Long before 1988’s Straight Outta Compton album put NWA, gangster rap, and Los Angeles on the hip hop map—not to mention putting the national spotlight on issues of police brutality and social justice in America—founding member, DJ and Producer, Arabian Prince, had been using an 808 to rock sweaty dance floorswith his signature electro-funk sound. His long and storied career in the music industry, filled with successes—and challenges—means that he has much to offer young artists looking to make a career as a DJ. We sat down to speak with him on how dance music influenced gangster rap, his new role in mentoring young DJs and producers in the Middle East, and how he continues to leverage technology outside of music. When did you first get interested in electronic music? While most people know me from my time with NWA, I was actually into producing and DJing early electro-funk music (along with Dr. Dre and Egyptian Lover) well before the gangster rap scene exploded. I have always been very much into party music—which rap very much was in the 1980s—focused on dancing and having a good time. Most of the music I produced then would very much be considered electronic—you can definitely feel the influence on the NWA track Something 2 Dance 2. As an avid gamer and coder from way back, I’ve always been an advocate of exploring technology and incorporating new sounds into music—which is why it’s so inspiring to see electronic music and its countless subgenres taking off today. What drew you to MDLBEAST and working on the electronic music scene? I connected with MDLBEAST in 2021 to serve as an advisor to their XP Music Conference, which is about bringing DJs, bands, managers, agents and venues together to help develop and shape the electronic music industry in Saudi Arabia in a way that is smart and sustainable. Saudi Arabia is currently undergoing such an incredibly profound social and cultural transformation, and MDLBEAST is at the forefront of establishing a true connection between Saudi Arabia and the world through music. While it might sound crazy to outsiders, it’s only been a few years since holding parties and concerts in public became legal in Saudi Arabia. So, there is a lot of raw talent that needs guidance how to create real, sustainable and profitable careers as DJs, songwriters, or producers. What can we expect at Soundstorm next month? MDLBEAST isn’t just about the business side of music—they also throw a massive festival, Soundstorm, which last year saw 720,000+ people attend. This year we will have house and techno pioneers like Carl Cox, Sven Vath, Loco Dice and Ricardo Villalobos, but we will also see the inclusion of major hip hop artists such as DJ Khaled, Post Malone, and Wizkid bringing the Nigerian heat! How does your experience as an artist in America (and as a producer for NWA) speak to emerging artists in the Middle East? I now have over 40 years of working in the music industry in the U.S. and my experience has afforded me so much knowledge of the dos and don’ts when it comes to music production, business, marketing and all other aspects of music. Many people are aware of the challenges that NWA went through early on trying to navigate managers, record labels and trying to make a real career out of music. I love sharing these insights with the next generation of artists looking to do the same. Most artists focus mostly on the music and forget about an equally important part—the business. 5. What have been the success stories from Saudi artists thus far? I have always been a huge proponent of pushing female artists, such as producing Supersonic for J.J. Fad in 1988. Many people, particularly in the U.S., are surprised to learn that women are very much at the forefront of the blossoming music and nightlife industry in Saudi Arabia—from the leadership team at MDLBEAST to groundbreaking DJs such as Cosmicat, Biirdperson and Solskin. These ladies are putting out EPs and playing at the major festivals around the world. They’re doing big things! What’s coming up for Arabian Prince in 2023 and beyond? Of course, DJing, producing and mentoring young artists will always be a key part of my life, but aside from that my focus of my time and effort is to drive the reimagination of the future of both healthcare and wellness through MdDAO. DAO stands for “decentralized autonomous organization,” which is a fancy way of saying that the technology will link consumers directly to healthier living through the power of the metaverse. Essentially, the goal is for people without means to be able to have access to quality healthcare. And me and my old friend Ice-T are working on a graphic novel and animated series called Death For Hire: The Origin of Tehk City. Stay tuned! MDLBEAST Soundstorm 2022 takes place 1-3 December in Riyadh, Saudi Arabia. Tickets available here! Watch the official 2021 aftermovie below!
Subscribe to our Newsletter Subscribe to our Free Weekly Newsletter Paramount Network’s hit TV series Yellowstone is about to start its fifth season. While we’re excited for more action, drama, and intrigue, we’re also looking forward to the Western style boost every new season gives us. That in mind, we took the first opportunity we could to reconnect with the woman responsible for all the amazing outfits on the show, Johnetta Boone. From detailing her winding career path to talking about celebrities she dreams of designing for, she was candid and insightful about the art of her craft. And, of course, she was willing to dig deeper into the upcoming season of Yellowstone. After all, the show’s authentic looks and character-driven approaches to style speak to Boone’s expertise and passion for what she designs. Read on for the highlights from our conversation: Cowboys & Indians: How do you start on a new look for each character or build upon a previously created look for each season? Johnetta Boone: Great question! With each character having a life of their own, I review the previous season’s closets to build upon the looks for the upcoming season. For the Dutton Ranch Cowboys, they’re practical and don’t have too much. They live on the ranch in the bunkhouse. They landed there as day workers originally, and stayed. I gently introduce a few new items which are designed by the climate and determined by how much time has passed between episodes and seasons. As for Beth, since she’s well traveled, we get to introduce new items often for her. Jamie’s doing business so his look is pretty stable. JD has a collection of shirts, hats and boots which I also introduce based on the story line, with a commitment to the Western culture. We each have clothes in our own life and add new pieces seasonally. We remove the items which no longer have a place. It’s the same for the each character on the show. C&I: We know you can’t give anything away for the upcoming season, but what is the tone in Season 5, and how did you communicate it through the clothes? Boone: The tone for Season 5, I would say, is a business battlefield. Strong colors, strong lines, and sharp looks are what I went for to complement Taylor Sheridan’s magnificent writing. C&I: A lot of the characters have had some significant style evolutions from when you started in Season 2 to the current season. Any favorite evolutions? Boone: Well, time passes along for all of us. As seasons change in life, our looks do so as well. Beth has really come into a much stronger position with her dad. Her fight was brought to her home. Her tactic of survival far surpasses what most would even consider. There’s no shame in her game. Each time, she and I go deeper with lines and allow the color palette to support her evolution. John Dutton is continuing a legacy and will let nothing get in his way. His strengths are incredible. He’s also a cowboy, so we keep his lines defined. He always pops his collar to emphasize power. He has a subtle elegant Western look with a stylish flair. It’s one that’s not mistaken for a trend. It communicates his core values. He’s a cowboy to the deepest part of his heart. Monica’s evolution is so simple. She loves her tribe and sees the value in remaining with her family. She has fallen deeply in love with a Westerner. While she has contemporary pieces as a part of her look, it’s important to always have Indigenous pieces to represent her commitment to her heritage. We love reminding the audience of who she is. My approach is from a place of authenticity, as art imitates life. C&I: Was there a specific Season 5 look that was your favorite to put together? Boone: That’s a tricky one. I have a few favorites. Beth, of course, and our new characters, Sarah Atwood and Robert Baldus. That’s more than “a favorite look.” There are just so many. C&I: Last time we talked, you mentioned how much research goes into every character’s look, especially for the Indigenous characters. Can you speak to Kayce Dutton’s Season 4 finale “vision quest” experience and how you fit his look to this experience? Boone: What a journey! I must contribute my process to the support of Mo Brings Plenty. He’s also our Director of Indigenous Affairs. His stories speak deeply to me. When he shares of the processes by which things are taking place, envisioning the look comes immediately. He also is very generous with sharing supporting research. Together, we confirm the look that’s appropriate, respectful, and accurate to the Tribes and culture. C&I: As Western style reaches the mainstream, do you ever pull from those trends for the Yellowstone characters? Boone: Western style certainly has become more mainstream. My approach is from a place of authenticity. … They’re pulling from the world of the Western culture. Now, there are a couple of characters I very carefully pull more fashionable pieces for, while being careful not to go against the Yellowstone brand or the life we are a part of. C&I: Native designers are also really getting the spotlight they deserve. Boone: My desire is include the Indigenous people in the show especially with the incredible representation we have from our cast. I’m always looking for more artisans. C&I: Do you sketch any characters beforehand or work more organically? Boone: With the show being as busy as it is, sketching beforehand isn’t usually something I do. Pulling the looks together happens organically. Finishing touches happen at the time of dressing. This allows for us, the cast and myself to really feel the moment which inspires us. C&I:Are specific brands of the West helpful to you in creating looks? Boone: Of course; I love working with so many. There are several who contribute generously to the Yellowstone brand. I receive countless inquiries with regard to the items worn on Yellowstone and where they may be purchased. Studio One has created an amazing platform for shopping the looks. It’s called Shop the Scenes. Shop The Scenes is the new immersive shopping platform from 101 Studios and Emmy Award-winning television personality Jill Martin. Through a scannable pop up QR code, viewers will be virtually transported to the Dutton Ranch. Audiences will have the chance to purchase authentic products inspired by the show and in collaboration with the show creators. Keep an eye out for the QR code or visit shopthescenes.com. C&I:What movies or TV shows inspired you early on in your career? Boone: That’s a question that I have to really think about, because, interestingly enough, when my career first