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Reveal
from The Center for Investigative Reporting
Every week we drop a new episode.
Get it in your inbox.

Or the podcast app of your choice:
Sea levels are rising – and the United States has a lot to learn from countries that are already adapting. Reporter Shola Lawal of the podcast Threshold explores how two communities in Nigeria are dealing with it. 
Lagos, the booming coastal city of Nigeria, is growing even as rising water levels threaten its future. Lawal visits the informal community of Makoko, where people have learned to live with water: Many homes are built on stilts. In a community where many people make a living fishing, small houses rise above the water, vendors sell vegetables and goods from floating markets, and locals ferry people to destinations in canoes. A lack of dry land has forced residents to innovate in creative ways. But the government has threatened to destroy Makoko, declaring the neighborhood an eyesore.  
Next, Lawal visits Eko Atlantic City, an “ultra-modern” luxury city that a development company is building on sand dredged up from the ocean floor. In contrast to the scrappy adaptations Makoko residents have made to live on water, the million-dollar apartments of Eko Atlantic are protected by an enormous seawall. 
Each year, global leaders gather to discuss the climate crisis at COP, the United Nations climate conference. Threshold Executive Producer Amy Martin talks with Reveal host Al Letson about this year’s COP27. While nearly every country on the planet attends these annual conferences, a much smaller number – about 20 economies – are responsible for 80% of global greenhouse gas emissions. That’s left more vulnerable countries asking – what are the richest countries going to do to pay for the damage they’ve caused?
Listen: Threshold Season Four: Time to 1.5
Reporters: Shola Lawal and Amy Martin, with help from Erika Janik of Threshold | Editor: Taki Telonidis | Producer: Katharine Mieszkowski | Music: Todd Sickafoose | Threshold team: Caysi Simpson, Deneen Wiske, Eva Kalea and Sam Moore | Production manager: Amy Mostafa | Digital producer: Sarah Mirk | Sound design: Jim Briggs and Fernando Arruda | Post-production team: Kathryn Styer Martínez and Steven Rascón | Interim executive producers: Brett Myers and Taki Telonidis | Host: Al Letson
Taki Telonidis is an interim executive producer for Reveal. Previously, he was the media producer for the Western Folklife Center, where he created more than 100 radio features for NPR’s “All Things Considered,” “Weekend Edition” and other news magazines. He has produced and directed three public television specials, including “Healing the Warrior’s Heart,” a one-hour documentary that explores how the ancient spiritual traditions of our nation’s first warriors, Native Americans, are helping today’s veterans diagnosed with post-traumatic stress disorder. Telonidis also was senior content editor for NPR’s “State of the Re:Union.” Before moving to the West, he worked for NPR in Washington, where he was senior producer of “Weekend All Things Considered” between 1994 and 1998. His television and radio work has garnered a George Foster Peabody Award, three Rocky Mountain Emmy Awards and the Overseas Press Club Award for breaking news. Telonidis is based in Salt Lake City.
Katharine Mieszkowski is a senior reporter and producer for Reveal. She’s also been a senior writer for Salon and Fast Company. Her work has appeared in The New York Times, Rolling Stone, Mother Jones, Slate and on NPR’s “All Things Considered.”
Her coverage has won national awards, including the Alfred I. duPont-Columbia University Award two years in a row, an Online News Association Award, a Webby Award and a Society of Environmental Journalists Award. Mieszkowski has a bachelor’s degree from Yale University. She is based in Reveal’s Emeryville, California, office.
Amy Mostafa (she/they) is the production manager for Reveal. She is a UC Berkeley School of Journalism alum, where she focused on audio and data journalism as a Dean’s Merit Fellow and an ISF Scholar. She has reported on science, health and the environment in Anchorage for Alaska Public Media and on city government in Berkeley and San Francisco for KQED. Her work also has appeared on NPR, KALW and KALX. Mostafa holds a bachelor’s degree in English literature and public policy. She has most recently reported on housing and aging in the Bay Area. She is based in Reveal’s Emeryville, California, office.
