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Liverpool vs Southampton. Premier League.
3:00pm, Saturday 12th November 2022.

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Our favorite little flyer had a cheer performance this past weekend – love seeing her in her element!  
From the launch of one season’s catalogue, we are jumping right into the next! The team and I made our way to Sonoma, California this week to shoot our upcoming McGee & Co spring collection. The warmer weather was a welcome retreat from the cold temperatures in Utah!  
I wore this jacket on the plane and it was the perfect piece for stylish layering. I rounded up some other great jackets here!
Have you had a minute to check out the webisode of our winter catalogue shoot? So fun to share the little moments and the chaos happening behind the scenes to bring it all together! 
Sweater. Jeans. Loafers. Repeat.   
I have been a longtime fan of Bobbi Brown crushed lipstick and recently wore shade “Babe” to the Winter Catalogue launch party – it was the perfect pop of pink that paired beautifully with the velvet dress. I think it’s a great shade for the season when you’re wanting to switch it up from a classic red.   
Calling all interior designers! We have a new designer trade program over on McGee & Co! Get all the details here.
I’m so excited to share that the fourth season of Dream Home Makeover on Netflix will launch next month! There are so many beautiful projects and renovations that I cannot wait to share – I already have plans to gather as a family during our winter break and binge-watch the whole season.   
XO – S 
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Hi, what are you looking for?
By
Published
Some of the Manufactures in the global Reputation Protection Software market include- Womply, Rankur, RepuGen, Brand Yourself, Badgar, internet reputation, ReputationDefender, Terakeet, Blue square management, Localclarity.
“Final Report will add the analysis of the impact of COVID-19 on this industry.”
Global “Reputation Protection Software Market” forecast 2022 report analyses the current and future competitive scenario of the global Analytics industry. Reputation Protection Software report gives an extensive analysis on segments including top companies, products, applications, revenue and regions. Some of the topics including such as Reputation Protection Software market share, drivers, trends and strategies. This report also offers insights into the latest growth and trends. It encapsulate key aspects of the market, with focus on leading key player’s areas that have witnessed the highest demand, leading regions and applications.
Get a Sample Copy of the report: https://www.absolutereports.com/enquiry/request-sample/17132439
Market Analysis and Insights: Global Reputation Protection Software Market
Reputation Protection Software Market report elaborates the market size, market characteristics, and market growth of the Reputation Protection Software industry, and breaks down according to the type, application, and consumption area of Reputation Protection Software. The report also conducted a PESTEL analysis of the industry to study the main influencing factors and entry barriers of the industry.
Major Players in Reputation Protection Software market are:
Get a Sample Copy of the Reputation Protection Software Market Report
Reputation Protection Software Market by Types:
Reputation Protection Software Market by Applications:
To Understand How Covid-19 Impact Is Covered in This Report – https://www.absolutereports.com/enquiry/request-covid19/17132439
Major regions covered in the report:
Years considered for this report:
Inquire or Share Your Questions If Any before the Purchasing This Report – https://www.absolutereports.com/enquiry/pre-order-enquiry/17132439
Key Points:
Purchase this Report (Price 3360 USD for a Single-User License) –https://www.absolutereports.com/purchase/17132439
Detailed TOC of 2020-2025 Global Reputation Protection Software Market Report
1 Reputation Protection Software Market – Research Scope
1.1 Study Goals
1.2 Market Definition and Scope
1.3 Key Market Segments
1.4 Study and Forecasting Years
2 Reputation Protection Software Market – Research Methodology
2.1 Methodology
2.2 Research Data Source
2.2.1 Secondary Data
2.2.2 Primary Data
2.2.3 Market Size Estimation
2.2.4 Legal Disclaimer
Get a Sample Copy of the Reputation Protection Software Market Report
3 Reputation Protection Software Market Forces
3.1 Global Market Size
3.2 Top Impacting Factors (PESTEL Analysis)
3.2.1 Political Factors
3.2.2 Economic Factors
3.2.3 Social Factors
3.2.4 Technological Factors
3.2.5 Environmental Factors
3.2.6 Legal Factors
3.3 Industry Trend Analysis
3.4 Industry Trends Under COVID-19
3.4.1 Risk Assessment on COVID-19
3.4.2 Assessment of the Overall Impact of COVID-19 on the Industry
3.4.3 Pre COVID-19 and Post COVID-19 Market Scenario
3.5 Industry Risk Assessment
4 Reputation Protection Software Market – By Geography
4.1 Global Market Value and Market Share by Regions
4.1.1 Global Value ($) by Region (2015-2020)
4.1.2 Global Value Market Share by Regions (2015-2020)
4.2 Global Market Production and Market Share by Major Countries
4.2.1 Global Production by Major Countries (2015-2020)
4.2.2 Global Production Market Share by Major Countries (2015-2020)
4.3 Global Market Consumption and Market Share by Regions
4.3.1 Global Consumption by Regions (2015-2020)
4.3.2 Global Consumption Market Share by Regions (2015-2020)
5 Reputation Protection Software Market – By Trade Statistics
5.1 Global Export and Import
5.2 United States Export and Import (2015-2020)
5.3 Europe Export and Import (2015-2020)
5.4 China Export and Import (2015-2020)
5.5 Japan Export and Import (2015-2020)
5.6 India Export and Import (2015-2020)
6 Reputation Protection Software Market – By Type
6.1 Global Reputation Protection Software Production and Market Share by Types (2015-2020)
6.1.1 Global Reputation Protection Software Production by Types (2015-2020)
6.1.2 Global Reputation Protection Software Production Market Share by Types (2015-2020)
6.2 Global Reputation Protection Software Value and Market Share by Types (2015-2020)
6.2.1 Global Reputation Protection Software Value by Types (2015-2020)
6.2.2 Global Reputation Protection Software Value Market Share by Types (2015-2020)
7 Reputation Protection Software Market – By Application
7.1 Global Consumption and Market Share by Applications (2015-2020)
7.1.1 Global Consumption by Applications (2015-2020)
7.1.2 Global Consumption Market Share by Applications (2015-2020)
7.2 Global Consumption and Growth Rate of Automotive (2015-2020)
7.3 Global Consumption and Growth Rate of Electrical and Electronics (2015-2020)
7.4 Global Consumption and Growth Rate of Industrial (2015-2020)
7.5 Global Consumption and Growth Rate of Others (2015-2020)
8 North America Reputation Protection Software Market
8.1 North America Market Size
8.2 United States Market Size
8.3 Canada Market Size
8.4 Mexico Market Size
8.5 The Influence of COVID-19 on North America Market
9 Europe Reputation Protection Software Market Analysis
9.1 Europe Market Size
9.2 Germany Market Size
9.3 United Kingdom Market Size
9.4 France Market Size
9.5 Italy Market Size
9.6 Spain Market Size
9.7 The Influence of COVID-19 on Europe Market
10 Asia-Pacific Reputation Protection Software Market Analysis
10.1 Asia-Pacific Market Size
10.2 China Market Size
10.3 Japan Market Size
10.4 South Korea Market Size
10.5 Southeast Asia Market Size
10.6 India Market Size
10.7 The Influence of COVID-19 on Asia Pacific Market
….
13 Company Profiles
13.1 Manufacture 1
13.1.1 Manufacture 1 Basic Information
13.1.2 Manufacture 1 Product Profiles, Application and Specification
13.1.3 Manufacture 1 Reputation Protection Software Market Performance (2015-2020)
…
14 Market Forecast – By Regions
14.1 North America Market Forecast (2020-2025)
14.2 Europe Market Forecast (2020-2025)
14.3 Asia-Pacific Market Forecast (2020-2025)
14.4 Middle East and Africa Market Forecast (2020-2025)
14.5 South America Market Forecast (2020-2025)
15 Market Forecast – By Type and Applications
15.1 Global Market Forecast by Types (2020-2025)
15.1.1 Global Market Forecast Production and Market Share by Types (2020-2025)
15.1.2 Global Market Forecast Value and Market Share by Types (2020-2025)
15.2 Global Market Forecast by Applications (2020-2025)
For Detailed TOC – https://www.absolutereports.com/TOC/17132439#TOC
Contact Us:
Absolute Reports
Phone : US +1 424 253 0807
UK +44 203 239 8187
Email : [email protected]
Web : https://www.absolutereports.com
Our Other Reports:
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Electroporation Systems Market
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Press Release Distributed by The Express Wire
To view the original version on The Express Wire visit Global Reputation Protection Software Market Size and Research Report 2022 by Regions, Basic Information, Market Performance and Forecast to 2025