started, I never thought I would be in the film industry at all. I started [working] in the ’80s and started thinking about the world of costume design even earlier than that, probably in the ’70s. And it was completely unattainable because everything was in LA and I’m on the East Coast in Washington, D.C., so there’s no possibility that I would ever be entrenched or become a part of this world. So I would oftentimes take a look at the older movies from the 1940s and ’50s and just really think about how great it would be to do projects like that. So those are the ones that really inspired me in the beginning of my career, because I love the richness and the elegance, whether it’s Western or contemporary from the earlier shows. People dressed so handsomely [in the 1940s and ’50s]. You know, there weren’t any jeans or anything. People just dressed to do everything, and everything was impeccable as far as fit. And the association of colors and patterns, even though a lot of those movies were black and white, still brought everything to life. So that was where my inspiration came from, as well the earlier westerns like The Magnificent Seven with Jewel Grinner. That’s where it all resonated with me. I also love Clint Eastwood. Who doesn’t love Clint Eastwood? That all inspired me as well as far as Yellowstone is concerned. I just love how authentic everything looked and felt. I absolutely love it when an actor is committed to the character and not to themselves. C&I: Are there any other shows you’re also working on at the moment? Boone: Well, it’s a bit tricky because I work on for almost a whole year on Yellowstone. It doesn’t give enough time to do anything else in between. But, I did Hustle with Adam Sandler, which was a great film. C&I: What celebrities do you dream about designing for? Boone: Being able to work with the older thespians is an honor just because of the magnitude of the projects that they’ve worked on and because their craft is so well-defined. On Hustle, I got to work with icons in the basketball arena [which] was pretty impressive. But I love the older actors who’ve been around for decades because [of] their attention to the detail and the time that they spent perfecting their craft. [It] adds another element to my approach to costume design, because I absolutely love it when an actor is committed to the character and not to themselves. So it doesn’t matter what they’re wearing. When you’re working with actors who are committed to their craft, the clothes can come from Walmart and don’t have to be designer or the latest trend. Stay tuned for a breakdown on some of the most iconic Yellowstone looks and recaps on each episode in Season 5. And head to our C&I Shop to get the Yellowstone Collection of issues with Yellowstone stars on the cover. When You Subscribe Today
Chip Dangerio ’24 started playing the drums and guitar in middle school, but not in the genre of the typical Broadway show tune. Chip Dangerio ’24 rehearses in Ewell Hall for William & Mary Theatre’s upcoming production of the musical “Bright Star.” Photo by Jennifer L. Williams Bluegrass and country music are an unusual aspect of the musical theatre piece “Bright Star.” Playing drums for William & Mary’s upcoming production is also a departure for Chip Dangerio ’24. “I think what made me gravitate towards this specific piece is the way that the music isn’t overly jaunty or flamboyant like most other musicals that I’ve heard about in the past,” Dangerio said. “The score has that feel-good bluegrass motion, which is way different than the twang you hear in most other country and folk music.” “Bright Star” will run Nov. 17-20 at the Kimball Theatre. Directed by Guest Director Dana Margulies with musical direction by Phaedra McNorton, W&M lecturer in musical theatre and musical theatre director. “Bright Star” is a combination of the book by comedian Steve Martin and lyrics by singer-songwriter Edie Brickell, with story and music by both artists. The music helps propel the story of a man and woman who meet right after World War II in the Blue Ridge Mountains of North Carolina and are intertwined in unexpected ways after one of them makes a discovery. W&M theatre’s performances will feature a professional banjo player as well as student musicians Dangerio, Sam Chenkin ’25 on bass, Mary Rice ’25 on cello, Calder Sprinkle ’25 on mandolin and graduate student Benny Netzer on fiddle. Dangerio started playing the drums and guitar in middle school, but not in the genre of the typical Broadway show tune. “Bright Star’s repertoire is a massive departure from what I normally spend my time practicing on,” Dangerio said. “I’ve been a rock and metal guitarist and drummer for about nine years now, so it took a lot of getting used to when it came to dealing with a delicate, wavy technique compared to the forcefulness and vigor that I’ve gotten used to with rock and metal. The speeds are a lot slower than what I’m used to as well.” Approachable to audiences, the show represents a different kind of theatre experience. “I think people are going to enjoy listening to a more obscure Broadway show; I recommend the production to anybody wanting to expand their horizons,” Dangerio said. “If anybody’s looking for a nostalgia-tinged experience, I recommend this production to those people, too. Anybody that’s into outright melodrama and explicit sentimentality would get a kick out of it, too.” Dangerio came to W&M intending to major in neuroscience, but after a bout with depression during COVID-19 he took a semester off last year. After considering switching to pre-pharmacy and with McNorton’s encouragement, he decided to declare his major in music. “Since I was 5, my free time had revolved around drumming or rock music in some fashion, and I came to realize that I’d be spending more and more time away from those passions if I were to continue along the chemistry path,” Dangerio said. He emphasized that music teaches people to be regimented. Private instruction is important to individual musicians’ growth, according to Dangerio, and he is interested in possibly working as a freelance music teacher or an instructor tied to a university or school. “Learning an instrument really humbles you and teaches you to put in the work; you learn patience and discipline,” Dangerio said. “Individual attention is what musicians need to improve their craft; someone to point out what they’re doing wrong.” Performing with a group of musicians while stepping out into a different genre in “Bright Star” is a new and welcome experience. “I like theatre music because I just love playing music — interacting with the other musicians and really feeling the music,” Dangerio said. “Regardless of genre, being a part of something is really rewarding to me.” Jennifer L. Williams, Communications Specialist Follow W&M News on Social Media: Williamsburg, Virginia
Sections At the Smithsonian | Excitement builds for a rare showing of works by the 19th-century painter whose dynamic colors and bold brushstrokes mirrored the avant-garde of the West Tamioka Tessai was beloved for the personality and humor he infused in his work, with exaggerated expressions on his figures, and traditional scenes such as that of his 1921 Blind Men Appraising an Elephant (above: detail, 1921). Roger Catlin Museums Correspondent He dressed like an ancient monk but ushered in a new era in Japanese art. Working at the turn of the 20th century, the artist Tomioka Tessai picked up on Chinese traditions newly available to Japanese travelers and scholars, and added a dash of his own personality to turn out art that, to some observers, shared similarities with the Impressionists and Post-Impressionists of the day. “He gave himself this guise of recluse—growing out his beard, living in a messy house with I don’t know how many cats and all that,” says Frank Feltens, the Smithsonian’s curator of Japanese art. At the same time, he was a savvy operator who kept friendly relationships with the emperor and had connections with the management of a department store conglomerate that sold a lot of his work. So the artist, who died on New Year’s Eve 1924 at the age of 87, was “living in the real, modern present but at the same time using the past as a touchstone,” says Feltens, adding that because Tessai combined these aspects so seamlessly he would become one of Japan’s most important thought leaders of the time. “Meeting Tessai: Modern Japanese Art from the Cowles Collection,” a succinct exhibition at the Smithsonian’s National Museum of Asian Art, is putting a new spotlight on the artist’s largely forgotten work, along with that of his most important mentor, the Buddhist poet and nun Rengetsu Otagaki. The exhibition represents the first major Tessai survey in half a century, and the display is culled from the Mary and Cheney Cowles collection that was donated to the museum in 2019. Over the course of the past five years, the Seattle couple turned over 260 works to the museum’s Freer Gallery of Art following their 20 years of collecting. “For the Japan collections at the Freer Gallery, it’s the biggest and most significant addition to the collection, actually, since the founding of the museum in 1923,” says Feltens, who organized the show. The Cowles’ interest in collecting work at the intersection of Japanese and Chinese art is well reflected in Tessai’s work. “This is really an emerging field of study,” Feltens says, “that is different than the way Japan’s modernity is usually understood as being Western-inspired.” Tessai gave himself this guise of recluse—growing out his beard, living in a messy house…
At a time when steamboats allowed more travel between the two Asian countries, the “longstanding presence of China in Japanese culture was being recognized and used as a touchstone to understand what it means to be Japanese at the time,” Feltens says. “Tessai and people in the late 19th century had access to a lot of Chinese paintings that no other Japanese had seen before,” he says. “Ming and Qing paintings that were in those collections had not made their way to Japan before. So they were mind-boggling to them.” “Tessai channeled these into these incredibly dense, incredibly expressive paintings that in many ways are extremely modern. This type of filling every inch of space, being almost obsessive about being as expressive and freewheeling as possible, is something that you barely saw before that.” For all of this new manner of expression, he adds, the artist dressed and acted like a monk of another era. “Tessai was incredibly eccentric—he saw himself as a reincarnation of the famous poet Su Tung-p’o,” says Feltens, because the artist was born in the same month as the 11th-century poet, who also published under the name Dongpo Jushi. Tessai never went to China but was connected to many people who were, traveling there frequently and accessing work of the then-crumbling Qing court. He was also influenced by living for a dozen years with Otagaki Rengetsu, a now-famous activist nun and potter. “Her calligraphy and inspirations hark back to the 12th century, a time that she considered the pinnacle of virtuous rule, when the power of the emperor was strongest and Japan was at its most prosperous as a country and culture,” Feltens says. “You cannot tell the story of Tessai or Rengetsu without the other,” the curator says, explaining the presence of both in the exhibition. And while