Jim Briggs III is the senior sound designer, engineer and composer for Reveal. He supervises post-production and composes original music for the public radio show and podcast. He also leads Reveal’s efforts in composition for data sonification and live performances.
Prior to joining Reveal in 2014, Briggs mixed and recorded for clients such as WNYC Studios, NPR, the CBC and American Public Media. Credits include “Marketplace,” “Selected Shorts,” “Death, Sex & Money,” “The Longest Shortest Time,” NPR’s “Ask Me Another,” “Radiolab,” “Freakonomics Radio” and “Soundcheck.” He also was the sound re-recording mixer and sound editor for several PBS television documentaries, including “American Experience: Walt Whitman,” the 2012 Tea Party documentary “Town Hall” and “The Supreme Court” miniseries. His music credits include albums by R.E.M., Paul Simon and Kelly Clarkson.
Briggs’ work with Reveal has been recognized with an Emmy Award (2016) and two Alfred I. duPont-Columbia University Awards (2018, 2019). Previously, he was part of the team that won the Dart Award for Excellence in Coverage of Trauma for its work on WNYC’s hourlong documentary special “Living 9/11.” He has taught sound, radio and music production at The New School and Eugene Lang College and has a master’s degree in media studies from The New School. Briggs is based in Reveal’s Emeryville, California, office.
Fernando Arruda is a sound designer, engineer and composer for Reveal. As a multi-instrumentalist, he contributes to the original music, editing and mixing of the weekly public radio show and podcast. He has held four O-1 visas for individuals with extraordinary abilities. His work has been recognized with Peabody, duPont-Columbia, Edward R. Murrow, Gerald Loeb, Third Coast and Association of Music Producers awards, as well as Emmy and Pulitzer nominations. Prior to joining Reveal, Arruda toured as an international DJ and taught music technology at Dubspot and ESRA International Film School. He worked at Antfood, a creative audio studio for media and TV ads, and co-founded a film-scoring boutique called the Manhattan Composers Collective. He worked with clients such as Marvel, MasterClass and Samsung and ad agencies such as Framestore, Trollbäck+Company, BUCK and Vice. Arruda releases experimental music under the alias FJAZZ and has performed with many jazz, classical and pop ensembles, such as SFJAZZ Monday Night Band, Art&Sax quartet, Krychek, Dark Inc. and the New York Arabic Orchestra. His credits in the podcast and radio world include NPR’s “51 Percent,” WNYC’s “Bad Feminist Happy Hour” and its live broadcast of Orson Welles’ “The Hitchhiker,” Wondery’s “Detective Trapp,” MSNBC’s “Why Is This Happening?” and NBC’s “Born to Rule,” to name a few. Arruda also has a wide catalog of composed music for theatrical, orchestral and chamber music formats, some of which has premiered worldwide. He holds a master’s degree in film scoring and composition from NYU Steinhardt. The original music he makes with Jim Briggs for Reveal can be found on Bandcamp.
Kathryn Styer Martínez (she/ella) is a production assistant for Reveal. She studies audio and photojournalism at the UC Berkeley Graduate School of Journalism. She is also a Greater Good Science Center reporting fellow, focusing on Latino well-being.
Martínez was the 2020-21 Toni Randolph reporting fellow at Minnesota Public Radio, the 2019-20 New Economy Reporting Project fellow and the former director of KGPC-LP FM, Peralta Community Radio. Her work has appeared in El Tecolote, The Oaklandside, MPR News, National Public Radio, Outside Online, Talk Poverty, New Life Quarterly and Making Contact.
She earned bachelor’s degrees in Raza studies and political science from San Francisco State University.
