noj Tsiab, Thursday, Nov. 17, Life Center Madison, 10 a.m.: The Hmong “pre-New Year” of Noj Tsiab is a happy way to celebrate or learn more about a tradition that thanks the community (all are welcome) and the spirits for a good harvest and healthy life. The event features Hmong rituals, dancing and music, and is capped by a luncheon of delicious Hmong foods. Free, but RSVP to [email protected] or call 608-692-8918.
Alison Townsend, Thursday, Nov. 17, Mystery to Me, 6 p.m.: Wisconsin writer Alison Townsend will be discussing her book, The Green Hour: A Natural History of Home, with Madison poet Marilyn Annucci live and in-person at this Mystery to Me bookstore event. Townsend, who has published several volumes of poetry, turns to the essay here to parse five rural and wilderness landscapes, and how we as humans connect to the land. Free, but advance tickets are recommended (or register for the Crowdcast stream here). Note, this event was rescheduled from Oct. 20.
Martin Vire
Marsden
Marsden, Thursday, Nov. 17, High Noon Saloon, 7 p.m.: On the new album Tune It Out, Madison singer-songwriter and guitarist Marsden channels the angst generated by the overwhelming nature of modern life into driving modern rock, with a dash of ’90s grunge for spice. It’s a worthy follow-up to the 2017 space-themed concept album, Gravity. Marsden celebrates the release of Turn It Up with this concert, also featuring sets by IT-themed punk heroes Help Desk and Queens of the Stone Age tribute The Regular Johns.
Steve Noll
Cast members of “Act a Lady,” StageQ, 2022.
Act a Lady, through Nov. 19, Bartell Theatre: StageQ takes on Jordan Harrison’s play, Act a Lady, set in a Midwestern hamlet during Prohibition. The town’s men decide to put on a play in which they portray women — and as we have known since Shakespeare’s time, this is a situation ripe for both comedy and growing self-awareness. Harrison has a good feel for the complexities of gender roles and the script is a good fit for StageQ. Shows at 7:30 p.m. Thursday-Saturday (4 p.m. on Nov. 19) and 4 p.m., Nov. 13.
Find the individual Picks collected here, and as part of the full calendar of events.
by Isthmus Staff
November 14, 2022
5:32 AM
ISTHMUS is © 2021 Isthmus Community Media, Inc. | All rights reserved. | Madison, Wisconsin | USA

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Moogerfooger Effects Plug-ins are a re-invention of Moog’s coveted analog effects pedals, bringing the legendary tone, musicality, and interconnectivity of the original hardware effects to your digital music production environment.
Designed by Bob Moog and his engineering team in the late '90s and '00s, Moogerfooger effects pedals were direct descendants of the original Moog modular synthesizers, adapted to process, modulate, and play with inputs ranging from guitar, voice, and synthesizer to any imaginable audio source. 
From the MF-104's lush, warm analog delay circuit to the swirling phaser effects of the MF-103 and legendary resonant ladder lowpass filter in the MF-101, Moogerfoogers have become renowned for their sound and adopted by studios and performers around the world. ​
Each of the seven effects has been meticulously renewed with reverence for the lush, distinctive tones of the original analog circuits—retaining the exceptional sound quality the pedals are known for while expanding on what's possible in the hardware realm. With stereo functionality and an extended feature set, these plug-ins further tailor the classic Moogerfooger functionality to the modern digital creator. 
With all parameters ready to be automated as well as the ability to save and manage presets, Moogerfooger Effects Plug-ins mutate and re-shape themselves around your audio tracks. 
Moogerfooger Effects Plug-ins are now available to purchase for a limited-time introductory price of $149 USD (regularly $249) at moogmusic.com.
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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Output Inc. and Reason Studios, two market leaders in music production technology, have partnered together to create the “Arcade & Reason+ Bundle,”a complete package of instruments, effects and samples for music creators. This package pairs two of the most exciting plugin collections on the market for music makers.
“We are thrilled to partner with Reason to create our first-ever bundle of this kind, allowing music makers even easier access to the tools they need to get creative in the studio,“ says Gregg Lehrman, CEO at Output Inc.
 
Every new song idea starts with a spark, and music creators have been relying on Output Arcade and Reason+ as two of the best production bundles to help generate musical ideas. Output and Reason Studios have teamed up to pair these two powerful plugins together, offering access to hundreds of instantly playable, mind-blowing instruments—the perfect starting points for the next idea.
View videos:
Both the Reason Rack Plugin and Arcade support all plugin formats (VST/AU/AAX) and can be used in any DAW, whether it be Ableton Live, Pro Tools, Logic Pro, FL Studio or any other major DAW.
The bundle includes two annual subscriptions—one to Reason+ and one to Arcade. The package costs $249/year (saving producers 17% if they would purchase both annual subscriptions separately), but through July 14 users can snap up this deal for just $149 for the first year. Learn more about and sign up for the bundle at plugin.reasonstudios.com/arcadebundle.  
 