Tessai’s style was “totally in your face,” filling every inch of a canvas, Otagaki was restrained and meticulous, often with poetry inscribed onto her works. Together they represent “two sides of the coin, the contrasts between them,” which is very appealing, Feltens says. Tessai was beloved for the personality and humor he infused in his work, with exaggerated expressions on his figures, and traditional scenes such as that of his 1921 Blind Men Appraising an Elephant, in which eight robed men flail around a pachyderm, each touching a different part of the animal’s body and all with various exasperated expressions, creating a comic tableau out of the Indian parable. “Tessai revives and recontextualizes that story into this funny image, where these men are creeping and crawling all over the animal, so there’s a huge sense of humor [in his work, but] also toward himself,” Feltens says. “He wasn’t afraid of making himself a bit goofy.” The sheer expressiveness of his work drew comparisons to Western Post-Impressionists, with the German architect Bruno Taut likening Tessai’s work to that of Paul Cézanne and declaring it “really great modern art.” Writing in the 1950s, Taut was “very smitten by Tessai and called him Japan’s version of the Impressionists, because he was seeing these paintings as a visceral expression of the artist’s whims and feelings in the same way as Impressionists in Europe didn’t seem to paint what they saw in front of them, like everybody else saw it, but how they perceived that scenery,” Feltens says. “To Taut, Tessai did the same thing, but in Japanese art.” While Tessai was aware of trends in Europe and America, he never considered himself an Eastern Cézanne, as others did. The museum’s founder, Charles Lang Freer, did meet Tessai three times while visiting Japan at the turn of the last century. Freer “didn’t buy a painting, but he talked to Tessai about art,” Feltens says. The show, which opened in August, will have three rotations, the curator says. “We rotate paintings and calligraphy every six months. So the exhibition is going to have completely new works installed in six months’ time. And then another.” All told, there will be 45 different works of art on display over the course of the exhibition. The art world may seem flooded with elegant Otagaki pieces in particular, but Feltens says a lot of them are fake. “This is why we are so lucky to have Cheney’s collection,” as he was a collector able to discern the real thing. Tessai, for his part, was “was one of the first Japanese artists to be exhibited in America after World War II, as a gesture of peace and reconciliation in an exhibition organized by the Smithsonian at the time,” he says, “and then suddenly he was forgotten.” Exhibitions in Japan of his work dried up in the 1960s and ’70s, Feltens says. “So this is a rediscovery of Tessai, really, that has already gotten a bit of attention in Japan. Every museum now that has a Tessai is trying to get in touch, pretty much, because there is this resurgence of interest in this area. There’s joy also among our Japanese partners and audience that we are highlighting this artist, who many scholars have really loved but never thought of reviving.” “Meeting Tessai: Modern Japanese Art from the Cowles Collection” continues at the Smithsonian’s National Museum of Asian Art in Washington, D.C. through February 18, 2024. Roger Catlin||READ MORE Roger Catlin is a freelance writer in Washington D.C. who writes frequently about the arts for The Washington Post and other outlets. He wrote for many years at The Hartford Courant and writes mostly about TV on his blog rogercatlin.com. Explore Subscribe Newsletters Our Partners Terms of Use
Award-winning music producer Joel Little talks to Kim Hill about songwriting, ambition and the brand-new music-making hub he’s created in Auckland. He also shares four songs that have shaped his life. Joel Little. Photo: Guy Coombes Back in 2012, Joel had left the post-punk band Goodnight Nurse and was just getting into music production when his manager gave him a tip-off about a teenage singer with an amazing voice. As a guy in his late 20s, who’d only written songs with friends before, the idea of working with a 14-year-old girl seemed a bit creepy, Joel says. But one day Ella Yelich-O’Connor, aka Lorde, caught a ferry from Devonport, then a train to his studio in Morningside, and he met a young woman with extraordinary self-possession. “As everyone knows, she’s a force of nature … She came into the studio and was just more grown up and intelligent than I ever have been and ever will be. And we just hit it off.” In the first week, he and Ella recorded ‘Royals’ and two other tracks that would be on her 2013 debut album Pure Heroine. “I had zero expectations but thought that the songs were great.” ‘Royals’ ended up winning the Grammy Award for Song of the Year and Pure Heroine went multi-platinum. Joel says he and Ella tried to write together for her follow-up album – what would become 2017’s Melodrama – but it didn’t pan out. “There was a lot of pressure there for her to follow up what she’d done with Pure Heroine. I don’t know, maybe seeing my face wasn’t helping with that. It may have just been adding to the pressure. “There are no hard feelings … it was just the way that she needed to do things to be able to make her second album the way she wanted to make it.” In turn, Joel says he just “went and got on with other things”. After ‘Royals’ there was plenty on offer to him – especially working with “versions of Lorde” – but he didn’t want to repeat himself. To give the music industry a crack, he moved to LA with his wife Gemma and their kids in 2014. In Los Angeles, music producers only get a couple of days of songwriting time with an artist, Joel says, and it took him a while to get good at ‘diving deep’ in such a short space of time. But he was equipped with some “great training” from a couple of years spent writing songs for TV commercials. As a music producer in advertising, Joel had to come up with songs in all kinds of genres and learn to “read between the lines” when people were describing the sound they wanted – “a skill that really really helps”. After three years in LA, Joel eventually produced two further hit songs – ‘Young, Dumb & Broke’ by the American singer Khalid and ‘Whatever It Takes’ by the pop rock band Imagine Dragons. In 2018, he and his family moved back to Auckland so the kids could have a New Zealand upbringing and feel like New Zealanders. That same year, he hung out with American pop star Taylor Swift while she was touring Aotearoa, and a couple of weeks later she invited him to New York to write on her new album. Because of the secrecy around Swift’s music, Joel couldn’t tell his kids where he was going, even though he was flying out close to Christmastime. “I had to say ‘trust me, guys. When you find out who I’m going away to work with you’ll understand’. It was a crazy time but we wrote some great songs and had a blast.” Watch Joel working with Taylor Swift in a scene from the 2020 Netflix documentary Miss Americana: To make a great song, music producers have to not only connect with an artist but for a brief, intense time become part of their world, Joel says. “Trying to get a hit” is not his approach, though. “I just try and write good songs and hone in on what the artist needs. The rest of it’s so out of my hands that I can’t really control it. I just let it run its course and hope for the best. “You never know which of these songs are actually gonna turn into songs that are released. We just get together and see what we come up with on the day. If it’s good it potentially comes out and if it’s not then nobody ever hears it … The hundreds of songs that nobody hears are… yeah, besides the point.” Joel says that although he’s good at what he does, has “worked his ass off” and also made the most of opportunities, he wouldn’t be where he is now without the help of other people. Big Fan – the world-class music production facility and all-ages venue that he and his wife Gemma have opened in Morningside – is a way to pay that forward. All hiring fees charged by Big Fan will go straight back into the not-for-profit foundation it’s run by, he says. “We’ve put a lot of cents into it and we’re never going to take a cent out of it.” Joel hopes Big Fan will be a place where young people can get a sense of whether they want to pursue a career in music – and also gain confidence. “It’s not all about people being successful and having a big career … it’s also the smaller impactful things you get from being creative and being around other people that are like-minded. There’s a satisfaction that you get from that and you learn about communicating, it builds your confidence… you can gain a lot of that from music and just a lot of enjoyment in general from being creative.” Gemma and Joel Little Photo: Guy Coombes Joel hopes overseas artists will eventually visit Big Fan for writing camps and recording sessions. “People in LA have this perception that New Zealand is 300 hours away. They don’t really understand that it’s closer than Australia and that the time difference is better … I think once I get a few people down to New Zealand they’ll all start coming down. It’s a special place and it’s a special place to write songs I think.” Although Joel enjoys spending time in Los Angeles, he also likes leaving after a few weeks. “LA is where the [music] industry is and it’s really fun. The energy here when you work in the [music] world is really heightened and intense. “But for me to be able to go back to New Zealand and work in my studio there and get some separation … it’s made the songs I’ve done since sound better. ‘Cause you have the time and space to do it without a million other things going on and all the other things come with being in LA.” Last year he sold the rights to his 178-song catalogue to the UK’s Hipgnosis Songs Fund. This not only enabled Joel and Gemma to get Big Fan off the ground without revenue expectations, it also represents a clean slate for his songwriting. “It kind of got me motivated for writing songs going forward. Because I’d had so much success up to that point I was kind of like ‘what do I do now?” “Chances are it won’t match the depth and success of the original one but it’s still a fun goal to have and a nice way to look at things now. “I just love writing songs so I’m not going to stop doing it. It’s kind of fun to have that being part of the drive as well – to see what I can do with this next chapter.” Coolio: ‘Gangsta’s Paradise’ Joel was 11 – and writing “terrible terrible” raps – when this song came out. “[Coolio] was a big influence on me. I feel like I could still probably rap the entire song now… this was definitely a song that got me into writing songs.”
Elvin Bishop: ‘Fooled Around and Fell in Love’ “This was Gemma and my first dance song at our wedding … I wanted to put a song in there to pay tribute to Gemma and everything that she’s done. “It’s just a cute song about us. When we got together we definitely weren’t thinking about being together 17 years later but here we are.”
Lou Reed: ‘Perfect Day’ Joel is grateful to his father for introducing him to Lou Reed, the Velvet Underground and David Bowie when he was a kid. For his ninth birthday, he requested ‘Everything I Do’ by Bryan Adams, but the “cassette-shaped present” turned out to be Ziggy Stardust.