Steven Rascón (he/they) is a production assistant for Reveal. He is pursuing a master’s degree at the UC Berkeley Graduate School of Journalism with a Kaiser Permanente Institute for Health Policy Fellowship. His focus is investigative reporting and audio documentary. He has written for online, magazines and radio. His reporting on underreported fentanyl overdoses in Los Angeles’ LGBTQ community aired on KCRW and KQED. Rascón is passionate about telling diverse stories for radio through community engagement. He holds a bachelor of fine arts degree in theater arts and creative writing.
Al Letson is a playwright, performer, screenwriter, journalist, and the host of Reveal. Soul-stirring, interdisciplinary work has garnered Letson national recognition and devoted fans.
Reveal
P.O. Box 8307
Emeryville, CA 94662
510-809-3160
Reveal is a registered trademark of The Center for Investigative Reporting.

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By Larisha Paul
If you purchase an independently reviewed product or service through a link on our website, Rolling Stone may receive an affiliate commission.
Louis Tomlinson will be spending most of the upcoming year on the road thanks to an extensive world tour supporting his sophomore studio album Faith in the Future, set for release on Nov. 11. The singer has scheduled dates for the North American leg for next summer, slotting 39 shows ahead of the European stretch of concerts he announced last month.
“Really really excited to finally announce the North America tour,” Tomlinson wrote on Twitter. “These songs were created for these moments and I can’t wait to share them with you!”
The North American portion of the Faith in the Future world tour will begin on May 26 in Uncasville, Connecticut, with a show at the Mohegan Sun Arena. Tomlinson will make stops in Toronto, Cincinnati, Columbus, Kansas City, Minneapolis, Seattle, Berkeley, Las Vegas, Dallas, Atlanta, Nashville, Boston, and more. The tour will conclude on July 29 at Forest Hills Stadium in New York.
Tickets for the North American leg go on sale Friday, Nov. 11, at 10 a.m. local time.

Tomlinson largely geared the creation of Faith in the Future toward elevating his concerts with high-energy rock anthems, like the previously released singles “Bigger Than Me” and “Out of my System.”

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“It was my first moment of excitement making this record, and where it felt we were on to something which honors the live show,” Tomlinson said in a statement about the latter single. “I realized from doing those live shows what it means to my fans and how everything I do is bigger than me. It’s almost a coming of age for myself and putting opinions about myself to the back of my mind and thinking about what it potentially means for other people.”
Louis Tomlinson 2023 North American Faith in the Future Tour Dates
May 26 – Uncasville, CT @ Mohegan Sun Arena
May 27 – Gilford, NH @ Bank of New Hampshire Pavilion
May 29 – Laval, QC @ Place Bell
May 30 – Toronto, ON @ Budweiser Stage
June 01 – Cuyahoga Falls, OH @ Blossom Music Center
June 02 – Sterling Heights, MI @ Michigan Lottery Amphitheatre
June 03 – Cincinnati, OH @ The ICON Festival Stage
June 06 – Columbus, OH @ KEMBA Live! Outdoor
June 07 – Indianapolis, IN @ TCU Amphitheater at White River State Park
June 09 – St. Louis, MO @ Saint Louis Music Park
June 10 – Kansas City, MO @ Starlight Theatre
June 13– Milwaukee, WI @ BMO Pavilion
June 15 – Chicago, IL @ Huntington Bank Pavilion
June 16 – Minneapolis, MN @ The Armory
June 17 – Council Bluffs, IA @ Harrah’s Stir Cove
June 19 – Sioux Falls, SD @ Denny Stanford Premier Center
June 21 – Morrison, CO @ Red Rocks Amphitheatre
June 24 – Seattle, WA @ WAMU Theater
June 26 – Vancouver, BC @ Doug Mitchell Thunderbird Sports Centre
June 27 – Troutdale, OR @ McMenamins Edgefield Concerts
June 29 – Berkeley, CA @ The Greek Theatre
June 30 – Los Angeles, CA @ The Hollywood Bowl
July 01 – Las Vegas, NV @ The Chelsea at The Cosmopolitan
July 03 – Phoenix, AZ @ Arizona Financial Theatre
July 06 – Dallas, TX @ The Pavilion at Toyota Music Factory
July 07 – Austin, TX @ Moody Amphitheater at Waterloo Park