Highlighting the launch, Output and Reason Studios will be hosting a livestream event on the Reason Studios YouTube channel on July 5 at 10 a.m. PDT with artist and producer Yana Mahal. Expect plenty of great stories and music-making tips. Tune in at youtube.com/c/ReasonStudios.
Published since 1977, Music Connection magazine is a monthly music trade publication catering to musicians, industry pro’s, and support services. Music Connection exists to serve artists and music people, to offer connections to the unconnected and to provide exclusive information that can help our readers take their music to the next level.
Founded in 1977 on the principle of bridging the gap between “the street and the elite,” Music Connection has grown from a popular print publication into a spectrum of products and services that address the wants and needs of musicians, the music tech community and industry support services.
Black Lion Audio Announces PBR Patchbay Series https://t.co/lGzZevkcht https://t.co/trAo38Fo0P
Submit Songs to ASCAP “Together Again” Playlist https://t.co/4o7v3MDuq7 https://t.co/jWcH0zAUYj
Stem Aims to Simplify Royalty Payments https://t.co/a5dlcAXYqu
Stem Aims to Simplify Royalty Payments https://t.co/a5dlcBfzP4 https://t.co/XmhxhUqPRe
Thriller’s 40th Anniversary Inspires Immersive Event in NYC https://t.co/NSswZdSb3F

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“Man of La Mancha” will be performed at Theatre at the Mount in February and March 2023. [Submitted Graphic]
GARDNER — Theatre at the Mount announces auditions for its February/March production of “Man of La Mancha.”
Director Terrie Hyde and Music Director Dave Twiss are looking for a cast of eight principal adults and large ensemble.
Inspired by Miguel de Cervantes’ 17th-century masterpiece, “Don Quixote,” “Man of La Mancha” is one of the most successful musicals in Broadway history. Powerful, brutal, hilarious, and heartbreaking, “Man of La Mancha” celebrates the perseverance of a dying old man who refuses to relinquish his ideals or his passion. The celebrated score includes “Little Bird,” “I, Don Quixote,” “To Each His Dulcinea,” and “The Impossible Dream.”
Auditions are Monday, Dec. 5 and Tuesday, Dec. 6 at 7 p.m. sharp in Room 182 at Mount Wachusett Community College. Proof of vaccination is required to audition. All auditions are by appointment only.
To schedule an audition appointment, call (978) 630-9388 or email your request to [email protected].
Please prepare a short vocal selection that best shows your abilities and range (bring sheet music if selection is not from the show). Also expect cold-readings from the script for key roles.
Performances of “Man of La Mancha” are Feb. 24, Feb. 25, March 3 and March 4 at 7:30 p.m. and March 5 at 2 p.m.
Rehearsal Schedule: Sundays from 6-9 p.m. and Tuesdays and Thursdays from 7-9:30 p.m. Read-through before Christmas, rehearsals begin after Jan. 1.

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Tom Brady threw two touchdown passes and Leonard Fournette ran for one as the Bucs held off the Seahawks 21-16 Sunday in Munich in the first NFL regular-season game played in Germany.
With its second straight win, Tampa Bay evened its record at 5-5 and extended its lead in the NFC South to one game. Seattle dropped to 6-4.
It was the first overseas victory for the Bucs, who lost the three games they played in London.
Tom Brady’s 4-yard touchdown toss to Chris Godwin with just under 11 minutes remaining gave Tampa Bay a 21-3 lead.
But Geno Smith scoring passes of 21 yards to Tyler Lockett and 19 to Marquise Goodwin brought Seattle back to within 21-16 with nearly four minutes still to play.
However, the Bucs’ offense stepped up when their defense couldn’t, picking up four first downs on their final drive to run out the clock. Running back Rachaad White did most of the work, rushing four times for 34 yards, giving him 105 for the game on 22 carries.
Brady completed 22 of 29 passes for 258 yards and two touchdowns, including a 31-yarder to Julio Jones in the second quarter. He also threw an interception.
Godwin caught six passes for 71 yards and a touchdown. Mike Evans had five receptions for 54 yards.
Fournette ran for 57 yards and a 1-yard touchdown on 14 carries before leaving in the fourth quarter with a hip injury.
Oddly, he, too, threw an interception. Taking a direct snap in the third quarter, he threw to Brady, who was split out wide to the left. But the quarterback slipped and fell, and cornerback Tyriq Woolen picked off the errant pass.
It was the fourth different country in which Brady has won an NFL game, having previously done so in the United States, England and Mexico.
Here’s how it happened:
Moments after it was reported that Bucs running back Leonard Fournette is doubtful to return with a hip injury, Tom Brady threw an interception in Tampa Bay territory.
Linebacker Cody Barton picked off a Brady pass intended for Mike Evans short over the middle at the Tampa Bay 46, giving Seattle new life.
Geno Smith completions of 7 yards to Colby Parkinson and 10 to Tyler Lockett on fourth and 4 moved the ball to the 28. Smith then scrambled for 9 yards to the 19.
Smith nearly connected with tight end Noah Fant in the left corner of the end zone, but Fant was unable to get his second foot down in bounds, making it third and 1.
Smith handed off to running back Kenneth Walker III, but he was stopped for no gain, bringing up fourth down.
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Seattle lined up in the shotgun and Smith faked a handoff before rolling to his left and throwing to Marquise Goodwin, who laid out in the end zone to make the catch in front of cornerback Sean Murphy-Bunting.
PICKING UP A FOURTH DOWN TOUCHDOWN! pic.twitter.com/xWqwzGWfUI
With his team tailing by 18 early in the fourth quarter, Seahawks quarterback Geno Smith quickly responded to Tom Brady’s second touchdown pass with one of his own.
Smith completed 5 of 6 passes as Seattle drove 77 yards to pull to within 21-9 with 8:20 remaining.
Smith found Tyler Lockett in the middle of the end zone for a 21-yard touchdown, but his pass for wide receiver Penny Hart on the two-point conversion attempt was incomplete.
TD Lockett in Munich. @GenoSmith3 ➡️ @TDLockett12 pic.twitter.com/KR28cMAaZu
The Bucs found a nice run-pass balance during a drive that stretched from late in the third quarter to early in the fourth and gave them an 18-point lead.
They converted yet another third down on a 12-yard pass from Tom Brady to Chris Godwin down the middle. One play later, Rachaad White rumbled 29 yards over left guard for another first down at the Seahawks’ 43, throwing down safety Quandre Diggs at the end of the run.
ARE YOU KIDDING ME, @chaad_3?!!!!