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“If I could choose one book to bring with me to a desert island, … it would absolutely be Plato’s ‘Republic.’ … I teach it every year, and I still discover new and exciting things, it still makes me think; it is by far my favorite book ever,” said Christiana Olfert, associate professor and director of graduate studies in philosophy at Tufts, who oversees the the top-ranked terminal master’s in philosophy program in the nation according to The Philosophical Gourmet Report. 
Such philosophical fervor is likewise present in the program’s student body. 
“[Philosophy] is just pleasing. … Recognizing and knowing truth, beauty and goodness … makes you happy,” said Joshua McKeown, a master’s philosophy student in his first semester of the typically two-year program.
Graduate students from across the United States and the world come to Tufts to pursue their philosophical passions in the school’s master’s in philosophy program. 
“We want to offer an entry point into serious, advanced study of philosophy for folks who may not have had a traditional, extensive experience with philosophy in their undergraduate education,” Olfert said. 
McKeown, for instance, studied philosophy as an undergraduate at Mississippi College, but there was only one professor in the school’s philosophy department. 
“There weren’t many history of philosophy courses, [and] there weren’t courses on metaphysics,” McKeown said. “I only had to take six [courses for my philosophy major,] and none of them were on analytic philosophy or Greek philosophy, they were more broad.” 
Tufts’ master’s in philosophy, on the other hand, requires at least two courses each in the history of philosophy as well as metaphysics and epistemology, in addition to at least two in normative philosophy.
According to Olfert, these curriculum requirements help students form a strong intellectual arsenal. “[One] of the goals of our program [is] to provide a pathway into professional philosophy. … We think that kind of breadth makes for good philosophy,” Olfert said.
Just as the master’s program’s curriculum is diverse, so are the backgrounds of its students. Mikel Moyer, for instance, is currently enrolled after earning his bachelor’s in chemistry in 1981, working for almost three decades in pharmaceutical research, then returning to earn first a bachelor’s and now a master’s in philosophy. 
On the other end of the age spectrum, Helena Fang is a current student in the master’s program as an undergraduate senior. She is a mathematics and philosophy double major who is concurrently completing Tufts’ combined four-plus-one B.A./M.A. degree program in philosophy.
“In the spring semester of my sophomore year, … I just decided that I want to pursue academic philosophy as a career. And I realized, if I applied to Ph.D. programs in senior year, I’d basically only have a year to prepare,” Fang said. “And I realized, if I do the four-plus-one then I [would have] an extra year to take more philosophy classes … [and] think about what specifically I’m going to do in philosophy and also just stay in the department and have deeper connections with the faculty and people around.”
The four-plus-one option enables Tufts students to earn a master’s degree with only one year of study beyond their undergraduate education. Olfert recommends it to everyone at Tufts who is interested in philosophy.
“[Tufts undergraduates] are subject to the same standards that we use for admissions for [any other] students, but we know Tufts students really well, and we know our majors really well. … I think it’s a really exciting opportunity.” Olfert said.
Avner Baz, the chair of the philosophy department, explained how the program promotes collaboration between undergraduate and graduate students.
“We have a graduate program of the highest caliber, which … allows our undergraduates to interact with graduate students,” Baz said. “[The undergraduate program] benefits in so many ways from the fact that we do have this very high quality graduate program.”
Those salutary interactions would be far less frequent if Tufts had a Ph.D. program instead of a terminal master’s. In fact, the department only offers one course specific to the master’s program, so aside from that, undergraduates and graduates take many of the same philosophy classes. 
“In that way, our graduate students are sort of part of our [undergraduate] major as well,” Olfert said. 
Such diversity of students’ backgrounds and philosophical inclinations along with the diversity of faculty enhances the philosophical discourse in the master’s program. 
“I think it’s good for philosophy that there are all of these different voices and experiences and perspectives. I also think that this is one of the great advantages of our department, … that we have very diverse faculty representing very diverse philosophical approaches and temperaments and perspectives,” Baz said. 
On that variety of philosophical perspectives, graduate student Luke Jennings, who is in his second and final year in the master’s program, said of his classmates, “The people around me are really interested in epistemology, metaphysics and philosophy of mind … and psychology and philosophy of language. … It can be quite useful to get different philosophical perspectives to see an issue which you took to be in some sense settled … and bring them under close inspection.”
Philosophical discourse in Tufts’ master’s program is vibrant even outside the classroom. Fang said she often has philosophical discussions with other master’s students.
“You talk to someone about something you’ve been thinking about that … they haven’t thought about deeply. And then a couple of days later, they’ll come back to you and be like, ‘Oh, I was thinking about what you told me a couple of days ago. Here’s what I thought afterwards.’” 
These conversations are especially frequent in the Graduate Writing Seminar course, which is required of master’s students and was added to the program after Olfert arrived at Tufts in 2010. 
“It’s an opportunity for the students to prepare a sort of capstone project for their degree, in which they bring a draft of a paper or a detailed proposal for a paper to class. … [They] rework it, take it apart completely, put it back together, respond to objections from, like, 13 of [their] peers and then rewrite the paper again,” Olfert said. 
Prospective Ph.D. students typically end up using that as a writing sample in their Ph.D. program applications, and for other students, the course provides an opportunity to prepare a capstone piece of writing that represents the culmination of their degree, in which they put their philosophical skill on display. 
Yet how do Olfert and Baz collaborate to decide on the contents of the curriculum and work to maintain the master’s program’s excellence? 
“Either I come to [Olfert], as the [director of graduate studies], with a certain kind of idea or concern … that I want to consult with her about, or she comes to me with some issue that has arisen in connection with a graduate program. … And we think about it together. … She is more familiar with the graduate program, and I have the broader picture,” Baz said. 
That collaborative work has helped Tufts’ Master of Philosophy program become one of the best in the United States. 
“There [are] a lot of really fantastic master’s programs, but Tufts is really, really great for the reason that it just has a lot of faculty members that do a lot of different things. You come away from doing a master’s at Tufts having encountered a lot of different types of philosophy,” Jennings said. “[The faculty] are incredibly supportive and incredibly helpful.”
The program’s excellence has resulted in Ph.D. placements at Oxford, Princeton and Harvard, for example, across its last three graduating classes alone. 
“A couple of weeks ago, we had one of our former [master’s] students come back to the department — now he’s an associate professor at Howard — to give a talk. … On Nov. 18, … another student of ours who went to MIT and now is an assistant professor at Boston University will come to give a talk. These are very significant moments,” Baz said. 
No matter one’s area of philosophical study or background, Baz believes that philosophy can be applied almost everywhere. 
“[Philosophy] encourages you to and teaches you how to be more reflective and self-critical,” Baz said. 
‘Philosophy’ is a word with Greek origins that means “the love of wisdom,”  which evokes the most fundamental questions of humanity. 
“The questions that animated Greek and Roman philosophy were: How do I live well? What is happiness? Should I fear death?” Olfert said. “It’s important to me to do my best … in my work to keep in mind that the philosophy I do is sort of deeply interconnected … [to] the existential questions that we all have. And even if we’re reading about it a bunch of millennia later, there’s still something that we connect to.”
Echoing Olfert’s sentiment, Baz elaborated on philosophy’s everyday relevance in provoking questions.
“[For example,] why am I doing what I’m doing? What puts me in [this] position? What would come for me as success in doing it? Why do I care about it?” Baz said.
Tufts’ Master of Philosophy program helps students contemplate such essential questions more effectively and completely. Baz, Olfert and other esteemed faculty with wide-ranging philosophical interests make the program excellent for Ph.D.-seeking students of varying backgrounds like Fang, Jennings and McKeown. That excellence elevates Tufts’ philosophy department as a whole, fostering a rich and lively intellectual environment.