July 08 – Woodlands, TX @ The Cynthia Woods Mitchell Pavilion
July 11 – St. Augustine, FL @ St. Augustine Amphitheatre
July 13 – Hollywood, FL @ Hard Rock Live at Seminole Hard Rock Hollywood
July 14 – Tampa, FL @ Yuengling Center
July 15 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park
July 18 – Nashville, TN @ Ascend Amphitheater
July 19 – Charlotte, NC @ Charlotte Metro Credit Union Amphitheatre
July 21 – Raleigh, NC @ Red Hat Amphitheater
July 22– Columbia, MD @ Merriweather Post Pavilion
July 24 – Boston, MA @ MGM Music Hall at Fenway
July 27 – Philadelphia, PA @ TD Pavilion at The Mann
July 28 – Asbury Park, NJ @ Stone Pony Summer Stage
July 29 – New York, NY @ Forest Hills Stadium

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Introducing the GoAux series from KRK!  ·  Source: KRK
Introducing the KRK GoAux monitor series. Two new portable audio monitors packed with features for mobile creators and music producers. The larger of the two models even has Automatic Room Correction (ARC), so let’s see how they shape up.
The GoAux series comes in two sizes of two-way portable speakers. While both models ship with decoupling stands and a carry bag, only the GoAux 4 has integrated ARC for creating a more neutral listening environment. In addition, the GoAux 4 offers a wider range of connectivity options. Besides the Bluetooth 5, RCA, and mini-jack input that is common to both models, there are also balanced TRS inputs and USB.
Both the GoAux models are equipped with basic boundary EQ controls on the rear panel. This allows you to quickly tweak them to suit your temporary workspace. The range of input sources makes these incredibly versatile speakers, whether your purpose is professional or simply listening.
Overall, these are great monitors for project studios, temporary content-creation stations, and any audio setup where space is extremely limited. It would be unfair to simply dismiss the GoAux as multimedia speakers, as the features and pricing put them very close to the popular IK Multimedia iLoud Micro.
Will the GoAux stand up to the competition? For a manufacturer well versed in this side of the market like KRK, this shouldn’t be a problem. Only time and testing will tell, but if reputations mean anything these days, it seems unlikely they would branch out with a new product line unless it was a sure thing.
Both versions of the KRK GoAux monitors are currently available at Thomann,
Get the GoAux 3 here,
KRK GoAux 3
and the GoAux 4 here.
KRK GoAux 4
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11 Nov · Good round-up. There are a lot of S style guitars out there. Godin Session is another HSS that is a great value considering the quality you get. Maybe the HSS style should have it’s own “Best Value” …
11 Nov · Bought one to replace a FP1. Warm sounding and editable surface controller makes it suitable for use with a Integra7. The GM mapping remains to be reset to channel 10 from the default 5. Where to …
11 Nov · Great piece of engineering. My biggest reason against these things are not the price… surely at that price running more than 2 effects at same time would be possible? I have a Digitech lying around …

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An update to the Tesla App is in the store. While 4.14.3 doesn’t appear to have much that will impact current Tesla owners, there are significant additions that bring the Semi and the Cybertruck just a little closer to reality.
Twitter user @Tesla_App_iOS, tweeted several assets of the updated app. This account monitors the App Store for updates to the Tesla app.
For those unfamiliar with code speak, decompile means reverse engineering code to be easily understood by humans. This process has produced a lot of wow in seeing the Semi. It’s already well known that the first batch of Semis will be delivered to Pepsi on December 1. Now we are seeing assets appear in this app update.
While it was widely speculated, these new assets confirm that the Semi will leverage the same Tesla app as Tesla owners utilize today, although it’s expected to have capabilities that are unique to the semi-truck.