The Crocodiles: ‘Tears’ This ‘amazing incredible song’ was co-written by the late Arthur Baysting who was a mentor to Joel. “He was one of those people to me that I want Big Fan to be for other people … He was the guy who, when I was trying to get [post-punk band] Goodnight Nurse up and running said ‘why don’t you just sing yourself? Either you’ll get better or you’ll find someone by being out there on the circuit and meeting other bands’. “That advice has always stuck with me at every point – why don’t you just do it yourself? … that way you won’t stall.” To embed this content on your own webpage, cut and paste the following:
The new MIDI keyboard features Intelligent Dynamic Scale Mode and Real-Time Multi-Mode Control to make it easier than ever for users to arrange music LOS ANGELES, Oct. 17, 2022 /PRNewswire/ — Donner, leading manufacturer of innovative and feature-rich musical instruments, has launched the DMK-25 PRO, an innovative portable MIDI keyboard ideal for music creators of all genres. Supporting a large variety of popular DAWs in the market, the DMK-25 PRO provides users with a complete music production experience, while also streamlining their workflow. Features such as Intelligent Dynamic Scale Mode and Real-Time Multi-Mode Control make it easier than ever for users to arrange their music, and the included 16 modal scales – let players transition seamlessly between different musical genres, generating an infinite amount of creative possibilities. Other convenient functions, such as arpeggio, note-repeat, and chord functions, are easily manageable for even a novice creator. LET THE CREATIVITY FLOW Featuring a portable and lightweight design, the DMK-25 PRO fits easily into a backpack, allowing users to carrying the MIDI keyboard to a café, studio, park or wherever inspiration may strike. A variety of DAW and USB bus-powered features add to the unit's versatility — making it plug and play ready. The DMK-25 PRO MIDI keyboard features four innovative wheels, six transport controllers, two touch strips with light scale for pitch bend and modulation, as well as a high-definition OLED screen display, which provides great visual control. A straightforward panel design makes it easy to find and view functions in real-time, making arranging a breeze. Velocity-sensitive keys and eight velocity-sensitive pads are ultra-responsive, creating four exquisite touch-sensitive curves.
CUBASE & MELODICS MUSIC EDUCATION APP BUNDLES As part of Donner's commitment to providing entry-level musicians with enjoyable and innovative musical instruments, the company has partnered with some of the leading DAWs in the music industry to offer musicians a complete starter pack. The DMK-25 PRO is now available as a bundle with three Steinberg DAWs, including Cubase LE, which is derived from legendary Cubase software line, WaveLab LE, for mastering, and Cubasis LE, the iOS version of Cubase LE. Customers of the following Donner's devices are eligible for the full bundle of Steinberg software: DMK-25 PRO MIDI Keyboard Controller STARRYPAD Pad Controller STARRYKEY25 MIDI Keyboard Controller STARRYKEY37 MIDI Keyboard Controller N-25 MIDI Keyboard Controller N-32 MIDI Keyboard Controller Explore a new way to learn and practice keys with Donner DMK-25 Pro and Melodics educational app. Donner has also partnered with Melodics, who offers a new way to learn and practice MIDI keyboard every day. Melodics will provide Donner customers with 40 free lessons and one beginner course with the purchase of the DMK-25 PRO. This is also available for all Donner MIDI keyboard, pad controller and e-drum customers, which means customers will get totally 120 free lessons and 3 beginner courses for each instrument they buy from Donner. Free DACs of Steinberg software and the Melodics course codes are now available via Donner's Customer Service. Donner DMK 25-Pro Specifications: Number of Keys: 25 Key Size: Mini Controls: Pitch bend and modulation touch strips, 8 backlit pads, 4 assignable knobs, 4 assignable sliders, 8 function buttons, 6 transport buttons, OLED display for visual feedback Connectivity: USB Type-C, 3.5MM Jack MIDI out Dimension: 337X183X26 MM Weight:0.68kg The DMK-25 Pro is now available at MSRP $109US Amazon Storefront. About Donner Music Since 2012, Donner has been committed to creating innovative and enjoyable musical instruments for both entry-level and advanced musicians. This mission is what drove Donner to pioneer its mini pedals, which have brought the joy of musical performance to people across the world. Relying on a strong R&D team, Donner's musical instruments deliver the reflections, ideas and values of today's musician. Find more information on Donnermusic.com
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Home»News»Audio Recording of filmmaker Yogaraj Bhat lashing out at Zee Kannada Business Head goes viral» Although the complete background of the dispute remains slightly unclear, one can gather that Bhat and Hunsur were to enter a deal for the satellite and digital rights of the former’s upcoming production Padavi Poorva. Team OTTplay Last Updated: 01.51 PM, Nov 13, 2022 Filmmaker Yogaraj Bhat is a popular figure mainly for his humour and wordplay. His work as both a screenwriter and lyricist is known to feature a subtextual element and his mastery over the Kannada language has floored many over the past two decades. Regardless of the context or the situation, Bhat is known to be a level-headed individual who always has a joke or a quip up his sleeve for his audience’s delight. However, one recent audio recording, which has now gone viral on the internet, reveals the lesser-known angry and indignant side of the Gaalipata 2 filmmaker. In the recording, Yogaraj Bhat can be heard addressing the popular media figure, Raghavendra Hunsur, over a matter related to his upcoming film. Although the complete background of the dispute remains slightly unclear, one can gather that Bhat and Hunsur were to enter a deal for the satellite and digital rights of the former’s upcoming production Padavi Poorva. “We have sent the proposal for the digital and satellite rights of our film Padavi Poorva to Zee but you haven’t answered my calls in the past 15-20 days. This is a matter of great urgency,” says Bhat in the recording before going on to criticize Raghavendra Hunsur who operates as Business Head at Zee Kannada. “I am not the only one who feels this way about you,” he adds to highlight that a majority of the Kannada Film Industry has had difficulty in venturing with Hunsur though many have come to his aid when requested. Yogaraj Bhat’s association with Zee Kannada goes back a long time with him serving as one of the main judges on the hit reality show Comedy Khiladigalu. Bhat is also said to have sidetracked his directorial projects to fulfil his commitments towards the show and he could be heard alluding to the favours he has made to Raghavendra Hunsur over the years. On the other hand, there are no reports of the Zee Kannada Business Head responding to Yogaraj Bhat’s remarks but netizens have unanimously lauded the latter for his straightforwardness. More updates to follow soon.
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Kristopher West had a challenging childhood and a long road to career stability. But along the way he found salvation in two steady companions: a band called Tool, and the swag it inspired. In January, a 34-year-old Las Vegas chef named Kristopher West was in San Diego for work when he found a cheap ticket to see the prog-metal band Tool. Ever since high school, West had been drawn to Tool’s musicianship and spectacularly weird artistic vision that encompassed everything from album art to concert lighting to cryptic self-presentation. West had seen Tool in concert more than a dozen times over nearly two decades but had recently tired of their less-than-fan-friendly antics, like the last-minute cancellation and then reinstatement of pricey VIP tickets for a show later that month in Vegas. But West had a free evening and wasn’t so fed up as to pass up an $80 ticket when scalpers regularly charge $300 or more for the often sold-out shows. Arriving early, West noticed fans milling about the merch booth. With money to spend and time to kill, he joined the line. A fan behind West struck up a conversation and urged him to buy two posters if he could. He followed the advice, grabbing two $70 limited-edition Ryan Heshka prints depicting a nunlike figure following a man in a gas mask. As West left the line, another fan offered to pay $200 for his extra poster — triple what West had just paid. His new friend in line overheard the exchange and interrupted: “He’ll take $300,” the man told the buyer. Without hesitation, the buyer peeled off three blue Benjamins. In a few minutes, West had made enough to cover the concert ticket, the poster he was keeping and pocket a profit of nearly $150. He was shocked that fans thought nothing of paying more than four times the print’s face value. Walking to his seat, West noticed other buyers loaded down with bags of swag and running from booth to booth to get a first crack at rare items. He pulled out his phone and searched for sites specifically dedicated to the gold-and-glory rush for Tool concert merch. Finding nothing, West, who had previously produced a podcast on mental health, vowed to cover the topic. Two months later, he released the first episode of his Spiral Out podcast, named after lyrics in the title song of Tool’s seminal 2001 album, Lateralus. West’s journey into the community, commerce and controversy around the Tool art and collectors would send him around the country and across the Atlantic. He would meet a constellation of fans orbiting the notoriously secretive and enigmatic band and join in their obsession and ritual. West had joined a long line of dedicated memorabilia collectors who yearned for objects that bring them closer to the objects of their obsession. University of North Carolina music professor Mark Katz studies collectors of vinyl records in the era of digital music. Music is often such a transitory experience, he says, that fans need something to hold onto after the show ends. “These are material objects that represent immaterial experiences,” he says. In other words, fans cherish swag because it evokes memories. There is of course, another tradition, now supercharged by online markets: profiting off the obsessions of others. Notwithstanding the sweet deal he turned in San Diego, West identifies more with the obsessives than the salesmen. West grew up poor in Los Angeles. His mother, who struggled with mental health and substance abuse, moved them into apartments with first-month specials. They would stay as long as they could before eviction. She never told West’s father where they were going. After searching for half a decade, West’s father found him at about age 7 and gave him some stability. But when West’s father moved the family to Eugene, Oregon, in 2002,West couldn’t adjust to semi-rural life. After eight months, he hopped a bus to Las Vegas, where his mother had moved in with her father,who became an inspiring figure in West’s life. On West’s 17th birthday, his grandfather died of a heart attack. Dr. Shirley Mueller, a neurologist who studied collectors for her book, Inside the Head of a Collector: Neuropsychological Forces at Play, references Freud’s theory that collecting makes up for a deprived childhood. While Freud has plenty of modern detractors — including Mueller — the idea seems to apply to West. In 2001, a friend at Las Vegas’ Will Rogers Middle School turned West on to Tool, explaining the songs’ esoteric time signatures and mathematical structures. West had never heard anything like it. He’d always loved the arts, and this music struck him as art. He’d played soccer and football in school, but now he abandoned them for music. He played in bands, becoming competent on several instruments, including the drums. With no money, West became adept at sneaking into Las Vegas concerts. He would get there early when ticket takers might not be well organized. He found that if you acted like you belonged, no one usually questioned you. After one show, he noticed a group waiting to go backstage and just followed. Inside, someone stuck a back-stage pass on him. West saw 6-foot-5-inch Tool drummer Danny Carey towering over the crowd, but he was too nervous to approach. Carey came by and signed his show ticket. Despite a house now filled with Tool swag that West values at $50,000, that ticket is still one of his most prized possessions. West dabbled in other artistic endeavors. He studied film at College of Southern Nevada, getting production and stunt assistant jobs in films like The Hangover. When film work in Vegas dried up, he dropped out of college and pursued a career in the culinary arts, moving from dishwasher to cook and eventually to training other chefs for nursing homes and rehab facilities. He finally had a steady job, some security and money. Security means many things to many people. For West, it meant this: more Tool. Tool, gently stated, is a weird band. And when a weird band finds its weird fans, bonds form that are not easily broken. “When someone identifies with the avant-garde, they value becoming exclusive and in the company of elite others who are also ‘in the know,’ ” says retired University of Tulsa professor Joli Jensen, an expert in fan cultures. Membership in the in-group, Katz adds, offers more than status: “It allows you to be with weirdos like yourself.” Since emerging from Los Angeles in the early 1990s, Tool has made a career out of being obscure weirdos. The band’s timing was good. Record companies were searching for alternative music, like Nirvana, which was sweeping out the last vestiges of hair metal. Tool, Rage Against the Machine and Deftones quickly built a large following.