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The second half of the regular season is upon us. After the Panthers were able to pull out a win as a home dog on Thursday night, Week 10 in the NFL is officially underway. This slate has a number of fascinating matchups, including an international head-to-head between the Seahawks and Buccaneers that’ll take place in Munich, Germany to kick things off on Sunday morning. On top of that, there are two division games that could shake up the standings as well. Needless to say, you’ll want to keep a close eye on all the action. 
As we do every week, we’ve collected all of the best picks and gambling content from CBSSports.com and SportsLine and put them all in one place, so you can get picks against the spread from our CBS Sports experts as well as additional featured content for each game, including plays from top SportsLine experts and the SportsLine Projection Model, best bets from our staff, survivor picks and more. 
All NFL odds via Caesars Sportsbook.
Which picks can you make with confidence in Week 10? And which Super Bowl contender goes down hard? Visit SportsLine, as its incredible model simulates every NFL game 10,000 times and is up almost $7,000 for $100 players on top-rated NFL picks since its inception.
Time: Sunday, 1 p.m. ET (Fox), stream on fuboTV (try for free) 
Open: Bills -9.5
Current: Bills -3
“Josh Allen‘s status is obviously key here. I’m of the opinion he doesn’t play in this game, based on the flow and timeline of information coming out of Buffalo on the situation. The line moved pretty dramatically — down from Bills -6 to Bills -3.5 — but that probably doesn’t fully reflect what the spread would be if Allen is out. He’s that important. I’m backing the Vikings catching 3.5 but would probably lean toward Buffalo and capable backup Case Keenum (revenge game!!!) if the line was a pick ’em or Bills -1, etc.” — Pick Six Podcast host Will Brinson on why he is picking the Vikings to beat the Bills, 21-17. To see all of his picks, click here.
Time: Sunday, 1 p.m. ET (Fox), stream on fuboTV (try for free) 
Open: Bears -1.5
Current: Bears -2.5
“It’s wild that I’m at the point where I’m making the Bears a best bet. Seriously, this offense was terrible to start the year. Their play-calling was atrocious, and Chicago’s red zone play-calling specifically had me convinced every player would be forced to run laps if they were to ever touch the end zone. That’s changed now, and Justin Fields is thriving.  
“Last week vs. the Miami Dolphins, the Ohio State product completed 17 of 28 passes for 123 yards and three touchdowns, and rushed 15 times for 178 yards and one touchdown. He also set a franchise record for longest touchdown run by a quarterback with a 61-yard score. Fields’ 178 rushing yards were the most by a quarterback in a regular-season game in NFL HISTORY. Fields also became the first player in NFL history to throw three touchdowns and rush for 140-plus yards. What’s he going to do against the worst defense in the NFL?
“The Lions upset the Packers last week, but they needed three Aaron Rodgers turnovers to do so. Dan Campbell is 0-11-1 on the road in his coaching career, and the Lions have lost six straight games following a win. I don’t want to overlook the fact that the Bears have lost two straight games, but they are playing with some confidence. The Bears won both games vs. the Lions last season, if you were wondering. I’m taking them again here.” — CBS Sports’ Jordan Dajani on why he is laying the points with Chicago against Detroit. To see all of his Week 10 picks, click here.
Time: Sunday, 1 p.m. ET (CBS), stream on Paramount+ (click here)
Open: Titans -2
Current: Titans -2.5
“The Titans are back home after going 1-1 on a two-game road trip, barely losing to the Chiefs in overtime. They might have Ryan Tannehill back at quarterback, which they need. The Broncos are coming off a bye, but this is a tough trip to get back going again. Look for the Titans to win it.” — CBS Sports Senior NFL analyst Pete Prisco on why he likes the Titans to take down the Broncos, 26-18. Click here to see all of his Week 10 picks.  
Time: Sunday, 1 p.m. ET (CBS), stream on Paramount+ (click here)
Open: Chiefs -9.5
Current: Chiefs -9.5
“The Chiefs were disappointing off of the bye against the Tennessee Titans. That win did not feel like a win. An overtime field goal victory against a backup rookie quarterback making his second career start without a wide receiving corps? Not to insult the Titans — who clearly won in the toughness category — but the Chiefs are obviously the better team. The Jaguars are not as good as the Titans, so maybe this home game in K.C. is the one where Patrick Mahomes and Co. explode. That’s what I believe. The Chiefs are 3-5 ATS this season, which is ugly, but I’m calling my shot.” — CBS Sports’ gambling guru Jordan Dajani on why he is laying the points with the Chiefs against Jacksonville. To check out all of his Week 10 picks, click here.
Time: Sunday, 1 p.m. ET (CBS), stream on Paramount+ (click here)
Open: Dolphins -5.5
Current: Dolphins -3.5
“My instinct here isn’t that the market fees like the Browns are a great team, but that the Dolphins are probably an average one on the same level as Cleveland. But the Dolphins to me are a clear playoff team, even with a defense that some think is shaky. That’s because Miami has the best passing game in the league, with Tyreek Hill as the NFL’s best No. 1 receiver and Jaylen Waddle as the league’s best No. 2 receiver. Tua Tagovailoa has won every game he’s started and finished this year. If you extend that back to last year when he played in nowhere near as efficient an offense, he’s 12-1 in his last 13 finished games as starter. I know the Dolphins only won by small margins against perceived weaker teams each of the last two weeks, but road interconference games are difficult to win no matter the opponent, and those are the types of road trips during which the old Dolphins drop at least one and maybe two games.
“Then you have a Browns team coming off a bye that we last saw destroying the Bengals. Maybe that defense will again have success here against a Dolphins offensive line dealing with a key injury to Terron Armstead, but Miami is ninth in sack rate on offense all year, so I wouldn’t put them in the same bucket as the Bengals when it comes to strength of that unit. I also worry about the state of the locker room coming out of the bye when they’re just a few games from getting Deshaun Watson on the field. Do you think with two weeks to dwell on that QB upgrade that the team is 100% focused on beating the very good opponent on the schedule this week?”
R.J. White has been SportsLine’s No. 1 NFL ATS expert over the last five years, going 445-378-24 against the spread. He’s also delivered a 56.8 percent hit rate on his SuperContest picks over the last seven seasons, which is exactly what he’s aiming at above, taking the Dolphins -3.5 against Cleveland. To see all of his SuperContest picks and his Circa Million picks, go check out SportsLine.
Time: Sunday, 1 p.m. ET (CBS), stream on Paramount+ (click here)
Open: Giants -6
Current: Giants -4.5
“The Giants are coming off a bye, while the Texans played last Thursday. The Giants have had run-defense issues, which could mean a big game for Dameon Pierce. I look for the Texans to hang around because of that. Giants win it, but it’s close.” — CBS Sports Senior NFL analyst Pete Prisco believes the Giants will edge out a 23-20 victory over the Texans in Week 10. To read all of his picks, click here.   
Time: Sunday, 1 p.m. ET (Fox), stream on fuboTV (try for free) 
Open: Saints -2.5
Current: Saints -1.5
The SportsLine Projection Model enters Week 10 on an incredible 151-108 run on top-rated NFL picks that dates to the 2017 season, so this can be used to absolutely crush the Survivor Pool format. In Week 10, we can tell you the model is shying away from the New Orleans Saints even though they are favorites over the Pittsburgh Steelers. New Orleans has lost back-to-back road games to teams under .500. On the other hand, Pittsburgh won its last home game as an underdog against the Buccaneers. Instead, the model is backing a shocking team that is well-positioned to deliver an upset win. To see which club that is, go check out SportsLine.  
Time: Sunday, 4:05 p.m. ET (CBS), stream on Paramount+ (click here)
Open: Colts -3.5
Current: Raiders -4.5
“If you haven’t been following the Colts over the past few weeks, let me give you a quick rehash of how things have gone:
Oct. 24: Matt Ryan gets benched (for Sam Ehlinger)
Nov. 1: They fire their offensive coordinator (Marcus Brady)
Nov. 6: They have their lowest offensive output since 1997 in a loss to the Patriots (121 yards). 
Nov. 7: They fire Frank Reich and promote a guy to interim coach who has zero NFL coaching experience (Jeff Saturday). 
“I would say that it’s been a circus, but that would be an insult to circuses. 
“What this means is that the Raiders will be going into their most winnable game of the season: They get to face a team that’s starting its backup quarterback with a new offensive coordinator and an interim coach who will have been on the job for six days when this game kicks off. 
“I’m not going to say that Josh McDaniels should be fired if the Raiders lose, but if he gets outcoached by a former offensive lineman who was coaching high school football last week, that might be a sign that it’s time to move on from him.
… This feels like a game that McDaniels absolutely can’t afford to lose and fortunately for him, I don’t think his team is going to lose.” — CBS Sports NFL writer and member of the Pick Six Podcast John Breech on why he is predicting the Raiders to pull out a win over the Colts by a field goal. To read the rest of his picks, click here.
Time: Sunday, 4:25 p.m. ET (Fox), stream on fuboTV (try for free) 
Open: Cowboys -3
Current: Cowboys -4
“The oddsmakers have seemingly given up on the Packers and for good reason. After being road favorites against the Lions in Week 9, Aaron Rodgers threw three red zone interceptions and Green Bay fell to 3-6 on the season. Now, Rodgers and Co. are home dogs to the Cowboys. The defending MVP is having arguably his worst season and the Packers are averaging just 17.1 points per game with a red zone touchdown percentage (50%) that ranks 23rd in the NFL. Meanwhile, Dallas is fresh off a bye and is 2-0 SU and ATS since Dak Prescott returned from his thumb injury. Since the start of last season, the Cowboys are 19-6 ATS (best in the NFL) and Mike McCarthy is 12-2-1 ATS in his career coming off the bye (2-0 ATS with Dallas).” — CBS Sports’ Tyler Sullivan on why is rolling with the Cowboys to take down the Packers at Lambeau Field as one of his best bets. To see the rest of his picks, click here.  
Time: Sunday, 4:25 p.m. ET (Fox), stream on fuboTV (try for free) 
Open: Rams -3
Current: Rams -3
“The Rams are down and out right now after Tom Brady once again ripped Sean McVay’s heart out. Making matters worse, Matthew Stafford is now in concussion protocol, and is questionable to play on Sunday. I’ve got to trust McVay against Kliff Kingsbury — he’s 6-1 against his Cardinals counterpart, with the only loss coming in a massive emotional letdown spot last year after McVay and Stafford took down the defending champs in Brady and the Bucs.” — Will Brinson, the host of the Pick Six Podcast, explaining why he will lay the points and ride with the Rams at home against the Cardinals. To see all of his picks, click here  
Time: Sunday, 8:20 p.m. ET (NBC), stream on fuboTV (try for free) 
Open: 49ers -3.5
Current: 49ers -7
CBS Sports fantasy and gambling editor R.J. White has consistently been hitting his picks out of the park. Between 2017-21, White is 445-378-24 on his ATS picks, which returned $2,542 to $100 players. He’s also 19-7-1 ATS on his last 27 games involving the Chargers, so you’ll want to know which side he has on Sunday night. We can tell you he’s leaning Under the total, but to see which side he’s taking you’ll have to go to SportsLine.
Time: Monday, 8:15 p.m. ET (ESPN), stream on fuboTV (try for free) 
Open: Eagles -10
Current: Eagles -11
SportsLine expert Larry Hartstein entered the 2022 season with a 427-344 all time on NFL sides (plus $3,764 for $100 players), including 394-330 against the spread. Hartstein has also gone 21-7-1 on his last 29 picks involving the Commanders, returning $1,311. Anyone who has followed him is up big! We can tell you Hartstein is leaning Under on the total, but he also knows a key X factor that makes one side of the spread a must-back! To see what that is, head on over to SportsLine.
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Just as the world started getting over the hangovers of the COVID-19 pandemic, and major concerts resumed across the world, something unexpected happened to Adewale Oguntade. For the music producer, songwriter, and singer professionally known as Ajimovoix Drums, it was an era of new-found fame. His instrumental record, Focus Dance Beat, took the music industry by surprise. Its pulsating percussion and piano rhythms became a highlight for every dance floor, music concert, and party where Afrobeats music was featured. The Focus Head Dance was showcased by superstars during performances,  including Burna Boy, Poco Lee, Davido, among others. 
It was surely an exciting feat for Ajimovoix drums, who later peaked on the Apple Music Top 100 chart. However, it was not the most surprising feat for the street-hop/pop sound whiz; later that year, he released an extended play dubbed, Border To Border, which signaled his entry into the singing circles of Nigeria’s music industry. In Border To Border, he preached his ghetto gospel, giving hope through his melodies and voice. Barely a year later, he has now just released a sophomore EP dubbed, That Unserious Focus Boi, a 10-track mélange of harmonious instrumentals, passionate singing, and inspiring lyricism.
Like other music producers who have since broken into the singing space of the industry, including Pheelz, Young Jonn and KDDO, among others, Ajimovoix Drums comes through with the aura of a veteran and the hunger of a newcomer. In That Unserious Focus Boi, he affirms his mettle as a vibrant singer, and a conscious lyricist.
In this interview, he catches up with Culture Custodian, reminiscing on his journey from the soundcard to the microphones, hustling as a construction worker before breaking into the industry, his evergreen affinity for street-hop/pop, his creative inspirations from the heart of Ikorodu, a bustling Lagos suburb, as well as his vision to become a world record holder. 
 