📺: #SEAvsTB on @NFLNetwork pic.twitter.com/SlKDAutKEb
After a 2-yard run by White, Brady fired a bullet to Cade Otton deep over the middle for 25 yards to the Seattle 16. Brady’s other tight end, Cameron Brate, took a screen pass 8 yards to the 7, setting up third and 1.
White picked up the first down on a 3-yard run over left guard. Two plays later, Brady found Godwin on the left side of the end zone for a touchdown, extending the Bucs’ lead to 21-3 with 10:48 to play.
#1Fo 🙌

📺: #SEAvsTB on @NFLNetwork pic.twitter.com/EqLBpGqe70
The Bucs picked up where they left off in the first half, converting two third downs to keep the chains moving on their first possession of the third quarter.
Tom Brady threw a 5-yard pass to Julio Jones out to the right for one first down, then Rachaad White picked up another on a 2-yard run around left end.
Brady completions of 8 yards to Cade Otton and 18 to Chris Godwin moved the ball to the Seahawks’ 22.
Then, the drive unraveled on what seemed a senseless play call.
With Brady lined up up out wide to the left, Leonard Fournette took a direct snap from center. Fournette threw to Brady, who had been left uncovered when Tampa Bay used the same formation a few plays earlier.
But Brady slipped, Fournette’s pass was intercepted by cornerback Tyriq Woolen near Seattle’s 5-yard line, and Brady compounded things by tripping Woolen, drawing a penalty.
.@_Tariqwoolen getting the stop we needed. pic.twitter.com/WHEqbxVVGg
On Seattle’s first play following the turnover, Bucs defensive lineman Akiem Hicks was penalized for unnecessary roughness for making contact to quarterback Geno Smith’s head at the end of a 4-yard run. It resulted in a 19-yard gain to the Seahawks’ 35.
From there, with Seattle going up-tempo, Smith hit Noah Fant for 11 yards, DK Metcalf for 10, Kenneth Walker III for 6 and Metcalf for 16, advancing the ball to the Tampa Bay 22.
After Walker ran for 4 yards, the running back took a swing pass 4 yards to the 14, setting up third and 2. Walker again got the call, bursting 5 yards over left guard for a first down at the 9.
That was as close as the Seahawks would get.
Smith threw incomplete for Metcalf in the end zone, then was stripped of the ball by Devin White. Anthony Nelson recovered, giving the Bucs the ball back at their 13-yard line.
BUCS BALL ‼️

📺: #SEAvsTB on @NFLNetwork pic.twitter.com/7o0cRR9iEr
The Seahawks finally got on the scoreboard on their first drive of the second half, though it wasn’t the seven points they were looking for.
Seattle came out throwing, as Geno Smith completed four passes for 51 yards and four first downs on the first four plays to quickly move the ball to the Bucs’ 23-yard line.
But after Smith scrambled for two yards, then threw incomplete, the Seahawks faced third and 9 from the 22. Smith threw incomplete for Metcalf on a back-shoulder throw to the front pylon down the left sideline. Jamel Dean was in coverage.
Metcalf was penalized for unsportsmanlike conduct for pointing at an official after the play, pushing Seattle back 15 yards to the 37.
But the extra distance didn’t bother Jason Myers, whose kick from 55 yards away was good.
The Bucs found some success with their downfield passing game during a late second-quarter touchdown drive.
Tom Brady went 5-for-5 on the drive for 53 yards, including completions of 19 and 22 yards.
A 5-yard pass from Brady to Mike Evans to the Tampa Bay 26 picked up a first down and got the Bucs going. After a 2-yard Leonard Fournette run, Seahawks cornerback Mike Jackson was penalized for interfering with Scotty Miller, resulting in a 3-yard gain and another first down.
Fournette carried twice for 12 yards and a first down at the 44. Two more Fournette runs moved the ball 7 yards to the Seattle 49, bringing up third and 3.
Brady found Miller for 3 yards and a first down, the fifth straight third-down conversion for the Bucs.
Brady’s next two throws covered considerably more distance, as he hit Chris Godwin deep down the middle of the field for 19 yards and then Miller for 22 to the Seahawks 5.
Two Fournette runs got the ball into the end zone, including a 1-yard run over right guard for the touchdown.
Lenny punches it in for 6️⃣