Clockwise from top right: The cover of Tool’s 2001 album, Lateralus; Tool frontman Maynard James Keenan; a poster for Kristopher West’s Spiral Out Podcast. (Las Vegas Review-Journal)
Despite living in poverty at the time, Tool chose a record deal that offered less money but guaranteed more artistic control. Their MTV videos stood out for their dark Claymation in contrast with other bands whose videos focused on themselves. Tool guitarist Adam Jones, whose day job then was creating special effects for Jurassic Park and Terminator 2: Judgment Day, spearheaded the band’s visuals. Tool also didn’t make radio a big priority. In 1996, the band released a nearly 7-minute, profanity laced “single” that yearned for their adoptive hometown to fall into the Pacific Ocean. For stations that dared to play the song — which screams words you can’t say on the radio at annoying L.A. residents such as “gun-toting gangster wannabes” and “L. Ron Hubbard” — it was just a series of bleeps over the airwaves. Tool took about five years each to craft their third and fourth studio albums. Then it took them 13 years to release Fear Inoculum in 2019. That same year, Tool allowed streaming services to play their music for the first time. The album shot up the charts, besting pop favorites like Taylor Swift. That’s despite the CD costing $60 because it had a 2-by-4-inch, rechargeable screen that played videos. For the tour, which COVID-19 interrupted, Tool stepped up its merch game. Jones commissioned a different artist to produce a limited-edition print and T-shirt for each show. Then the band signed a handful of the prints and doodled others with skulls or other art, increasing the value and scarcity. The band also sold Carey’s colorful, album art-inspired bass drumheads used at prior shows and signed by the band. With only one or two available for each show, the $1,500 drumheads became collecting “grails” and quickly commanded $5,000 or more on the secondary market. The prints, T-shirts and other limited-edition items more than tripled or quadrupled in value the minute they left the merch booth. Tool is one of the last bands tapping into the album-oriented rock and art that started in the 1960s but was mostly abandoned after streaming became popular. The album era, says Mark Katz, the music professor, was an anomaly; singles and even sheet music of individual songs are the historical norm. Starting in the late 1960s, though, some rock musicians wanted to be taken seriously as artists and separate themselves from the teeny-boppers. Pink Floyd, Led Zeppelin and Black Sabbath albums were often intricate productions of music and cover art with foldouts, posters and multiple discs. Tool has taken up that mantle and threaded the needle between maintaining integrity and making big bucks. “They’re smart entrepreneurs,” Katz says, “and have taken a savvy approach to monetizing art but still being authentic.” West insists he was never much of a collector until he found what he terms “the Tooliverse” at that San Diego show. But Bryan Paulson, West’s high school buddy, says that even before West dove headfirst into collecting, he would go to great lengths to get a piece of the band. In 2006, when West took Paulson to Las Vegas’ Hard Rock Hotel & Casino for Paulson’s first Tool show, he dragged him toward the stage. West made it clear that if his idol, Carey, threw anything into the crowd they would do whatever it took to get it. Sure enough, the famed percussionist chucked one of his sticks into the audience and dozens of fans scrambled. West emerged from the scrum with the prize in hand. Since the revelatory experience in San Diego, West has used his downtime during work trips to record podcast episodes in hotel rooms. He recorded his 21st episode of Spiral Out in October; creating the show, he says, has not only helped him understand the Tooliverse, but also upped his collecting game. “I fell into this serendipitously,” he says. “It felt natural. I didn’t seek it. It found me.” About two weeks after the San Diego show, West flew to New Orleans to catch Tool. For collectors, VIP tickets, while pricey at $500 a seat, are worth it: They get fans in early for a first crack at limited-edition items. West only had general admission seats in New Orleans, but he found a way to get the poster he craved. “If you have VIP, you’re going to get something,” he says. “If you’re general admission, it’s a whole other level of planning and strategy.” In New Orleans, West scanned the booths to figure out where VIPs plundered the good stuff and searched for stands that might still hide treasures. “It’s a game, and I want to win that game,” he says. “I figure out a way to win. I’ve been lucky enough to not have lost when it comes to getting a poster.” On the fifth episode of Spiral Out, West interviewed Rodney Rohrs, a true memorabilia-hunting machine. Rohrs, a 48-year-old from St. Petersburg, Florida, went so far as to delegate management of his successful employment agency to his employees so he could attend 20 shows on Tool’s last tour and collect more than 500 Tool items. He regularly gets in line outside the venue 12 hours before the show. In St. Louis, he was in line for 34 hours. “It’s an addiction, and it’s strong,” Rohrs admits, adding he plans to build a Tool merch museum in Florida to display his collection. That collection includes several versions of the ultimate Tool “grail” — a drumhead, the one object that had long eluded West. To get his grail, West decided to wade into a Tool-collector Facebook group and offer a collection of rare posters in exchange for a drumhead. Rohrs counseled him that no one would trade a drum for posters, but West proved him wrong. Despite the win, West has some trader’s remorse. “I probably shouldn’t have done the drum. I gave up things that I regret not having.” Then he pauses, thinks and changes his mind: Nope, he’s glad he’s got that grail.
Tool drumheads — the “grails” in Kristopher West’s collection. (Rachel Aston/Las Vegas Review-Journal)
As a music producer and sound engineer, James McKenty has found himself thinking outside of the box more times than he can count. But thinking inside the box — the box being a vintage Airstream Argosy trailer — well, that’s a whole different ball game. Still, James adapted quickly and, together with his wife Kellie, is reaping the benefits in the form of In Record Time, a Bell Fibe TV1 series that they co-produced. At the heart of the five-episode series are performances by Melissa Payne, Devin Cuddy, Ginger St. James, Lotus White, and The Silver Hearts, each given at a ‘secret’ barn location to which invited guests were transported by bus.
James hosted each filmed performance, handled the live sound production, and recorded the audio, the latter process facilitated by his recording-studio-on-wheels parked adjacent to the barn. The end result was great material with no immediate place for it to land. That changed when Peterborough-based filmmaker Michael Hurcomb broached the idea of Fibe TV1 interest in their work. “During COVID was when I really partnered up with him,” recalls James of his collaboration with Hurcomb, noting they worked together on livestreaming productions for artists including Blue Rodeo and Natalie MacMaster. “It couldn’t have been more fortuitous to team up with him. I took care of the audio, he took take care of the film and the livestream portion. This opportunity really came out of that relationship.” VIDEO: “In Record Time” trailer ‘Questionable Taste’ cooking show filmed in Peterborough highlights local food in the Kawarthas region Peterborough filmmaker Michael Hurcomb’s ‘Cover2Cover’ series presents local musicians’ songs in a whole new light “He and (producer) Chad Maker had done some shows for Bell,” James says, referring to the earlier Fibe TV1 productions Questionable Taste and Cover2Cover. “They asked ‘Do you have any ideas for what you would do if you had this opportunity?’ We had a lot of footage. We sometimes had eight cameras recording. All this stuff was on a hard drive that I handed to Michael.” With a commitment from Bell to proceed, Hurcomb took that footage and performed his magic, editing it for five episodes that can now be viewed on demand on Fibe TV1. “He knew exactly what to do,” says Kellie of Hurcomb. “He was like ‘Yup, I got it.’ He’s so talented. He’s positive and he’s motivated. He’s such a hard worker and that’s really infectious. I think James and Michael are similar in that way, so it was quite serendipitous for them to start working together during COVID.”