Tell us about this new album.
I am so proud of this record. I am living my dream already. I wanted to create something that will resonate with people. It is called That Unserious Focus Boy, because I am always pushing in spite of the impression people might have that I am just a street music maker. There are inspiring songs on the album, alongside dance-heavy music. It’s all ear-candy vibes. They will help to inspire and move you forward. It is a muse for the young generation, inspired by most of my life’s experiences and things I have heard from people.
You are notorious for your party-favorite instrumentals. What inspired you to start singing?
Actually, before music production, I used to be an artist. I used to be a lead singer in a group before music production called. I felt like I couldn’t just let that particular vibe or scene of me go offline like that. In my lane, I know I’m very good, so I had to pitch it up and start from somewhere. And I’m hoping everything works fine for me.
So are you saying that you began music production as a source of income, and not necessarily what you’ve always wanted to do?
While the music scene was growing, around the early 2010s, the music production landscape was improving too. I think towards that time, was when my interest in it started growing massively. During that period, music producers started increasing their rates due to the change of sound. Autotune was introduced to us around that period too. The level at which producers got equipment and software increased because they started investing more. I tend to learn fast, once I have my mind set on something. I was not scared by the cost of the investment. I knew that all I needed was dedication. Funnily, the studio fee actually made me run; then, it went from N7,000 to N9,000 to N10,000 to N15,000 and N20,000. Do you know how many days I had to work on a construction site to make 20k? 25 days. So, I tried out music production. However, I forgot about singing shortly after I started making beats. I was surviving. I didn’t go to the construction site anymore. I didn’t have to go to the farms. Then, I started listening to people whom I thought I could sing better than. And somehow, I just found myself making music again. I had even made my last EP before my viral instrumental, Focus Dance, blew up. 
The whole EP?
Yes, the whole EP. I added just one new song. 
How did you make Focus? Describe the events that happened when it blew up for you.
Errrm, Focus is a mystery, I won’t lie. I remember talking to one of the guys on my publishing team. She’s a white lady called Debra. She said that there is something about “Focus” that is yet to be unveiled. Like, it still has this extra life, and I should just watch and see. I wouldn’t be surprised if “Focus” should come back to life like how it was before. It has this vibe of staying a long time. It may look as if it’s ending now and then tomorrow, you just hear it blow up. What I was really happy about was how people who listened to focus, could not actually get over the sound. Immediately the sound came up, they vibed to it. I was not actually surprised when I saw Burna Boy dancing to Focus. He danced to “Lagos Street Vibes.”  Naira Marley was just coming up. All these people, from Naira Marley to Don Jazzy, to others, who were vibing to “Focus”, they actually did it with “Lagos Street Vibes,” and some of my other instrumentals that went viral. In fact, when I saw them playing the Focus instrumental at a show in the 02 arena, that was when I was shocked. Burna Boy started taking the dance everywhere. The day I saw Micheal Blackson doing the “Focus” dance,  I was like, is this a dream or what? People don’t actually know how that felt to me. I think I’ve tried my best, and I still have more to give. The day one of my friends sent me that snap Rihanna did, where she was vibing to the “Focus” dance beat in a club, I was convinced that the track had become very popular.
As a producer, you are notorious for street pop. But as an artiste you are very mellow and introspective. Why?
Apart from all these indigenous artists, one of the things that drew my attention to music was that I really wanted to sing. I  just didn’t know how to put it down. I was like, I have to make it look different when the time is right. These are the types of songs that come to my head anytime I want to play anything. I think those sounds were my kind of vibes when I started singing too. I was doing it towards that pattern, which was a very calm sound. I don’t actually do dance music, but what actually drew me into doing dance beats was when I started seeing boys doing dance beats. I was like, ‘what is this one playing? I can actually do this beat.’ So I tried it with one titled Eko o jina, fi ese salo.
Oh. So you were the one behind that Eko o jina beat?
Yeah. So when we did that, I had just moved from my dad’s place to a friend’s place, within the main heart of Ikorodu. The kind of people I actually worked with then, wanted hits. There is something about the environment. As an entertainer, once you are in that hood, you will have that vibe and inspiration. The kind of sounds and the lifestyle they live will definitely generate something for you as a music producer. You see them playing street vibes, those Ajegunle songs, and the like. And I am good at summarizing sounds. I can actually listen to Joeboy or Wizkid’s songs and summarize the sound in a very “street” way. You will definitely like it.
When you say summarizing the sounds, what do you mean?
Like I can just handpick instruments from different sounds, and try to replicate what they did in my own way. So it’s remixing what I did from other people’s songs into a street vibe. I think I did that with Focus too.
So, what’s your vision for “Street pop” music and also your own career?
I’m the kind of person that doesn’t actually get scared when a sound is not accepted at first. I believe once the sound is good, it will definitely hit. Lagos Scatter took five years after its release before it blew up. Lagos Street Vibes took like four years before it blew up. Focus took over three years before it blew up. I call my sound the talking beat like you can actually say something without vocals on them to the beat. Like, this is what this beat is saying; this beat is telling me to move this way and dance this way. It’s a concept, and that’s my vibe. So I foresee myself as a world record holder. I have a lot to still deliver, greater things are yet to come and this is just the starting point. I see myself as a leader, with the dream of grooming so many people. I used to see myself this way, and I’m starting with myself on that. For Afro-pop, it’s growing. In ten years, it will be bigger. People are really vibing to it, a lot of guys are making music with it. The instrumentals are doing very fine, and I prefer listening to them rather than listening to some music these days.
So for you, the melody is like the most important thing. Is that why you put just instrumentals sometimes in your EP?
Yeah. This is my signature. Sometimes I don’t even feel like adding my tags to what I create, but later I’m like, people are really listening to this. You see a lot of guys doing this because they just want to trend. I try to differentiate sounds. When I listen to instrumentals, there’s this thing I see in a sound and I don’t think anyone sees it.
 
Culture Custodian curates and collects the stories and events that matter for the Nigerian and African millennial.