These newly discovered 3D models are expected to be used in the Semi’s visualization at the top of the app in addition to other areas such as Climate and Controls.
Tesla’s 3D models are highly detailed and reveal some additional details about the upcoming vehicle.
In the 3D model, we can see a huge sun visor, which will be necessary given the extra-large windows. The driver’s seat is also placed in the middle of the cab, meaning the visor will have to shade the entire windshield length. There are components in the cockpit — including a wireless charger.
Another Twitter user, @olympusdev_, was able to show the 3D assets in great detail showing the door swinging out the opposite way, as well as the large frunk. There are also some 3D renderings of the cockpit.
Meanwhile, Cybertruck is still pegged for the middle of 2023. However, it’s a positive sign to see it start to appear in the updated app. It’s referred to as Model C. Of course, “C” is for Cybertruck, while Model T has been reserved for the Semi “Truck” because S is already assigned to the iconic car that started it all.
It’s another sign that Tesla’s third phase is well underway, and soon Semi (everything we know about the Semi) and Cybertrucks will be commonly spotted on roadways and not just in app code.
Tesla app 4.14.3 is now available in the Apple AppStore and is expected to be available in the Google PlayStore soon.
Enjoy these images of the Semi below that @olympusdev_ was able to render from the assets in the updated app.
Apple Music is one of the most requested features by Tesla owners.
Tesla already supports a variety of music services, including Spotify, Slacker, SiriusXM (for Model S and Model X), TuneIn and Caraoke (by Stringray). These services are in addition to Bluetooth and FM radio support.
Apple Music is the second largest music streaming service worldwide with an estimated 88 million subscribers. It’s currently behind Spotify and ahead of Amazon Music and YouTube Music respectively.
When Zoom announced that Tesla will soon support their meeting software in their vehicles, they showed off a video of Zoom being used inside of a Tesla.
The video featured a woman parking her car and joining a meeting in her Model Y. When Zoom displayed the Tesla screen it also showed off the Tesla app launcher, which looked exactly how we’d expect, except for one small icon.
The new icon looks very similar to Apple Music’s logo. The new icon was only displayed during the first segment of the Zoom demo, as when they cut back to the Tesla screen a second time, the icons in the launcher had changed.
Although the icon displayed in the Tesla launcher is very similar to Apple Music’s logo, it’s not a perfect match.
Besides the color being in grayscale, the top bar connecting the music notes is also thinner than what Apple uses in the Apple Music logo.
A music icon in the Tesla launcher isn’t completely new. Before Tesla’s launch of its v11 software late last year, Tesla used a single music icon in the launcher. Whenever someone wanted to play any music they’d first have to tap Music and then choose their music service.
Although Tesla’s old music icon is similar to what’s displayed in the Zoom video, it’s not a perfect match either. Tesla’s old icon had musical notes with a smaller head and it didn’t include a rounded square background like Apple Music does.
Interestingly, the music icon in the launcher is not only grayscale but also misaligned when compared to the other icons. This could mean that it’s either a teaser or a mock and not something that would appear in production.
One possibility is that Tesla is indeed adding Apple Music and this is an early version of it that was either added as an easter egg or left in accidentally.
However, there are other possibilities. According to sources Tesla is expected to launch another holiday update later this year with new features.
It’s possible that Tesla is giving us more flexibility with the launcher, enabling us to have a single music icon instead of having to pick individual music services.
Did we just receive a hint that Apple Music is arriving on Teslas? We’re not sure. The new icon seems like a placeholder, and since it doesn’t match Apple’s logo perfectly, it’s hard to determine whether this will actually be for Apple Music. Whatever it is, the logo is awfully close to Apple’s logo and if it’s not intended for Apple Music, Apple may not be thrilled with its use.