Guests didn’t know what artists they were coming to see, and didn’t know they were going to be on camera or that it was going to be recorded. Kellie McKenty Kellie adds the ‘secret’ shows were the result of wanting “to do something different.” “Guests didn’t know what artists they were coming to see, and didn’t know they were going to be on camera or that it was going to be recorded. We really wanted to create a unique experience outside of going to a festival or going out at night to a show.” Asked if guests were apprehensive about getting on a bus to be transported to a ‘secret’ location to take in a performance by an undisclosed performer, James laughs — “They didn’t seem to mind if you gave them booze and food.” But while the production and airing of In Record Time — which is also the name of the McKentys’ mobile recording studio — is the central story here, there’s a back story of note and it involves the Airstream Argosy trailer they purchased in early June 2019 from a farm couple east of Peterborough. “When James said ‘I want to put a studio in an Airstream,’ I wasn’t shocked at all,” Kellie recalls. “I was like ‘That makes sense … that sounds about right.” “I was taking my equipment to other people’s homes and halls, recording albums all over Ontario — I was constantly packing the car,” adds James. “We were also, at the same time, doing events. Again, I’d be taking all this recording equipment and film stuff to the events.”
Kellie said ‘If you had all this is in a trailer, could you just hitch the trailer up and drive it to these places?’ James McKenty “Kellie said ‘If you had all this is in a trailer, could you just hitch the trailer up and drive it to these places?’ It was like ‘Yeah, we could have the studio in the trailer at any event.’” Turning the Airstream into a mobile recording studio wasn’t a simple task. “We took everything out of it — the stove, the shower, the beds,” James says. “It was an empty shell by the time we were done. We had a local guy, Jim Boyle from Imagineers, draw up the plans. We described what we were looking for. He drew it up and ended up doing the retrofit himself.” Finished in June 2021 (“It looks like a spaceship going down the road,” marvels James), the mobile studio presents two recording options. “You can record in the trailer — a stripped-down thing with five or six members of a group and more acoustic-like — but buried underneath the seating bench and coming out the side of the trailer, where there used to be a propane hatch, is a 24-channel audio snake that we can run into any building,” James explains. “When we’re doing an album with it, we’re usually running that audio snake into a building. The actual recording happens elsewhere and the trailer is the lounge where you can come and listen back to your recording.” Airstream, an American brand of travel trailer, dates back to the late 1920s. Easily recognized by the distinctive shape of its rounded and polished aluminum coachwork, the body shape is based on the Bowlus Road Chief, an all-aluminum travel trailer designed and built by Hawley Bowlus, who also oversaw the construction of the famed Spirit of St. Louis single-engine plane that Charles Lindbergh flew solo nonstop from Long Island to Paris in May 1927.
This one was in good shape right from the get-go — the frame, all the windows, everything was in mint condition — so we snagged it up. James McKenty “While we were looking, what we found was a lot of them were musty smelling, or they had been sitting and rodents might have gotten in,” says James. “This one was in good shape right from the get-go — the frame, all the windows, everything was in mint condition — so we snagged it up. We told them (the sellers) what we were going to do with it and they were like ‘You’re going to do what? You’re going to put a recording studio in it?’ We really have to send them some photos of it finished.” The icing on the cake, however, was James’ discovery of a circa 1930s Presto record-making machine. Back in the day, the mono recording device with its single microphone was used for field recordings. “I said to Kellie ‘We need that machine’ and she was like ‘Do we?’,” laughs James, adding “As long as it takes a song to be performed, that’s how long it takes to make a (recording).” Each of the artists featured on In Record Time were gifted with a Presto-created recording — “a memento” of their performance, says James. Ahead, James and Kellie say there are plans for future shows at the ‘secret’ barn location, which has been “completely retrofitted” since the last go-round. The plan at this point is to film those performances as well. In the meantime, James is grateful for the opportunities that have come his way over the course of his time as a producer. “I don’t long for the days when I sat in a van and toured the country for 10 years,” he says, referring to his popular band The Spades with Josh Robichaud and Tommy Street that disbanded in 2013 and reunited in 2018 for a couple of performances. “I still get that jolt that I got before going on stage — I get that in the studio when people come to record,” James says. “There are elements of it that are kind of like walking a tightrope. You’re setting up and you’re hoping magic is going to happen in the next few hours. I try to be present for the moment and capture it for these people because it’s important to them. It’s their life. It’s their work.” Kellie, for one, isn’t the least bit surprised by her husband’s success. “Hard work and passion — he’s the master of both of those things,” she says. “I’ve learned by watching him work, working on projects for hours and hours and hours, and seeing him never give up. That’s really inspiring for me and for our son Noah. Sometimes we just shake our heads and say ‘He’s crazy.’ Deep down, though, it’s very admirable.”
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Hi, what are you looking for? By Published Because Zoom offers so many cool features and options, it can sometimes be difficult to know where to begin when you’re trying to figure out how to record audio in Zoom, whether it’s for a screen-sharing presentation or for just creating your own recordings of yourself talking, such as podcasts or audiobooks. Fortunately, there are several different ways you can do this, each with its own advantages and disadvantages. Here are the top three methods you can use, with links on where to download the apps if they’re not already on your computer. If you’re trying to record audio for a meeting, presentation, or interview and have found that it’s too noisy or there are too many people talking, then you might want to try out iTop Screen Recorder. With this program, you can easily record the voice of the person on your screen and remove any background noise. As an added bonus, it also lets you add captions so that viewers can follow along with what is being said without having to read over someone’s shoulder. If the iTop Screen Recorder doesn’t sound like the right tool for your needs and you’re looking for another way to grab audio from your computer’s microphone while recording video on a webcam or other device, then take a look at how grabar audio en Zoom works! Grabar audio en Zoom (or record audio) is a free online tool that allows you to record your computer’s audio and save it as an MP3. The best part is that the recording will automatically stop once you reach a certain amount of time, which makes it perfect for recording lectures. If you have a microphone, you can also plug that into your computer and get better quality recordings. iTop Screen Recorder is another tool worth mentioning. This program records both your screen and your voice at the same time. You can then share this video with others or upload it onto YouTube or Vimeo if you want more people to see it. One of the most important things you’ll need for screen capturing and audio recording is a quality microphone. It doesn’t matter whether you use iTop Screen Recorder or grabar audio en Zoom, as long as your mic isn’t buzzing or hissing. The following are some steps to take when setting up your mic: – Clear your desktop from any other papers and objects that can potentially interfere with your voice. iTop Screen Recorder – When you are using a voice recorder app, use the settings on the bottom of the screen to configure what it records. This is great for recording meetings or lectures. Grabar audio en Zoom- If you want to record audio from your camera’s microphone, then turn on Voice Recording under the Settings and make sure that Audio is set as On or All Sounds (also make sure to tap Start). Tap start at the top left corner and speak into the mic. To stop recording, just tap the red circle icon on top of the circle with an arrow inside it (it’s next to Stop). This is the part where you might need a little help. If you’re starting from scratch, you can refer to this guide for tutorials on how to use iTop Screen Recorder orgrabar audio en Zoom. With these two pieces of software, we’re able to record the video and audio simultaneously by linking the devices. This eliminates the need for editing. iTop Screen Recorder is a popular screen recording tool that many people like to use for just about anything from making tutorials and walkthroughs, to publishing live game streams. It’s an excellent program for this because it captures audio and video, saving the content for you to save or publish online. If you need audio only, you can try the free ‘grabar audio en Zoom’ (it translates as ‘record audio on ZOOM’) online service, which allows you to record up to 12 minutes of high quality sound with a single click. iTop Screen Recorder is the best screen recorder because it has everything you need. You can take screenshots, record video or audio, and even upload them to a cloud for easy access. iTop Screen Recorder also lets you choose any size of your recording which is great for people who are looking for a more personalized experience. Grabar audio en Zoom is really cool because it allows users to upload from their phone directly onto the app so they don’t need an account and you don’t have to worry about clearing space on your phone either! Plus, there are no limits as far as time goes so you’re able to record as long as you want without being interrupted by ads or other things on the app. iTop Screen Recorder is a great way to record the screen and audio, not just for tutorials but for all sorts of videos. Grabar audio en Zoom is a great way to record audio from any type of device. The author’s blog post used these words: iTop Screen Recorder and grabar audio en Zoom. iTop Screen Recorder is a great way to record the screen and audio, not just for tutorials but for all sorts of videos. Grabar audio en Zoom is a great way to record audio from any type of device. Press Release Distributed by The Express Wire To view the original version on The Express Wire visit Record zoom audio on Windows PC