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Ex-pop star Glyn Tucker now resides in Katikati's Fairview Estate. Photo / Rebecca Mauger
Glyn Tucker and his band The Gremlins were once in a Beatles chart-topping sandwich back in the 1960s.
The Gremlins were riding high with their biggest hit The Coming Generation at No 2 on the music charts in 1966 with Yellow Submarine and Eleanor Rigby on either side of them.
Not a bad place to be and certainly a feather in the Kiwi band’s cap.
These days the musician, songwriter and music producer is retired and lives at Fairview Estate with wife Carole. Residents are starting to realise they are rubbing shoulders with a bona fide 1960s pop star and successful producer.
Glyn’s been keeping his hand in the game with cabaret/covers act Divas and Diamonds with Barbie Davidson and they recently performed at the estate.
Originally from Wellington and then Auckland, Glyn’s love of rock’n’roll started with the likes of Buddy Holly and Elvis Presley and he abandoned the piano and violin training for the guitar.
He also started writing songs and joined a band. Their first gig in Northland earned them one pound each. A few bands down the track Glyn and his friends formed pop band The Gremlins.
The Gremlins’ The Coming Generation became something of a teenage anthem and it reached No 2 on the New Zealand top 20. They featured on television shows such as The Loxene Gold Disc Award Show.
“But we never got that elusive international hit. I soon found myself getting into music production and producing other people’s music.”
Glyn says he had the best studio in Auckland for 20 years — Mandrill Studios and Mandrill Records, and later the Reaction label. He’d signed and/or produced music with the likes of Alistair Riddell, Citizen, Band, Rick Steele, Midge Marsden Connection, Human Instinct, Danse Macabre, Car Crash Set, Paul Agar, Marginal Era, Blond Comedy, National Anthem, Gotham City Express, Knightshade, Wayne Roland Brown, Everything That Flies, Mark Loveys Satellite Spies, Billy T James, The Hi Marks, Suzanne Prentice, Howard Morrison and others.
His biggest claim-to-fame song was producing Forever Tuesday Morning by The Mockers.
“I had already done an album with The Mockers (Swear it’s True) so Andrew Fagan gave me this demo he was really excited about. I said, ‘it’s great but go away and write a bridge to it’ — the middle section of the song — so he came back the next day.
“The keyboard player had a hand in co-writing the bridge and it was fantastic. I could never write a bridge that good and they came up with it … if it wasn’t for me it would have been half a song.”
Glyn’s all-time favourite song he produced was Tears by The Crocodiles with talented vocalist Jenny Morris.
“The song keeps changing key and the vocals are amazing. When I finally met them in person they had made some changes — they showed up with a couple of new songs and a new singer — Jenny Morris.
“Bruno Lawrence was on drums and he was becoming a famous film star. I was rapt because they suddenly sounded commercial.”
One of his clients was David Hasselhoff not long after Knight Rider fame.
“He didn’t take himself too seriously. We did an album called Lovin’ Feelings and it didn’t do what we expected it to do. But we still got some kudos and it was fun for me to rub shoulders with a big TV star. We had a fun three weeks with him in Auckland.”
By the end of the 1990s, Glyn was losing interest with record production.
“The fun went out of the recording industry in the late 90s. Digital recording was coming into itself at the time. There was the electronic thing, the hip-hop thing … I was well into my 50s and could not relate to it.
“Too much electronics and not enough live instruments. A lot of us from that era know there’s nothing like having a band play live together in a studio.”
These days Glyn has come full circle and is back in the spotlight with Divas and Diamonds. Barbie morphs into divas of the 1960s-70s era and Glyn plays his favourite songs from a range of stars such as Dean Martin, Neil Diamond and others of the era — including some Gremlins hits.
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The Chronicle
Simba Jemwa, Chronicle Reporter
SEVEN-YEAR-OLD Sibonokuhle Sitsha is a young aspiring musician looking to make her name in the industry.
But for all intents and purposes, this could very well be a dream that may not be attained given the high cost of music production in the country.
After all, her father, Clive is a gardener and vendor in Hillside while her mother is a maid.
Yesterday Sibonokuhle’s dream came closer to becoming a reality when she received a full set of music recording equipment comprising a laptop, audio box, mixer, microphone and microphone stand courtesy of Finance and Economic Development Minister, Professor Mthuli Ncube who acquired the equipment to go towards the development of the arts sector in Bulawayo.
Michelle Kanda (17) (left) of Cowdray Park also received equipment from Prof Ncube in Thorngrove yesterday
The Tennyson Primary School pupil has already released a single, Baphi Abadala which was written by musician King Chico.
Speaking to the news crew after the presentation ceremony, the very talented and smart young girl said: “I am happy that ubaba (Professor Ncube) has given me these things.
“They will make it easier for me to record my music and also record for other people in the neighbourhood.”
Mr Clive Sitsha, her father, a gardener and vendor in the neighbourhood, was very emotional while accepting the equipment on behalf of his daughter.
Himself a maskanda artiste, Sitsha said this will go a very long way in the development of his daughter as an artiste as well as other aspiring musicians who will come and record with them.
“We are very grateful to the Minister for this gesture and I promise you that it will be put to good use. We were told that this was not just for us but we can charge other artists to use the equipment to record their work which will benefit everyone,” said Sitsha.