📺: #SEAvsTB on @NFLNetwork pic.twitter.com/Hs2XvayNa1
The score extended the Bucs’ lead to 14-0 with 4:31 remaining in the first half.
Rachaad White gave the Bucs a lift at the start of a touchdown drive that stretched from late in the first quarter into the early part of the second.
The rookie running back carried three times for 17 yards, including a 10-yard burst up the middle for a first down, as Tampa Bay moved to its 29. After Tom Brady threw to Scotty Miller for 5 yards, White gained 8 yards over right tackle for another first down at the 41.
Brady hooked up with Cade Otton for 2 yards, and Leonard Fournette picked up 13 on two carries, including a 7-yard run over right guard for a first down at the Seahawks 43 as the quarter came to a close.
A Mike Evans reception moved the ball to the Seattle 31. Brady was nearly intercepted on the next play with Cameron Brate wide open down the middle of the field, but linebacker Jordyn Brooks couldn’t hold on.
The Bucs took advantage two plays later, as Brady hit Julio Jones in stride across the middle on third and 10, and Jones took the ball to the end zone to complete a 31-yard scoring play.
6️⃣ for 6️⃣

📺: #SEAvsTB on @NFLNetwork pic.twitter.com/n5PzXPHEMt
Ryan Succop’s extra-point kick put the Bucs ahead 7-0 just over a minute into the second quarter.
The Seahawks got their first big play when Geno Smith hit DK Metcalf for 13 yards to the Bucs 43 at the start of their second possession. Bucs safety Mike Edwards slipped on the play.
But Kenneth Walker III was stopped twice for no gain and guard Damien Lewis was penalized for unsportsmanlike after the second run, bringing up third and 21.
Tight end Noah Fant took a short Smith pass 15 yards, but it wasn’t nearly enough and Seattle chose to punt.
The Bucs went straight to the air on their second possession, and Tom Brady hit Mike Evans deep downfield for a 29-yard gain to the Seahawks 30.
Leonard Fournette bulled his way for 10 yards on the next play, but the run was nullified by a holding penalty against left guard Nick Leverett, resulting in an 8-yard loss.
After Fournette rushed for 3 yards and took a Brady pass for 1, Brady threw incomplete to Chris Godwin on third and 14.
Ryan Succop came on to atttempt a 52-yard field goal but missed short and wide right.
Seattle needed just one snap to move the chains on their opening possession, as Geno Smith connected with DK Metcalf for 10 yards to the Seahawks 35 on their first play from scrimmage.
Kenneth Walker III carried twice for 5 yards, bringing up third and 5. After a delay-of-game penalty pushed Seattle back 5 yards, communication problems caused the Seahawks to burn a timeout.
Smith was sacked by Joe Tryon-Shoyinka, resulting in a 17-yard loss and Seattle punt.
The Bucs went-three-and-out on their opening drive.
Jaelon Darden slipped while returning the kickoff, giving Tampa Bay possession at its 16-yard line.
Rachaad White started at running back and was stopped for no gain on the opening play. After Chris Godwin dropped a pass over the middle, the Bucs faced third-and-10.
Tom Brady overthrew Julio Jones deep downfield, forcing a Jake Camarda punt
Home, sweet home.
Munich, site of the NFL’s first regular-season game in Germany, where the Bucs are the “home” team?
Where they seem to have decidedly more support than their opponent, the Seahawks?
Where the Hofbrauhaus serves as a team pub for their fans and held a Pub Event on Thursday?
No.
First place in the NFC South.
It took five weeks, but the Bucs have the division lead all to themselves for the first time since beating the Falcons in Week 5. In the weeks immediately following that 21-15 victory, Tampa Bay lost three games in a row, while Atlanta won two of three.
But a come-from-behind victory over the Rams last weekend, coupled with Falcons losses to the Chargers last Sunday and Panthers Thursday have put the Bucs back on top. Plus, they own the tiebreaker thanks to their head-to-head victory.
Given the sorry state of their division, the Bucs (4-5) need only keep pace with the below .500 Falcons (4-6), Saints (3-6) and Panthers (3-7) to make the playoffs.
But quarterback Tom Brady didn’t end his 40-day retirement to win a division championship.
Starting today, the Bucs have nine weeks, counting the bye week, to get their game in shape for the postseason, where they will have bigger goals and face considerably tougher competition.
The issues are apparent.
Play-calling has been suspect. Brady and his receivers have been out of sync. He has trouble trusting a still-developing interior line. Receivers are dropping balls. The running game has been non-existent.
A defense that has been solid for the most part has proven susceptible to the run. Injuries have been a problem in the secondary. On a couple of inopportune occasions, it failed to come up with late-game stops.
We saw signs of the team the Bucs can be late in last week’s win, when the defense shut out the Rams in the fourth quarter and Brady led a seven-play, 60-yard scoring drive in the final minute capped by his 1-yard touchdown toss to tight end Cade Otton in the closing seconds.
Can they build on that win to get back to being the team that won Super Bowl 55 at Raymond James Stadium in Brady’s first season in Tampa Bay and came within a field goal of advancing to the NFC title game a year ago?
Nothing would make them feel more at home.
Inactives for #SEAvsTB ⬇️ pic.twitter.com/8xUNoCImdz
Today’s @Seahawks inactives: pic.twitter.com/hzEb7pb7JU
It’s go time 😤 pic.twitter.com/hPUmeQSKXp
All of the lights 🤩#GoBucs pic.twitter.com/dOgPSgIGDz
A man of the people 🤜🤛#GoBucs pic.twitter.com/gxUTBErrqe
Focused.#GoBucs pic.twitter.com/7lhhuJEKkY
Tom Brady has entered Allianz Stadium and did his patented LFG! pic.twitter.com/p6wxXjM0zE
The Bucs are in the building 👋 pic.twitter.com/UScNlbq6Hs
🔴 Red threads 🔴 pic.twitter.com/tnRx01jCox
The NFL has arrived in Germany #gobucs pic.twitter.com/CDIA4d6DuA
Guten Morgen, #TomBrady pic.twitter.com/yZbAA4RWG0
As ⁦@TBTimes_Rays⁩ would say, looks like the right place. #Bucs–#Seahawks in Munich. pic.twitter.com/2Dotx3PRIs
Follow our Bucs Instagram account at @TampaBayTimesBucs
Follow our Bucs writers on Twitter at @NFLStroud, @TBTimes_Bulls, and @Romano_TBTimes.
Here’s some of our content leading up to today’s game:
Bucs become part of Germany’s long love affair with the NFL
Tom Brady’s displeasure with the Bucs’ effort has been evident
Bucs may have a wimpy offense, but the defense hasn’t come to the rescue either
Tom Brady has found another country to conquer
Bucs’ Chris Godwin will need more time to return to his old form
Geno Smith towers above all as the NFL’s feel-good quarterback story
As Bucs prepare to play in Germany, biggest challenges could come before kickoff
Add disgruntlement to the laundry list of problems in Bucs’ run game
Bucs punter Jake Camarda named NFC Special Teams Player of the Week
If nothing else, 2022 Bucs have relieved Tom Brady’s two biggest headaches
Raise your hand if you remember when the Bucs used to throw downfield
Only Tom Brady could help the Bucs squeeze past the Rams
Leonard Fournette ‘extremely frustrated’ at being replaced, CBS reports
• • •
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The world-famous Arthurian romance will have a local adaptation. And it will be soon showcased to Cebuanos (theater fans or not) on Nov. 26 and 27, 2022!
But before the two-day show, “The Path to Avalon: King Arthur the Musical” cast was first introduced to the public during a MediaCon event last Nov. 12, 2022, in Cebu City. The press conference, sponsored by SM Seaside Cebu, was held at the Centerstage to launch the musical’s cast and production team officially.   
King Arthur the musical is brought to you by Alba Music Production. It is perfect for families and friends come the holiday season. Get your tickets on the Ticket 2 Me website www.ticket2me.com.
Casts of The Path to Avalon: King Arthur the Musical posed for a photo during the MediaCon for the musical’s official launch at the Centerstage, SM Seaside Cebu, last November 12, 2022.
The play’s Musical Composer Jim Donnachie, who flew all the way from Scotland, and Cebuano Director Roldan Ardines led the event. Before the cast sat down to answer a few questions from the media, they first graced the red carpet event in stunning ensembles inspired by the musical’s characters.
According to Donnachie, they were thrilled to bring to Cebu King Arthur the Musical as it will be the first one since the pandemic. The composer wrote the original songs for the musical and was honored to be working with talented local artists. They even disclosed that something was at work, and more details would be revealed in the future.
Some casts of King Arthur the musical performed a few original songs written by Jim Donnachie during a press conference at the Centerstage, SM Seaside Cebu, last November 12, 2022.
He also shared that although King Arthur is the popular source material for various works by Western creators, it fell within many Filipino legends in terms of the theme. The Path to Avalon: King Arthur the Musical tells a story about love, betrayal, redemption, the unknown, and morals. All this connects with spectators from multiple generations and cultures.
The two-hour musical will have two showing dates on Nov. 26 and 27, 2022, at the Centerstage. A different set of the cast will perform on each date. 
King Arthur the musical is brought to you by Alba Music Production. It is perfect for families and friends come the holiday season. Get your tickets on the Ticket 2 Me website www.ticket2me.com.