Read the current issue of VG. The majority of this Boss’ controls are EQ-related. In addition to the obligatory Level and Distortion controls, you get four concentric tone-shaping knobs to save space. Bass and Treble preside over massive EQ sweeps. Using the Bass control, the low-end on a 1×12 cab was dramatically boosted to half-stack territory – there’s serious “thump” in this box. The Treble is also potent, requiring a judicious hand. If you’re not careful, you’ll get angry bees. The solution is simply not to overdo it. The two middle controls are Mid and a Mid Freq that is a semi-parametric EQ. Using them, the MT-2 3A is particularly adept at that cocked-wah sound, steeped in gain and a deadly mid bump. While many stompboxes purport to deliver “stack” tones, this one does, bringing to mind blast-furnace textures of an Orange or Bogner head through a big cabinet. While the Metal Zone doesn’t have to be the only distortion unit on your pedalboard, it’s a specialty gain pedal that will grab attention. It’s also hellaciously fun. This article originally appeared in VG’s March 2022 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
-Team Battle This is a new Duel type in which players compete 3 vs. 3 or 5 vs. 5. You can also recruit teammates if you do not have enough people to form a team. You can have everyone in the team use the Standard Forbidden/Limited List, or a Combination of Fusion, Synchro and Xyz (plus Link and Standard in 5 vs. 5). The lists are slightly different from what we had in previous festivals and seem to have consolidated to be very similar, give or take a few cards: Fusion Format: Forbidden: All Synchro Monsters All Xyz Monsters All Link Monsters Qliphort Scout Anchamoufrite Archlord Kristya Archnemeses Eschatos Archnemeses Protos Artifact Scythe Barrier Statue of the Abyss Barrier Statue of the Drought Barrier Statue of the Heavens Barrier Statue of the Inferno Barrier Statue of the Stormwinds Barrier Statue of the Torrent Contact “C” Danger! Bigfoot! Darklord Nurse Reficule Dice Jar Dimension Shifter Dinomight, the True Dracofighter Dogmatika Ecclesia, the Virtuous Dogmatika Maximus Dragon Buster Destruction Sword Eater of Millions Fairy Tail – Luna Fossil Dyna Pachycephalo Gizmek Orochi, the Serpentron Sky Slasher Gnomaterial Inspector Boarder Jowgen the Spiritualist Knightmare Corurptor Iblee Mahaama the Fairy Dragon Michion the Timelord Necroface Link Apple Pandora’s Jewelry Box Performapal Skullcrobat Joker Raphion the Timelord Sandaion the Timelord Sephylon, the Ultimate Timelord Subterror Guru Time Maiden Vanity’s Fiend Vanity’S Ruler Wandering Gryphon Rider Zaborg the Mega Monarch Zap Mustung Zefraath Amorphactor Pain, the Imagination Dracoverlord Blue-Eyes Chaos MAX Dragon Cyber Angel Benten Herald of Perfection Herald of Ultimateness Megalith Phul Nekroz of Unicore Card of Demise Cauldron of the Old Man Chain Strike Dark Snake Syndrome Dimensional Fissure Domain of the True Monarchs Interrupted Kaiju Slumber Kaiser Colosseum Kyoutou Waterfront Nekroz Kaleidoscope Pacifis, the Phantasm City Pantheism of the Monarchs Pot of Duality Pot of Extravagance Pot of Prosperity Secret Village of the Spellcasters Sky Iris And the Band Played On Anti-Spell Fragrance Bad Reaction to Simochi Banquet of Millions Chthonian Polymer D.D. Dynamite Dark Contract with the Eternal Darkness Dimensional Barrier Dogmatika Punishment Forbidden Apocrypha Gozen Match Grave of the Super Ancient Organism Macro Cosmos Mispolymerization Non-Fusion Area Pinpoint Dash Rivalry of Warlords Secret Barrel Secret Blast Skill Drain Summon Limit The Monarchs Erupt There Can Be Only One True Draco Apocalypse Warning Point Limited: Altergeist Multifaker Eldlich the Golden Lord Floowandereeze & Empen Floowandereeze & Robina Wisdom-Eye Magician Lair of Darkness Necrovalley Spell Power Mastery Zombie World Synchro: Forbidden: All Fusion Monsters All Xyz Monsters All Link Monsters Qliphort Scout Anchamoufrite Archlord Kristya Archnemeses Eschatos Archnemeses Protos Artifact Scythe Barrier Statue of the Abyss Barrier Statue of the Drought Barrier Statue of the Heavens Barrier Statue of the Inferno Barrier Statue of the Stormwinds Barrier Statue of the Torrent Contact “C” Danger! Bigfoot! Darklord Nurse Reficule Dice Jar Dimension Shifter Dinomight, the True Dracofighter Dogmatika Ecclesia, the Virtuous Dogmatika Maximus Dragon Buster Destruction Sword Eater of Millions Eldlich the Golden Lord Fairy Tail – Luna Fossil Dyna Pachycephalo Gizmek Orochi, the Serpentron Sky Slasher Gnomaterial Inspector Boarder Jowgen the Spiritualist Knightmare Corurptor Iblee Mahaama the Fairy Dragon Michion the Timelord Necroface Link Apple Pandora’s Jewelry Box Performapal Skullcrobat Joker Raphion the Timelord Sandaion the Timelord Sephylon, the Ultimate Timelord Subterror Guru Time Maiden Vanity’s Fiend Vanity’S Ruler Wandering Gryphon Rider Zaborg the Mega Monarch Zap Mustung Zefraath Amorphactor Pain, the Imagination Dracoverlord Blue-Eyes Chaos MAX Dragon Cyber Angel Benten Herald of Perfection Herald of Ultimateness Megalith Phul Nekroz of Unicore Card of Demise Cauldron of the Old Man Chain Strike Dark Snake Syndrome Dimensional Fissure Domain of the True Monarchs Intercept Wave Interrupted Kaiju Slumber Kaiser Colosseum Kyoutou Waterfront Nekroz Kaleidoscope Pacifis, the Phantasm City Pantheism of the Monarchs Pot of Duality Pot of Extravagance Pot of Prosperity Secret Village of the Spellcasters Sky Iris Soundproofed And the Band Played On Anti-Spell Fragrance Bad Reaction to Simochi Banquet of Millions D.D. Dynamite Dark Contract with the Eternal Darkness Dimensional Barrier Discord Dogmatika Punishment Forbidden Apocrypha Gozen Match Grave of the Super Ancient Organism Grisaille Prison Macro Cosmos Mischief of the Gnomes Pinpoint Dash Rivalry of Warlords Secret Barrel Secret Blast Skill Drain Stygian Dirge Summon Limit Supreme Rage The Monarchs Erupt There Can Be Only One True Draco Apocalypse Warning Point Limited: Altergeist Multifaker Block Dragon Eldlich the Golden Lord Floowandereeze & Empen Floowandereeze & Robina Jet Synchron Junk converter Swordsoul of Mo Ye Wisdom-Eye Magician Lair of Darkness Necrovalley Spell Power Mastery Xyz: Forbidden: All Fusion Monsters All Synchro Monsters All Link Monsters Qliphort Scout Anchamoufrite Archlord Kristya Archnemeses Eschatos Archnemeses Protos Artifact Scythe Barrier Statue of the Abyss Barrier Statue of the Drought Barrier Statue of the Heavens Barrier Statue of the Inferno Barrier Statue of the Stormwinds Barrier Statue of the Torrent Contact “C” Danger! Bigfoot! Darklord Nurse Reficule Dice Jar Dimension Shifter Dinomight, the True Dracofighter Dogmatika Ecclesia, the Virtuous Dogmatika Maximus Dragon Buster Destruction Sword Eater of Millions Eldlich the Golden Lord Fairy Tail – Luna Fossil Dyna Pachycephalo Gizmek Orochi, the Serpentron Sky Slasher Gnomaterial Inspector Boarder Jowgen the Spiritualist Knightmare Corurptor Iblee Mahaama the Fairy Dragon Michion the Timelord Necroface Link Apple Pandora’s Jewelry Box Performapal Skullcrobat Joker Raphion the Timelord Sandaion the Timelord Sephylon, the Ultimate Timelord Subterror Guru Time Maiden Vanity’s Fiend Vanity’S Ruler Wandering Gryphon Rider Zaborg the Mega Monarch Zap Mustung Zefraath Amorphactor Pain, the Imagination Dracoverlord Blue-Eyes Chaos MAX Dragon Cyber Angel Benten Herald of Perfection Herald of Ultimateness Megalith Phul Nekroz of Unicore Card of Demise Cauldron of the Old Man Chain Strike Dark Snake Syndrome Dimensional Fissure Domain of the True Monarchs Interrupted Kaiju Slumber Kaiser Colosseum Kyoutou Waterfront Nekroz Kaleidoscope Numbers Eveil Pacifis, the Phantasm City Pantheism of the Monarchs Pot of Duality Pot of Extravagance Pot of Prosperity Secret Village of the Spellcasters Sky Iris Super Quantal Mech Ship Magnacarrier Anti-Spell Fragrance Bad Reaction to Simochi Banquet of Millions D.D. Dynamite Dimensional Barrier Dogmatika Punishment Forbidden Apocrypha Gozen Match Grisaille Prison Macro Cosmos Mischief of the Gnomes Pinpoint Dash Rivalry of Warlords Secret Barrel Secret Blast Skill Drain Stygian Dirge Summon Limit The Monarchs Erupt There Can Be Only One True Draco Apocalypse Warning Point Limited: Altergeist Multifaker Floowandereeze & Empen Floowandereeze & Robina Wisdom-Eye Magician Lair of Darkness Necrovalley Spell Power Mastery Zombie World Link: Forbidden: All Fusion Monsters All Synchro Monsters All Xyz Monsters Qliphort Scout Anchamoufrite Archlord Kristya Archnemeses Eschatos Archnemeses Protos Artifact Scythe Barrier Statue of the Abyss Barrier Statue of the Drought Barrier Statue of the Heavens Barrier Statue of the Inferno Barrier Statue of the Stormwinds Barrier Statue of the Torrent Contact “C” Danger! Bigfoot! Darklord Nurse Reficule Dice Jar Dimension Shifter Dinomight, the True Dracofighter Dogmatika Ecclesia, the Virtuous Dogmatika Maximus Dragon Buster Destruction Sword Eater of Millions Eldlich the Golden Lord Fairy Tail – Luna Floowandereeze & Empen Fossil Dyna Pachycephalo Gizmek Orochi, the Serpentron Sky Slasher Gnomaterial Inspector Boarder Jowgen the Spiritualist Mahaama the Fairy Dragon Michion the Timelord Necroface Link Apple Pandora’s Jewelry Box Performapal Skullcrobat Joker Raphion the Timelord