At the presentation ceremony in Hillside at Silobuhle’s home, Professor Mthuli Ncube, yesterday pledged his commitment to improving the arts industry in Bulawayo and began with the presentation of the five sets of music recording studio equipment to different beneficiaries including the seven-year-old starlet.
Prof Ncube was in the company of Young Women 4 ED Bulawayo province chairperson, Sandra Ndebele as he presented Sibonokuhle with the music recording equipment comprising a laptop, microphone and stand, audio box and mixer.
According to Ndebele who coordinated the process of identifying beneficiaries, the equipment will be used to establish a music recording studio for anyone who needs it under the management of the beneficiary.
“We hope that the beneficiaries will be capacitated and be able to earn a decent living from this equipment. Even though we have given this equipment to these individual beneficiaries, they must avail them to other users and operate the studios like any other music recording studio,” said Ndebele.
Young Sitsha regaled the invited guests who included ZANU-PF Bulawayo Province Information and Publicity Secretary, Archibald Chiponda who was in his home ward (Ward 5), provincial Youth League chairman, Freedom Murechu and his secretary for security, Godknows Mdhari.
Prof Ncube described the arts sector as a potential employer if capacitated.
“As the Minister of Finance and Economic Development, it is my responsibility to identify and support sectors that can provide employment as well as contribute to the GDP.
And the arts sector is one such sector. Growth in this industry has been slow because of the lack of support .
When Sandra as chairperson of Young Women 4 ED in the province approached me and told of the challenges faced by artists in the province and beyond, I felt compelled to play my part in addressing these challenges,” said Prof Ncube.
Minister Ncube also presented similar equipment to under privileged beneficiaries in Cowdray Park, Nkulumane and Thorngroove suburbs. @RealSimbaJemwa
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Home – Interviews – “Women in Music Production”: Navigating Complex Career Paths
Audio engineering is a unique field. It melds art, science, technology, creativity, and personal satisfaction to form a distinct mix.
Setting your sights on an audio career means the opportunity for unmatched highs, but also harrowing lows. Depending on your background, you may enter the arena with advantages – or face added challenges.
Among the differentiating demographics in audio is gender. Females have long felt outnumbered in the studio, and recent research backs that up: According to the career data platform Zippia, just 7.7% of audio engineers employed in the US are women.
“Conversations with Women in Music Production” by Kallie Marie is available now on Backbeat Books.
That’s a notable disparity, but severe workplace imbalance is only one part of the story. A prolific producer, composer and engineer (and SonicScoop contributor), Kallie Marie takes a deeper look at female studio practitioners in her recently published book, Conversations with Women in Music Production: The Interviews (Backbeat Books, 2022).
Marie’s accomplished subjects represent wide-ranging experience, including Abhita Austin, Leslie M.G. Bird, Hillary Johnson, Silvia Massy, Johnette Napolitano, Kerry Pompeo, Ebonie Smith, Andrea Yankovsky and more. They provide up-close perspectives on navigating their careers, offering personal and professional insights on diversity, childcare, healthcare, pay equity, and the impact of technological change in audio.
However you identify, Women in Music Production helps to rethink key fundamentals. The book expansively explores complex relationships between technicians, creators, and audio tech. In the process, it shines intriguing new light not just on how gender impacts career paths, but how music itself is recorded, produced and ultimately experienced.
SonicScoop and Marie talked about her adventures writing Women in Music Production.
When did the idea for “Conversations with Women in Music Production” start to form? 
The idea started to form sometime in 2017, maybe late 2016 when I was asked to contribute a chapter to a book called Producing Music (Perspectives on Music Production). The initial findings were published in that book, in 2019. At that point I had so much material there was enough for a book, and I really felt that everyone’s conversations and stories said more together than alone.
That’s an organic start to a next book! What types of people did you choose to interview for Conversations – what qualified someone as an appropriate interview subject for this book?
This is laid out in the forward of the book as being:
“Specifically on recording engineers and record producers. The term producer is used here in the traditional sense and not as it is used today, to encompass anyone who utilizes software to work on music or who has some means of production to produce their own work. Here the term delineates a person hired by either a studio, an artist or band, or a label to work on the production aspects of the music (including but not limited to the stages of preproduction, production, and sometimes extends to postproduction) and help oversee and guide the creative and technical aspects of music production as a whole.
(You will see that I do not include live sound engineers, mix engineers, mastering engineers, DJs, or self-stylized and self-producing artists on the whole. There may be more or fewer women and gender minorities in some of these professional spaces than in others. Although one or two producers interviewed here may also be music makers and artists and there are in some cases a crossover with self-producing artists, theirs is a different set of unique challenges. These I believe to have their own professional circumstances that present too broad a topic to address adequately within this work. My exclusion of these other career pathways allows me to focus on aspects specific to recording engineers, record producers, and audio engineers, like the ability to sell oneself to an artist, to thrive in networking situations, and to prove technical prowess.)”
Additionally, my criteria was that anyone I interviewed had to have been working as such, professionally by 2016 for 10 years or more.
You bring up fascinating aspects of gendered perception in the book. An interesting term I encountered early on, for example, was the “audible male gaze” – what is that and why does it matter?
The audible male gaze is a term I coined, which takes a nod from “the male gaze” which is a feminist term/theory coined in 1975 by Laura Mulvey who applied it to cinema, but who was also borrowing from philosopher Jean-Paul Sartre’s concept of le regard, aka the gaze in his work in 1943.
Both works suggest that by being viewed or always being the subject of the viewer there is a power imbalance. Without going down the rabbit hole here, the audible male gaze further extends Mulvey’s theory into the realm of audio and music, such as to say that if it is not pleasing to the heterosexual male, can that music be valued, or the artist making it, valued enough to be signed, promoted, marketed, etc…?
That is to say, for example, that some artists or styles of music that women were/are engaging in maybe have been less acceptable or accessible to them, as well as those in gender minority or queer artists when there’s been a fairly narrow set of gatekeepers and gatekeeper tastes – someone like Yoko Ono, who may have made “unattractive music” (insert “for a woman”).  We have come a long way, but there are still crossroads to get to.
The point isn’t that what is created shouldn’t be attractive, but that it shouldn’t have to be, or that there’s room for different tastes. That classic feminine “attractiveness” can be limiting musically and there are more dimensions of expression, no matter who you are.
You spoke with so many highly accomplished women in the audio field for this book. Were there any memorable “a-ha” moments that stand out for you when conducting these interviews?
Kallie Marie is a producer, composer, engineer, and author.
Yes! I was so surprised at how similar so many of us were. Personally I was astounded at how many of us had started out with things like tape recorders, and fascination with recording little things, little home projects, even as small children.
It was refreshing to see that rather than being different we were all actually quite similar in some ways, across ages and demographics. We exist.
What were some surprising psychological patterns of thinking that you uncovered when writing this book?
Nothing was really surprising to me. I have studied these things for years, decades…  Susan Faludi’s Backlash: The Undeclared War Against American Women was something I read in high school. I’ve long been an academic in this area, and nearly did my MA in it, but decided I could do more damage to the establishment by forging ahead in music and audio, and did my MA in that instead.
Honestly, I couldn’t imagine my life without music and recording as the focus, so I consciously chose to keep recording, producing, and composing.  I will say something that did surprise me is how frequently the topic of clothing or dress came up, which I had purposefully avoided. That could be its own book, and there is plenty of research on that already, but it was interesting to note that they brought it up on their own and were hyper aware of themselves – which isn’t the surprising part, just that they brought it up without prompting and how present to mind it was for some of them.
It sounds like you definitely had some interesting experiences in the writing of Conversations. Finally, how do you hope that reader attitudes might evolve by reading this book – what is the best-case scenario?
I’d say if they’re reading it, already that’s great. It means that they are open to exploring the topic, and that they have a vested interest, if not at least curiosity.
We should all be curious about our world and about the biases that we passively learn through life. Socialization plays a huge role in our daily lives, being conscious of ourselves and others creates an aware community.
Musicians have always been a super-conscious part of the culture of the planet and are incredible agents of change. We may not be able to change everything about the world that shapes us as individuals, but awareness is always the first step of change. Self-exploration is never a wasted investment, and wearing someone else’s shoes is often an eye-opening journey.
The best case scenario: some deep thought that might lead to small changes…but all of society has to do that work too. The music/recording industries are, after all, a microcosm of cultures within subcultures.
I honestly can’t say what the best-case scenario is other than more awareness, lots of deep reflection, and hopefully an openness to change – there’s a lot of great music to be made. It would be a pity if some of the great artists or records were never heard because of something society decided about them.
— David Weiss is an Editor for SonicScoop.com, and has been covering pro audio developments for over 20 years. He is also the co-author of the music industry’s leading textbook on synch licensing, “Music Supervision, 2^nd Edition: The Complete Guide to Selecting Music for Movies, TV, Games & New Media.” Email: [email protected]
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Woman and guide dog thrown out of Premier Inn as staff ‘didn’t believe’ she was blind
Remembrance Day 2022: Order of service announced for Cenotaph ceremony in London next Sunday
“Working from 100 years of BBC audio… myriad new worlds, collapsing time and space in surprising, utterly insightful ways.”
Melting Arctic ice, coded foreign intelligence messages and pioneering female broadcasters will be among sounds aired as part of a new audio installation to mark the BBC’s centenary.
A new public space at the Strand Aldwych will play host to an immersive project sharing archive clips of early radio broadcasts and pre-industrial recordings of central London.
The VoiceLine, by Somerset House Studios, and artist Nick Ryan, will open on December 7 and be in place for three months, as the first commission in the newly redeveloped site.
It marks the opening of the new public space in the heart of Westminster and celebrates 100 years of the BBC operating.
39 speakers will traverse the 170m space, close to Marconi House where the BBC first broadcast in 1922, and visitors will experience voice, sound, music, and audio storytelling.
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Artist and sound designer Nick Ryan said: “The VoiceLine celebrates the histories of radio and listening that began on Strand 100 years ago and changed the world.
“I hope the unique sound instrument I’ve created will identify Strand once again as an iconic destination for listening.”
Robert Seatter, BBC head of history said: “Working from 100 years of BBC audio, Nick has conjured myriad new worlds, collapsing time and space in surprising, utterly insightful ways.
“The BBC is delighted to mark its centenary with this rich, thrilling work, taking inspiration from the birth of radio and celebrating the transformative power of audio in all our lives.”
Visitors to the project will hear recordings ranging from:
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Between 8am and 8pm, bespoke audio works will create an evolving pathway of sound.
The installation has been brought to life through a unique partnership with the BBC, during its centenary year, and will engage the public with early radio innovations of radio, the famous voices of the news and nation, and the multitude tongues of the BBC World Service.
Nick Ryan said: “Over the next 100 years the sound of cities will change beyond recognition and perhaps for the first time we are able to choose how our public spaces should sound.
“Novel sound technologies enable us to transform a thoroughfare that for the last 300 hundred years has been known only for the disruptive sound of vehicles into a continuously evolving auditory world with immersive sounds of voices, nature and music.”
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More than 350m long – four times longer than Leicester Square – the Strand Aldwych space includes social seating, workstations, collective dining, an activity lawn and garden room.
Ruth Duston, chief executive of the Northbank Business Improvement District (BID), said the seein the project come to life had been “incredibly rewarding”.
And she said the aim of the partnership project was to “ultimately create a space that is welcoming, accessible and I hope, beloved by all”.
Jonathan Reekie, Somerset House Trust director, and joint project board chairman, said: “We have been delighted to play a leading part with many other local public and private stakeholders in this special partnership to create a new public space for London.
“It is a space that will draw from the past and help us shape the future of our great city.
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“This intervention vastly improves air quality and will reveal to locals, Londoners and visitors, a vibrant and under-appreciated corner of London.”
Geoff Barraclough, from Westminster City Council, said: “In this exciting new Westminster destination, surrounded by much beautiful architecture and deep-rooted history, we are seeing the opening of a space for contemporary public culture in central London.
“An important vision for Strand Aldwych was to carve out space for accessible, free art and allow creative ideas from world-leading neighbouring institutions to spill into public space.
“The VoiceLine will be the first of many creative ventures to act as a draw for visitors from the city and beyond to enjoy the Northbank and explore the many other delights nearby.”
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Lewis Capaldi's aching ballad Someone You Loved has become the UK's most-streamed song of all time, overtaking Ed Sheeran's Shape Of You.
The song has been played 562 million times, counting both audio and video streams, said the Chart Company.
Capaldi celebrated the news by calling himself "the king of streaming".
"Listen…The Beatles, Drake, Metallica, The Eagles, Michael Jackson, don't worry guys, no hard feelings, I just had to take this one," he added.
"Take a step back and let Daddy steer the ship now, OK?"
On beating Sheeran's record, the Scottish singer said: "Ed's a man who is like a brother to me, he's been a mentor, he's put his arm round me and said, 'Don't worry everything's going to be ok'.
"He's been nothing but kind and gracious and beautiful, a good friend in an ever-changing industry. So to Ed I say… nice guys finish last. You snooze you lose, kiddo. Keep up!"
The Official Chart Company announced the news to mark its 70th anniversary.
The first chart was compiled by music newspaper the New Musical Express on 14 November, 1952, with Al Martino's Here In My Heart becoming the first ever number one.
The Top 12 was rather rudimentary, constructed from a survey of 20 record shops by the NME's advertising manager Percy Dickins, who thought a chart would lure new advertisers to the publication.
Over the next seven decades, the chart became more sophisticated, and now tracks every sale, stream and download that occurs in the UK.
In figures released on Monday, the Official Charts said a total of 4.55 billion singles, 683 billion audio streams and 128 billion video streams have been consumed in the UK since the chart began.
A total of 1,404 songs have reached number one in that period, from The Beatles' She Loves You and Queen's Bohemian Rhapsody, to Madonna's Into The Groove and the Spice Girls' Wannabe.
The current number one is Taylor Swift's Anti-Hero, which is expected to spend a fourth week in pole position when the latest chart is announced this Friday.
Elton John's Candle In The Wind is the UK's biggest-selling single of all time, with 4.94 million copies sold.
A further 178 singles have surpassed one million sales – and the latest to achieve the feat is Taylor Swift's Shake It Off.
She is the is the first act to reach the milestone in two years. The last was Goo Goo Dolls' Iris, which hit one million sales in February 2020. The last solo artist to make the list was Frank Sinatra, with My Way, in 2018.
The chart company noted that Shake It Off could be the country's last million-seller, as downloads and physical sales are now negligible, even for the biggest hits.
Streams now account for 98.6% of the singles market, with the number one single currently averaging 6.82 million streams per week.
To date only three songs have topped 500 million streams – Someone You Loved, Shape Of You and Ed Sheeran's Perfect.
Seven tracks have achieved 400 million streams, including George Ezra's Shotgun. The Weeknd's Blinding Lights and The Killers' Mr Brightside.
The most streamed music video is Baby Shark by Pinkfong, which has amassed 220 million plays.
Meanwhile, Queen's Greatest Hits is the UK's best-selling album of all time, surpassing 7 million copies.
Follow us on Facebook or on Twitter @BBCNewsEnts. If you have a story suggestion email [email protected].
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Funeral services celebrating the life of Alison Renee Walatka, 42, of Davenport, and recently of Riverview, FL, will be held at 4:30pm Sunday, November 13, 2022, at the Halligan-McCabe-DeVries Funeral Home, Davenport. The rite of cremation will follow services. The family will receive friends from 2:30pm Sunday until time of services at the funeral home. Memorials may be made to the family for a future tribute to Alison.
 