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Formula 1 is back in action at Interlagos for the Brazilian Grand Prix.
After winning the third and final Sprint race of the 2022 season on Saturday, George Russell will start from pole position for Sunday’s main event, with Mercedes teammate Lewis Hamilton alongside him on the front row.
Can the Silver Arrows claim a debut victory of the campaign, or will Max Verstappen and Red Bull be back in the fight?
Below you will find our dedicated live blog and live timing hub; the times refresh automatically during the session, so you are always up to date.
In the blog, we will provide you with the latest developments during the Brazilian GP. You can easily switch between live timing and the live blog via the tabs.
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Stay up to date with top drivers including World Champions Lewis Hamilton, Max Verstappen, Sebastian Vettel and Fernando Alonso, established stars Daniel Ricciardo and Sergio Perez, and youngsters Lando Norris, George Russell and Charles Leclerc.
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There are no stupid questions when you’re just starting out producing. For example… what are VSTs?
It doesn’t matter whether you’re starting from scratch or you play a musical instrument already and you’re looking to get into electronic music and start making your own beats, it can be hard to know where to begin.
With this in mind, let’s introduce VST plugins.
Introduced by Steinberg Media Technologies, maker of the Cubase DAW software, in 1996, VST was invented as a way of adding software-equivalents of mixing consoles and effects units to come together as a virtual studio.
It’s a piece of third party software to add your Digital Audio Workstation (DAW) that processes the sound. Effects and instruments can be “plugged in” to the virtual studio to add real-time audio effects to audio tracks recorded with your music software.
VST is the most well-known type of plugin – AUs (Apple’s versions of VST) and RTAs are other examples, but quite often VST is used conversationally to mean plugin like people say “Hoover” to mean vacuum cleaner or “Scotch Tape” for all adhesive tape.
Plugins are extra sounds, samples and effects that you can “plug in” to your computer-based DAW to increase its capabilities. You can buy packs and individual plugins, or get them for free.
VSTi refers to VST instruments. These plugins generate sound, bringing extra sounds into your DAW as synths or samplers.
Basically, VST instruments produce accurate representations of real-life instruments. You can have a whole orchestra within your computer, find that perfect ‘80s synthesiser sound, or just a really nice grand piano sound.
When you play your MIDI keyboard, it puts out a MIDI code made up of which note you played, when it was played, how long it was played, and how hard (loud) you played it. In your DAW, the MIDI note sounds as whichever VSTI you’ve “plugged in.”
A bit like individual guitar effects pedals, VST effects are audio effects that act like hardware effects processors in a studio. They process the audio rather than generating it.
You can make your music sound like you’ve recorded it any environment imaginable with effects like reverb and echo, and use plugins like limiters and mixing plugins to control the sound.
You might have come across VST3s. They’re just the latest updated version of VSTs. VST3 only applies processing when there is an audio signal present – so when there’s audio passing through, not just present on the track.
Whilst your studio – or bedroom – is limited by the amount of physical space you’ve got, the only limitation you have with software plugins is how well your computer CPU can cope. VST3s offer improved performance and are lighter on your CPU. 
As with most things in life, the more expensive the VST the better the quality, but there are often free plugins available that sound great. Especially if you’re just getting started producing or playing around with a new idea, free plugins are fantastic.
That’s plugins like Vinyl by Izotope, which gives your production a lo-fi effect. Learn how to add plugins to FL Studio here.
VST software integrates seamlessly and helps you get creative with instruments and sounds cheaply and easily – once you get familiar with how it all works, that is.
And once you’ve produced your first track, why not release it so the world can hear! You can upload your songs to Spotify for free, as well as all the other major streaming platforms, with RouteNote. Start here.
Can you publish an article on some useful vocabulary while using a VST Plugin? Some of the words really confuse me and I just end up turning knobs/moving sliders around randomly and seeing what happens. I’d like to be able to modify a sound while knowing how a parameter changes the sound of a synth.
Hey Tim, we have an article here covering a lot of the terminology involved in using synths. Hopefully this helps!
https://routenote.com/blog/synth-terms-explained-a-glossary-of-terms-in-music-production/
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By Zoe Ekeh
As a sound engineer, singer/songwriter, musician and music producer, Cedarville University student Daniel Rothermel devotes his life to creating music. His exposure to music from a young age began with violin and piano lessons at six years old. 
Being a part of musicals since the age of 7 has garnered Rothermel vocal training, as well as being a part of a choir in high school, and singing in church.
With learning instruments such as the violin, piano and organ as well as being in a choir, Rothermel has cultivated a 13-year background with music. 
In 2019 as he was finishing high school, Rothermel was dabbling in sound production on a computer which then led him to write songs.
Now a sophomore majoring in industrial design, Rothermel’s life revolves around music. The thoughts that come into his head throughout the day are turned into songs through the process of songwriting.
“I don’t really write melodies, I just fit them in. It doesn’t even make sense to me when people are trying to figure out what melody belongs – to me, it’s just the one that’s there that should be there and it’s already there,” said Rothermel.
Rothermel recorded and worked on his first album during his freshman year in his dorm. He has created a studio in his dorm room wherever he has stayed on campus. 
As a multi-hyphenate musician, Rothermel plays multiple instruments as mentioned earlier including the guitar, bass guitar and drums. He uses the Logic Pro software system to produce his music and a Focusrite interface and Shure SM7B mic to record his songs.
Samuel Orme, a junior majoring in graphic design, is a close friend of Rothermel’s. They share similar interests in pop culture and music.
“He’s really motivated to release albums and projects, and be able to do as well and not just do it haphazardly but efficiently,” said Orme.
Orme mentions how Rothermel puts thought into the production of music and his albums in their entirety. Orme also states that Rothermel is more productive with his music production compared to other musicians he has observed.
Rothermel’s future with music could be him producing and creating a soundtrack of some sort, or being “a mix engineer and a producer.”