Sandaion the Timelord Sephylon, the Ultimate Timelord Time Maiden Vanity’s Fiend Vanity’S Ruler Wandering Gryphon Rider Zaborg the Mega Monarch Zap Mustung Zefraath Amorphactor Pain, the Imagination Dracoverlord Blue-Eyes Chaos MAX Dragon Cyber Angel Benten Herald of Perfection Herald of Ultimateness Megalith Phul Nekroz of Unicore Card of Demise Cauldron of the Old Man Chain Strike Dark Snake Syndrome Dimensional Fissure Domain of the True Monarchs Interrupted Kaiju Slumber Kaiser Colosseum Kyoutou Waterfront Nekroz Kaleidoscope Pacifis, the Phantasm City Pantheism of the Monarchs Pot of Duality Pot of Extravagance Pot of Prosperity Secret Village of the Spellcasters Sky Iris Anti-Spell Fragrance Bad Reaction to Simochi Banquet of Millions D.D. Dynamite Dogmatika Punishment Gozen Match Macro Cosmos Pinpoint Dash Rivalry of Warlords Secret Barrel Secret Blast Skill Drain Summon Limit The Monarchs Erupt There Can Be Only One True Draco Apocalypse Warning Point Limited: Floowandereeze & Empen Micro Coder Pikari @Ignister Subterror Guru Wisdom-Eye Magician Lair of Darkness Necrovalley Spell Power Mastery SPYRAL Resort Zombie World -New Card Activation Animations: Mamonaka the Vaylantz United Odd-Eyes Pendulumgraph Dragon Locomotion R-Genex CXyz N.As.Ch Knight Musical Sumo Dice Games Decode Talker Heatsoul Beyond the Pendulum Ghostrick Festival Scareclaw Tri-Heart World Gears of Theurlogical Demiurgy Ghostrick Angel of Mischief and Musical Sumo Dice Games get a special animation when you fulfill their Win Condition (much like Exodia) -Choosing the order of effect activations in the Standby Phase/End Phase Before the update, effects you could activate during the Standby Phase or End Phase would activate or prompt their activation in an arbitrary order. After the update, you can choose the order in which you activate your effects. -Highlighting effects that can be activated When you meet the requirements to activate an effect, the particular effect that you can activate at that time will be highlighted in blue while selecting the card. This is to highlight one particular effect among the chunk of text of the card so you know which effect you are activating. Once activated, the effect will be highlighted in white and will be shown at the top right corner of the screen. These are only available for certain cards for the moment, but there are plans to implement this feature on more cards in the future. -Related Cards You can now find a list of cards related to a card you’re looking up while Dueling from the Card Details menu. -Room Matches You can now edit your Deck from inside a room, and the room expiration date is displayed in the room information. -Solo Mode There is now a retry button to restart the Duel, from the Game Settings (cog icon on the top left) and from the screen at the end of the Duel without returning to the chapter selection. Announcements in practice chapters can also be skipped by clicking on them/confirming with a controller. -Deck Editing You can now link your Master Duel Decks with the official database by linking your Card Game ID to your KONAMI ID. In the Deck editor screen, you can find a “trash” button to delete multiple Decks at once. -Shop A button to display the “newly added” cards in a given product is now available. -Additional Deck Slots You can purchase up to 5 additional Deck Slots for 250 gems each at the shop (in the “Special” section) -New Accessories Protector: Mamonaka the Vaylantz United “Protectors which display a group of warriors who belong to the Shinra Bansho. For those who respect independence, but know the value of cooperation.” Price: 100 gems Icon: Visas Starfrost “An Icon depicting a young man whose right arm offers glimpses of another universe. It is unclear as to whether this arm will connect the cosmos or lead to its destruction.” Price: 50 gems -New Selection Pack: Battle Trajectory “Lots of new and notable Pendulum Monsters have been released for the “Performapal” and “Odd-Eyes” archetypes! Other new archetypes include “Vaylantz,”, which wields Pendulum Monsters and manipulates cards’ positions to set the stage for victory, and “Scareclaws,” frightening beasts that rely on Link Monsters and offensive effects! UR (13/85): SR (17/85): R (20/85): N (35/85): For those keeping track, this pack reverses the rarity spread of the previous pack and has 1 more N card and l less R card
There were 218 press releases posted in the last 24 hours and 292,115 in the last 365 days.
An Insight to iGET: Fulfilling Dreams and Aspirations
iGet Holdings is an Edutainment-Tech company based in Singapore with offices currently in Singapore Korea, China, Hong Kong & The Philippines, and setting foot in Malaysia, Indonesia and Vietnam. Under its entertainment arm, it focuses on Korea & Asia Artistes development & training, concerts & events management, music production & publications, content creation, etc. Under its iGet Hagwon (performing arts training arm), it trains its own Artistes and the general public who are keen to develop the skills of vocal, acting and dancing. Under its technology arm, it has a content production unit in Shenzhen China, and is developing its whole range of Artiste-based metaverse, NFTs, avatars and E/games products and services.
The founders ofiGethad a big vision to build a billion-dollar company five years ago. Unfortunately, the pandemic slowed down its growth for 2 years but they didn’t stop the momentum in building its presence in Asia. Here is what they have done. iGet is supported by a US and Hong Kong based fund called Boulevard Capital Partners (“BCP”) and it will be completing its first stage funding of US$60 million by the end of 2022. This fund will come in handy for iGet to execute speedily its various expansion and acquisition plans. The management of iGet is estimating its average next 3 years’ revenues to be around US$200 million. Over the past 30 years, BCP has developed robust relationships with PE firms, Family Offices, bankers, private lending groups, and investment firms around the world. These valued relationships have allowed BCP group to provide outstanding results for its clients looking for solutions for project funding as well as achieving superior returns on their investments.
iGet is co-founded by the first and only Singapore KPop Group creator Mr. Alan Chan. He created Singapore’s first KPop group ‘Skarf’ which consists of Singaporeans, Koreans and Japanese. Moving forward, he will lead the team to debut another KPop girl group “Oh Bliss” by the first quarter of 2023, followed by another one boy and one girl group in 2023. Mr Alan has with him, a team of very experienced executives based in Korea headed by Mr Lee JT, the former Director of SM Entertainments in Korea. Also under Mr Alan’s entertainment arm, iGet has acquired a music production & publication arm called “Red Planet”. This is an established company with over 170 music and intellectual properties under its rights. The company has also written songs for Singapore Mediacorp TV drama programs. iGet Entertainment is currently working on 2 movies to be produced in Singapore and Hong Kong, with various Asian castings. iGet believes in bringing Asia resources together to produce the first of its kind in Singapore, Hong Kong and Korea. Mr Alan Chan, the Group COO, is the KPop Guru who created Singapore’s first KPop girl group SKarf in 2012. This time around, he is preparing to relaunch two girl groups and one boy group in 2023. In addition to SKarf, Mr Alan also co-produced “OhBliss” with South Korean Ian Lee, a former Director of SM Entertainment. OhBliss is scheduled to be relaunched next year. During a recent interview by Lianhe Zaobao in Singapore, Mr Alan mentioned that “The team members will all be new faces, and there is at least one Singaporean member. We will definitely provide opportunities for our local talented people.” He further said, “Besides these 2 girl groups, iGet will also launch a new boy group, a Chinese group “2.4” and “Popiscal”, a Biva group playing classical instruments.” iGet Hagwon is completing its acquisition to take a majority stake in Korea’s Born Star Performing Arts Academy, the Number One performing arts institute in Korea with 19 branches, to provide training for its artistes and those who wish to undergo the same training. iGet plans to open a local performing arts academy next year, introducing the training program of Born Star, and appointing Dr. Ken Chang, a local veteran musician legend who has created stars such as Eric Moo, JJ Lin, A-du and many others, as the CEO of the performing arts academy. It plans to then expand to other parts of Asia and to eventually grow to 100 academies in Asia within 5 years. In addition to music, iGet has also entered into the film and television industry and is currently preparing a film and a TV drama series to be produced in Singapore, Hong Kong and South Korea with cast from the region. Mr Alan also said that the company will hold regular auditions in the region to discover more singers and actors. The next audition is scheduled in March 2023 in Singapore, Malaysia, Indonesia and The Philippines. iGet is also pleased to work with JP Entertainment to hold concerts in Singapore and Asia. iGet and JP Entertainment have signed and agreed to hold 3 concerts on Kenny G, Kitaro and Aaron Kwok in March, June and October next year respectively. Having established its traditional entertainment and training businesses, iGet hopes to quickly develop an Artistes based metaverse setting in Korea with various Artistes creations like online concerts, merchandise, social media platform, NFTs, E/games, etc. From now to next year, look out for iGet’s separate announcements for auditions of KPop and movie artistes. iGet is glad to provide a bridge between Korea and other parts of Asia, with Singapore being the first stop. Contact Information: Ms. Wenda Ng / Mr. Alan Chan Group CEO / Group COO Mobile: +65 9188 3555 / +65 8786 1689 Email: [email protected] / [email protected] IGet Holdings Ms. Wenda Ng +65 9188 3555 Singapore
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