Ms. Walatka passed away unexpectedly on Tuesday, November 1, 2022, at St. Joseph Hospital, Tampa, FL.
 
Alison was born May 24, 1980, in Davenport to Thomas and Michele (Miller) Walatka.  Following her graduation from La’ James and Scott Community Colleges, she opened Brush Nail Salon and Spray Tanning Studio in Davenport.  She loved doing her clients nails and made countless friendships throughout her career.
 
She believed in God, and touched many people’s lives, putting her faith into practice by accepting others for who they were, and giving generously to others, even at the time of her passing.  As a final act of generosity, she was able to help several other families through the gift of organ and tissue donation.  As a natural giver Christmas was her favorite holiday.
 
Alison lit up the room every time she walked in.  Her greatest pleasures in life were making memories with her daughters. She loved to travel with her friends and family, especially to the beach, and had recently moved to Florida with her daughter Isabella and her BFF Jen July to be closer to it.  She was a “foodie” and loved to try different restaurants with her friends and family.
 
 
Those left to honor her memory include daughters Janae (Markhus Taylor) Caruthers of Davenport, Isabella Westerfield of Riverview; mother Michele (John) Tuthill of DeWitt; father Thomas Walatka of Davenport; brothers Adam (Kristin) Curlott of Davenport, Brian (Maria) Curlott of West Des Moines, IA, and Jeffrey (Emily Teel) Curlott of Davenport, step brothers Nick Tuthill of Moscow, IA, William (Kassi) Tuthill of Ely, IA; fourteen nieces and nephews; several aunts and uncles; her BFF Jen July of Riverview; and her dog “Coco”.
 
She was preceded in death by her bonus mom Sue Walatka.
 
Online remembrances and condolences may be expressed by visiting www.hmdfuneralhome.com.
 
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“You’ll Lose If You Go Soft”: Donald Trump Wanted Blake Masters to Lie More About the 2020 Election  Vanity Fair
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Review: Detroit Opera winning streak broken with sleepy ‘Faust’ show  Detroit Free Press
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ELISSA NADWORNY, HOST:
Our next story is about an influential radio deejay that you’ve probably never heard of.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
DEIRDRE O’DONOGHUE: Hello. It’s Saturday night at KCRW 89.9 FM. My name’s Deirdre. I’ll be your host once you pour yourself a drink and think about dancing.
NADWORNY: Before streaming, before the internet, Deirdre O’Donoghue hosted a popular late-night radio show on member station KCRW in Southern California back in the ’80s and early ’90s. The show was called SNAP!
MYKE DODGE WEISKOPF, BYLINE: Deirdre would describe herself in SNAP! as playing, quote, “new, unusual, imaginative, inventive and bent music.”
NADWORNY: That’s KCRW producer Myke Dodge Weiskopf. He has spent the last few years, along with KCRW producer Bob Carlson, digitizing and remastering recordings of Deirdre’s shows.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
O’DONOGHUE: All right. Now what I need you to do – we have to do a little on-air sound check here. So I need you to strum for a minute.
UNIDENTIFIED MUSICAL ARTIST #1: And I’m going to be singing quite loud. I’m going to be singing quite loud.
O’DONOGHUE: Well, give me a hint.
UNIDENTIFIED MUSICAL ARTIST #1: But don’t turn me guitar up too loud…
O’DONOGHUE: OK.
UNIDENTIFIED MUSICAL ARTIST #1: ‘Cause I sound – I’m really rubbish.
NADWORNY: SNAP! often brought in bands to play live in the studio.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
O’DONOGHUE: Give me a sample of singing.
WEISKOPF: She was very devoted to underground music – music that hadn’t, at that point, received a wide exposure, if any exposure at all.
NADWORNY: Some of those artists were or were soon to be big names, like R.E.M., Meat Puppets, Tom Waits and Sarah McLaughlin. Bob Carlson was the studio engineer for a lot of those late-night performances.
BOB CARLSON, BYLINE: It almost felt a little bit like the adults had left, and now it was time to have this party. And the bands would come down. They would pile in. They would bring their friends. And so it was a scene. It was a scene there in the studio as much as, you know, a radio program. You were part of this, you know, living room party with some of the coolest bands in the world.
NADWORNY: KCRW is about to release more than 50 of these remastered live performances to the public. They’ll be available Monday. So we invited Mike and Bob to come and tell us about some of their favorite finds.
CARLSON: The ones that I remember are the ones that where people come in and they try something new. One that comes off the top of my head is the Meat Puppets.
(SOUNDBITE OF MUSIC)
CARLSON: One of the performances that you can hear online is them just going through a bunch of stuff. Almost off the top of their head, they’re coming up with what they’re going to play next – just as they go, almost – even, like, creating sort of medleys on the fly.
(SOUNDBITE OF MUSIC)
CARLSON: It’s like a journey of music.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
UNIDENTIFIED MUSICAL ARTIST #2: (Singing) “Well, I’m going to tell you how it’s going to be.”
WEISKOPF: I’m going to choose one that, I guess, maybe, falls more in the publicity tour end of things, but it’s – Suzanne Vega came in for her second-ever radio appearance anywhere in the world…
NADWORNY: (Laughter).
WEISKOPF: …In April of 1985.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
SUZANNE VEGA: (Singing) I believe right now, if I could, I would swallow you whole.
WEISKOPF: Her record hadn’t even come out yet. And, you know, early Suzanne Vega was really kind of a spectral presence. I mean, she had this really mystical, kind of understated sound that was really, you know, I mean, entirely unique in a lot of ways.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
VEGA: (Singing) I am friend to the undertow. I take you in.
WEISKOPF: And there’s a version of her song “Undertow,” in particular, that I think is really just ravishing.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
VEGA: (Singing) And now I have you.
NADWORNY: There are also less well-known artists – like groups that Deirdre made famous because of the show, with her community, but never really made it kind of, like, mainstream into big pop.
CARLSON: Yeah, I mean, and that’s, again, you know, a different era. ‘Cause, you know, now, where you can basically hear any song you want to hear ever, at any time, here, you would discover things. You would hear things you couldn’t hear anywhere else because Deirdre – you know, she would take trips to London and Dublin and – just to buy records. And so she would bring them back and play them here when they weren’t even out yet.
(SOUNDBITE OF BLUE AEROPLANES SONG, “AND STONES”)
CARLSON: There was a band called The Blue Aeroplanes, which is also one of my favorites, and their full-on electric session was like, an event.
(SOUNDBITE OF BLUE AEROPLANES SONG, “AND STONES”)
CARLSON: Deirdre used to mishear the lyrics. And there’s a line in a song where he says, bring structures. And she thought he was always saying, send instructions.
NADWORNY: (Laughter).
CARLSON: And so when The Blue Aeroplanes played that song, he changed the lyrics to Deirdre’s version.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
THE BLUE AEROPLANES: (Singing) Send instructions. Once a town…
NADWORNY: Wow. Yeah. There’s such community and, like, closeness in that example. I love that.
This also got me thinking – how did Deirdre learn about these independent artists? You said she was traveling and, like, finding records. Where else did she get these ideas from?
CARLSON: Her whole life was music. That was her whole point of living, practically. And so all her friends were musicians. You know, she lived in a rent-controlled apartment in Santa Monica that was just packed full of records, wall to wall. That’s really what she cared about.
WEISKOPF: And one thing I’ll say, too, like, is, you know, Deirdre was a scholar, and she made meticulous notes for her shows. I mean, her genius is that she comes off very off-the-cuff, but she would have pages and pages of notes about every record that she’d bought. She would do deep research on these things.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
THE BLUE AEROPLANES: Ha.
NADWORNY: The recordings that are being released right now – a lot of them were originally recorded on reel-to-reel tape, right? Like, we’re talking kind of old mechanics…
CARLSON: Yeah. Mmm hmm.
NADWORNY: …Here. What was the process of remastering those? Like, how long does something like that take?
CARLSON: For one thing, I had to get our engineers here at KCRW to roll out a reel-to-reel machine, which we didn’t use, you know? We had one in storage that we had to get out of mothballs and plug into one of our mixers. And when you have reel-to-reel tapes – after you’ve had them for a long time, they start to get filled with moisture. So what we used to do – in the old days, we would bake them in a convection oven, and then you can dub them off until they go bad again. But I found a food dehydrator, and I found…
NADWORNY: (Laughter) What?
CARLSON: I bought a $50 food dehydrator on Amazon, and it was even round. It was shaped like reels.
NADWORNY: (Laughter).
CARLSON: It had little baskets for each reel. So it’s almost like it was made for the purpose. And that was the beginning of the project. But then that was only the beginning because she also had boxes and boxes of cassettes, which I handed off to Myke, which he then took over in his home studio of digitizing.
NADWORNY: And so, Myke, you just kind of, like – did you listen as you dubbed, or – what was…
WEISKOPF: Oh, for…
NADWORNY: …That like? Yeah.
WEISKOPF: I mean, that was a dream come true.
NADWORNY: Any song or moments from the tapes that you might want to go out on?
WEISKOPF: Bob, do you have a favorite that you think might send us off into the sunset?
CARLSON: Do you think Nick Cave?
WEISKOPF: That could work.
(SOUNDBITE OF NICK CAVE AND THE BAD SEEDS SONG, “THE MERCY SEAT”)
CARLSON: Yeah. I mean, again, ’cause I think of the vibe when this thing happened, and one of those that I think about is Nick Cave and The Bad Seeds, when they came in.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) A blackened tooth, a scarlet fog. The walls are bad. Black. Bottom kind. They are the sick breath at my hind.
CARLSON: They kind of got it. They pulled up chairs, put them in a circle. They kind of improvised instruments a little bit. There was, you know, one – they saw that we had a piano, so the guy sits down, starts playing.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) I told the truth, and I’m…
CARLSON: Somebody’s playing drums on a box.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) And the mercy seat is waiting, and I think my head is burning. In a way, I’m yearning…
CARLSON: The first song they did on their session was called “The Mercy Seat.” It’s a well-known Nick Cave song, but it’s just such a crazy vibe.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) For a tooth. And anyway, I told the truth.
CARLSON: You can hear and feel that they’re kind of doing it as they go along.
NADWORNY: I love that.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) And mercy seat is waiting, and I think my head is smoking.
NADWORNY: Bob Carlson and Myke Dodge Weiskopf of KCRW – thanks for talking with us, guys.
CARLSON: Thank you.
WEISKOPF: Pleasure was ours.
(SOUNDBITE OF NICK CAVE AND THE BAD SEEDS SONG, “THE MERCY SEAT”)
NADWORNY: Starting Monday, you can access the archive of SNAP! performances through kcrw.com.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
UNIDENTIFIED PERSON: Beautiful.
(LAUGHTER) Transcript provided by NPR, Copyright NPR.