“Hopefully I can play my own music live, at bigger venues. I don’t really have any plan though, I just intend to move forward and continue to develop myself – and be open to new perspectives and make music that connects with people,” Rothermel said.
Zoe Ekeh is a junior Journalism major and writer for Cedars’ Arts and Entertainment section. An Ohio native born and raised in Dayton, Zoe has always loved music.
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The first time I heard Aafat, the debut single by then unknown Mumbai rapper Naezy the Baa, it felt like being touched (ever so lightly) by prophecy. “This could really be something,” I remember thinking at the time. Aafat, released without fanfare on YouTube in January 2014, would mark a turning point for Mumbai rap, heralding its transformation from an obscure underground scene to a national, even global, phenomenon. 
In the years since, I have often returned to the question of what it was about Aafat that had me—and, as it turns, out millions of others—so convinced after just one listen. It wasn’t the music production, which was rudimentary, or the music video, which had been shot by amateurs on an iPad (it showed). My theory is that the secret ingredient was the Mumbai street—the working- class experience of joy, community, petty criminality and state violence in the midnight city—that ran through the song, giving it a raw authenticity that still stands out eight years later. 
Also read: Ikkis: Infusing traditional objects with a sense of whimsy
With its Mumbaiya-inflected Urdu and the archetypal street characters that populated its lyrics, Aafat created a vivid, rich world rooted in a reality that few of us had experienced outside the dry language of academia and journalism or the savarna-saviour gaze of parallel cinema. And those four-and-a-half minutes in that world felt so real—so authentically Mumbaiya—that we kept going back for more. 
There were resonances of that same raw, emotional authenticity on my first spin of Bangalore Ka Potta, the debut album by Bengaluru rapper Pasha Bhai and his crew Bokka Phod (literally “ball-breakers”), which released earlier this month. Born Mohammed Affan Pasha, the 23-year-old multilingual rapper raps in Dakhni—either a variation of Urdu or an independent language, depending on which expert you believe—and raps about his lived experience in Neelasandra, a Muslim-majority neighbourhood infamous for urban neglect and “rowdy” gang violence. 
The Naezy inspiration is evident on Bangalore Ki Daastan, Pasha Bhai’s oral history of the Bengaluru street. Over wonky Adult Swim synths and threadbare percussion, the rapper takes you on a tour of the city as seen by a young Dakhni-speaking Muslim boy, invisible to the privileged, othered by communal politics, and struggling with conservativism and patriarchy in his own community. 
But this isn’t the Bollywood style of “inspiration”. Pasha’s ambition is grander than making Bengaluru’s Aafat, and the album’s “Neelsandar” is a grimmer, grimier place than “Bombay-70”. So while Bangalore Ki Daastan also makes playful references to street archetypes—the MLA’s son with security guards, the nosy neighbours—it is accompanied by a biting critique of social conservatism and patriarchy. “Lover se milne gayech nai ki ino sondori mein? (Did they never go meet lovers in narrow alleys?),” he asks at one point, sounding genuinely frustrated and bewildered. 
Toxic notions of masculinity also come under attack on Tumare Bawa, a vivid fever-dream about the cycles of poverty, repression and misdirected violence that put India’s working classes on the front lines of the class war, facing the blunt, brutal hand of Indian policing. It’s bracingly direct both in its depiction of police brutality and its open antagonism to the police. While many of India’s popular rappers stick to playfully subversive allusions to the police—it’s not so easy to say “f*** the police” when you live in a society that still valourises “encounter specialists”—Pasha pulls no punches. Having grown up in the rapidly communalising cauldron of Bengaluru, he no longer has the patience for diplomatic niceties. 
So, on the autobiographical hard-hitter Neelsandar, he calls out everyone from the prime minister and state-aligned media to Bengaluru rap elites. His account of Neelasandra’s crime-and-violence epidemic is lightened by moments of familial and communal joy but the song does not shy away from looking urban despair in the eye. 
Similarly, Aidavalli documents police violence and state Islamophobia. “Ghosht ke diwane hume Tukde Tukde Gang se (We’re all meat lovers here, from the Tukde Tukde Gang),” he raps, the slurs of the Hindu right repurposed into sneering contempt for their paranoia. 
And then there’s Wanandaf, a multilingual collaboration with Loud Silence that celebrates the city’s multiculturalism and street life. Over propulsive folk drums and sinewy synths arranged by producer Demixx Beats, the duo crafts an anthem for the city’s rowdy youth, referencing everything from wheelies to lunch at Military Hotel. And even if you don’t get the references—or indeed any of the lyrics—you will still find yourself infected by the song’s relentlessly joyful bounce. 
Bangalore Ka Potta, then, is an excellent, distinctive debut by a unique new artistic voice. And part of what makes it so distinctive is Pasha’s commitment to Dakhni—a language with little contemporary prestige—pushing back against the homogenising pressures of the mass market and linguistic politics. 
In that commitment, it joins a small but growing corpus of works by contemporary indie artists that champion vernacular and marginalised languages. In Kashmir, artists like rapper Ahmer and folk-rocker Ali Saffuddin have brought renewed attention to  the Kashmiri language, with the latter’s Urdu and Kashmiri album, Wolivo, coming out just this month. Arivu’s north Chennai rap is finding takers way beyond traditional Tamil-speaking audiences. 
In part, this reflects a broader shift in audience tastes, as the internet and recommendation algorithms have helped dismantle global scepticism towards songs in an unfamiliar language: See the rise of K-pop and Latin pop in the US. In the Indian mainstream too, streaming has led to a slow decline (though it remains dominant) in Bollywood and Hindi music’s share of consumption as consumers grow more adventurous in their listening habits. 
But in the cases of the aforementioned artists and others like them, the choice of language is one part of a broader political assertion of marginalised and otherised identity. The specific hegemonies—of caste, religion, state power—that they oppose may differ but their work pushes back against the homogenising narratives of nationalism and communalism. Their music, in all the little eccentric specificities of their lyrics and cultural references, celebrates the broad spectrum of identities that come under the “Indian” umbrella. 
Bangalore Ka Potta, in all its nihilistic rage and blood-specked splendour, is a reminder that despite the attempts to erase certain identities, perspectives and ideas from the mainstream, the human urge to express your social and political truth perseveres, and that those truths will always find an audience. That may be small comfort to those facing the blunt edge of the stick—like Pasha Bhai and his contemporaries—but it remains one I cling to for hope in these dark times. 
Bhanuj Kappal is a Mumbai-based writer.
Also read: Lounge Loves: A football book, new perfume, and more