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View live updates and discuss the action between Miami and Georgia Tech in the comment section below.
The game will be played at Bobby Dodd Stadium in Atlanta, Georgia and the kickoff is scheduled for 3:30 p.m. EST. Bally Sports will televise the game in South Florida. Check our local listings for regional coverage.
Miami (4-5, 2-3) is looking to bounce back from a 45-3 loss to Florida State last week. 
Georgia Tech (4-5, 3-3) is coming off a comeback 28-27 win at Virginia Tech. 
On Saturday morning, Miami was a one point underdog, according to Caesars Sportsbook. 
• The weather is expected to be 59 degrees at kickoff with winds at 12 miles per hour. 
• The Hurricanes and Yellow Jackets are tied in the all-time series, 13-13. Georgia Tech leads, 10-5, in games played in Atlanta in the series history.
• Miami has had the upper hand of late, having won nine of the last 12 matchups overall dating to 2009, including four of the last six dating to 2015.
• In last year’s matchup, the Hurricanes emerged victorious at Hard Rock Stadium, winning 33-30. Saturday marks UM’s first trip to GT since 2018.
• Georgia Tech (4-5, 3-3 ACC), which has already secured its most wins in a season since 2018, is not only looking to even its overall record at 5-5, but can also clinch no worse than a .500 record in ACC play with a win over Miami (4-5, 2-3 ACC).
• Highlighted by forcing three crucial turnovers in the fourth quarter, Georgia Tech had a plus-three turnover margin in last Saturday’s win at VT (4-1) and is now plus15 on the season (22-7), which ranks No. 2 nationally (plus-1.67/gm). The Yellow Jackets also rank third nationally in turnovers gained (22) and seventh in fewest turnovers lost (7).

• Georgia Tech won the toss and deferred to the second half. Miami opened the game with the first possession. True freshman quarterback Jacurri Brown led an 11-play, 75-yard touchdown drive that was capped by a 22-yard touchdown throw from Brown to tight end Will Mallory in which the quarterback had pressure in his face, with UM taking a 7-0 lead with 8:44 remaining in the opening quarter. Safety Kamren Kinchens intercepted a pass from Georgia Tech quarterback Zach Pyron on the one yard line to give the Hurricanes possession deep in their own territory with 6:09 remaining in the opening quarter. Georgia Tech and Miami traded possessions for the rest of the quarter.
• At the start of the second quarter Brown led a 14 play, 93-yard touchdown drive that was capped by a four-yard touchdown pass to Jaleel Skinner to give the Hurricanes a 14-0 lead with 9:26 remaining in the quarter. Georgia Tech responded with a 15-play, 99-yard touchdown drive (that was aided by a couple missed holding penalties that would have changed the drive) that was capped by a nice throw and catch from Pyron to Nate McCollum for nine yards. 
• Quarterback Jacurri Brown finished the first half going 7-of-10 for 77 yards with two touchdowns while adding 47 yards as a rusher on 11 attempts. Running back Jaylan Knighton ran for 76 yards on eight carries. Tight end Will Mallory led UM’s receivers with one catch for 22 yards. 
• As a team, Miami generated 215 yards of offense while averaging 6.1 yards per play. Miami converted 5-0f-7 third down attempts. 
• Defensively, the Hurricanes were led by Kamren Kinchens, who totaled four tackles and picked off a pass. Freshman linebacker Wesley Bissainthe also totaled four tackles in the first half. 
• As a team, the UM defense generated four tackles for loss with one takeaway. Georgia Tech generated 161 yards, with the majority of that production coming on a 99-yard touchdown drive just before halftime. 
• The two teams started the second half trading punts and playing field position. Georgia Tech started moving the ball late in the quarter, but Pyron threw an interception to cornerback Tyrique Stevenson at the Miami nine yard line to give UM the ball back. Miami still held a 14-7 lead at the end of the third quarter with UM holding possession at their own 40 yard line. 
• Georgia Tech made a quarterback change in the fourth quarter and Kamren Kinchens secured his second pick of the game, giving the Hurricanes possession at their own 49 yard line. With 7:52 remaining in the fourth quarter, Brown hit Colbie Young for an eight yard touchdown pass to push the lead to 21-7. With 4:29 remaining in the fourth quarter, Jaylan Knighton ran for a two-yard touchdown to cap a touchdown drive that went four plays for 34 yards. Kinchens picked off a pass at the goal line and returned it 99 yards for a touchdown to push UM’s lead to 35-7 with 2:36 remaining in the game. The Yellow Jackets scored a touchdown late in the game to make the score 35-14.

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