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Babelson Audio’s catalogue of highly acclaimed dynamics and FX processing plug-ins for Digital Audio Workstations is to join Mackie’s product offerings.
With an large range of products including vintage tube EQ and saturation, multiband compression, reverbs, harmonizers, analogue delay, and dozens more, Babelson has established a well-deserved reputation among audio professionals for their power, performance, versatility, and sonic signature. With strikingly accurate emulations of vintage tube circuitry, Babelson’s plug-ins have garnered enthusiastic reviews and dedicated fans and are compatible with all major DAW software.
From mixers, monitors, and headphones to software and interfaces, Mackie has always been a central part of the creative musician’s toolkit. With the addition of Babelson plug-ins to the Mackie family, we are excited to be able to offer our users some of the most powerful, versatile, and best sounding tools for their music production.
Also joining Mackie will be Babelson Founder Thomas Ceyhan, who will continue to update and produce new plug-ins as Mackie continues to further its software offerings.
All Babelson plug-ins will continue to be active as the migration and integration over to Mackie.com begins, ensuring existing Babelson plug-in users a seamless transition.
More on Babelson plug-ins can be found here: www.babelson.com
 
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CNN has nominated Nelly Cheboi to be the next network hero. 
The 29-year-old Technologically Literate Africa (TechLit Africa) CEO will be contesting the tittle with nine others. 
Through her organisation, Cheboi uses recycled computers to create technology labs in schools in rural Kenya. 
So far 4,000 kids have benefited through her initiative. 
“I know the pain of poverty and that’s why I feel so passionate about it,” Cheboi, a software engineer who splits her time between the US and Kenya said.
“I never forgot what it was like with my stomach churning because of hunger at night.”
According to CNN, her organisation now works with freight and shipping companies to transport the donated computers so it’s more cost efficient.
“We have people who own a specific skill coming in and are just inspiring the kids (with) music production, video production, coding, personal branding,” Cheboi said.
“They can go from doing a remote class with NASA on education to music production with our artists.”
T0 vote for Nelly to be the next CNN hero, visit http://CNNHeroes.com. 
Nelly Cheboi brings technology to young people in her native Kenya. Upcycling old computers, she offers the tools & education for brighter futures.
You can help Nelly become the next CNN Hero of the Year. Vote for her or any of the other Top 10 CNN Heroes: https://t.co/MkgzSoE3Zf pic.twitter.com/uKgkgOzyMx
Advertise with us: Call 0711 046 000 · [email protected]

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Eric Deggans
Dave Chappelle tried to walk a difficult line on “Saturday Night Live” this week. NBC/Will Heath/NBC hide caption
Dave Chappelle tried to walk a difficult line on “Saturday Night Live” this week.
No one walks a rhetorical tightrope as deftly as Dave Chappelle.

That thought nagged at me while watching Chappelle’s widely-anticipated appearance last night on Saturday Night Live, where his guest-hosting stints after major electoral events have become something of a tradition.

But Chappelle didn’t devote much of his monologue to the midterm elections, even though news had broken earlier in the day that Democrats had defied expectations to likely retain control of the Senate. He spent more time talking about Kanye West and antisemitism.
“Early in my career, I learned there are two words you should never say together,” Chappelle noted during his opening monologue. “Those words are…’the’ and ‘Jews.’ Never heard someone do good after they said that.”
Chappelle was already a controversial guest; critics — including me — slammed his 2021 Netflix special The Closer for its homophobic and transphobic jokes. He didn’t apologize. As I said in my review, Chappelle seems to think he’s above criticism; for him, race seems to trump all.
That modus operandi was in full display Saturday night. As his monologue unfolded, Chappelle negotiated a fine line – admitting West, now known as Ye, said things so terrible that even Adidas, a company founded by brothers who were members of the Nazi party in the 1930s, was offended (“I guess the student surpassed the teacher.”) But at the same time, the comic seemed to suggest that Ye’s barbs about Jewish people controlling the media and show business – echoing classic antisemitic tropes – were not entirely untrue. (“I’ve been to Hollywood – it’s a lot of Jews,” he cracked. “Like, a lot.”)
He also joked about Brooklyn Nets star Kyrie Irving, who was suspended after posting a link to an antisemitic film, called Hebrew to Negroes: Wake Up Black America, that asserts the Holocaust never happened. Chappelle noted Irving’s “Black a– was nowhere near the Holocaust.”
One line in particular seemed to stun the audience, before they offered scattered applause: “I know the Jewish people have been through some terrible things all over the world. But you can’t blame that on Black Americans.”
What that has to do with a professional athlete posting a link to antisemitic film with no explanation – and then taking several long days to disavow the film’s antisemitic content – I do not know.

What I do know, is that one of comedy’s boldest and most incisive voices had a chance to lend insight to the long struggle Black America has had with antisemitism. But instead, his monologue seemed filled with justification and minimization – failing to mention, for instance, allegations that Ye has expressed admiration for Nazi leader Adolf Hitler.

Yes, comedy isn’t a news report. But if we’re going to elevate particularly skilled performers like Chappelle – because there’s a sense their work also contains powerful truths about society and life – then we also have to note when they offer material that does the opposite and obscures an issue which should be cut and dried.

The rest of Chappelle’s Saturday Night Live appearance unfolded as a better-than-average episode. A pre-taped parody of HBO’s House of the Dragon featuring additional Black characters, some inspired by figures from the comic’s legendary Comedy Central program Chappelle’s Show (and Ice T as Light Skinned Larry Targaryen) was particularly on point.
Another bit featuring white anchors joking with a Black blues artist about the title of his album Potato Hole – until he tells them it was a crevice enslaved people dug to hide their most valued possessions from plantation owners – also scored.

But Chappelle’s monologue had already thrown me off balance; another moment when an artist who fans admire for illuminating issues in surprising ways chose a different path, letting us all down in the process.
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