Elon Musk has talked about his disapproval of Apple’s AppStore fees numerous times in the past. It’s clear the two companies don’t have the best relationship and that could be one reason why Tesla hasn’t implemented Apple Music, AirPlay or CarPlay in their vehicles, but at the same time, customers are demanding Apple Music integration. What will Tesla do? We’re hoping they’re listening to their fans and adding Apple Music.
Unfortunately, accidents happen. There are more and more Teslas on the road every day. Consequently, more of them are likely to be involved in collisions. A Tesla write-off is quite a bit much more than your average vehicle write-off. Tesla previously banished salvaged vehicles from its robust Supercharger network (v4 Superchargers coming) and other third-party charging stations due to liability reasons. But that may be about to change.
Electrek has acquired internal documents outlining a new inspection process to allow salvaged Teslas back on the network. Electrek, a popular electric vehicle and green energy site, reports that the document is titled “Salvaged-Titled Vehicle Fast Charging Safety Inspection.” It explains a two-step process of inspecting the high-voltage battery pack and all the charging components. If the car passes, it’s back on the grid; if not, the components can be fixed at Tesla at the owner’s expense.
The document, reportedly distributed to employees, lists the steps the car will go through. The Salvaged-Title Vehicle Fast-Charging Safety Inspection will commence after the Tesla has passed the Salvage-Titled Vehicle High Voltage Safety Inspection. It is also clear that if the owner does not authorize the repairs at Tesla, the inspection will stop, and the vehicle will fail the report. The document states: “Diagnosis and component rectification are not included in this inspection procedure and may be performed only at customer expense.”
How much two inspections would run has yet to be discovered, but fair to say it would increase the cost of salvaged vehicles. These units are usually purchased by people who can get them repaired at a reasonable price. However, the inspection and other repairs identified during the double inspection could move the price tag a little too much for some prospective buyers. That said, Teslas have a massive battery pack that stores a lot of energy. An expert should inspect them to prove it is safe and roadworthy.
It seems that Tesla is adapting as it grows. For example, it gave free access to all its Service Manuals on its website in May 2022. That move alone encourages more people who like to fix cars to try a salvaged Tesla. While the company would likely much rather sell more new vehicles than invest in certifying salvaged cars, this latest document reveals that the demand must be growing, and Tesla has to address it.
Superchargers to support 35 percent faster charging
Tesla’s long-term vision for Superchargers
Starlink connectivity coming to Superchargers
Tesla to add CCS connector to Superchargers
View the release notes for the upcoming version 2022.40.4.1.
Apple Music is one of the most requested features by Tesla owners. Tesla already supports a variety of music serv…
Unfortunately, accidents happen. There are more and more Teslas on the road every day. Consequently, more of them are…
Elon has previously announced that video conference capabilities will be available in Teslas, but Zoom has now offici…
Tesla, that tiny little pie-in-the-sky electric company that set up in California nearly two decades ago, is now movi…
The first Hyperloop tunnel that hosted student competitions in 2018 and 2019 has been dismantled and replaced with pa…
The development of steer-by-wire systems, or drive-by-wire, is quickly making the traditional steering wheel obsolete…
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Several Tesla enthusiasts posted videos to YouTube showing viewers their first drives with Full Self Driving (FSD) Be…
We previously covered how Tesla plans to open up Superchargers in Norway, but Elon Musk has now said that Tesla plans o…
Take a look at features that Elon Musk has said will be coming soon.
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The first Hyperloop tunnel that hosted student competitions in 2018 and 2019 has been dismantled and replaced with pa…
The development of steer-by-wire systems, or drive-by-wire, is quickly making the traditional steering wheel obsolete…
For everything that Teslas offer, these incredible vehicles are missing something available in nearly every other new…
Tesla’s bringing its collection of revolutionary electric vehicles to the Petersen Automotive Museum in Los Angeles…
View all known voice commands for your Tesla.
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Although we share official Tesla release notes, we are not affiliated with Tesla Motors. We are Tesla fans and supporters.
Apple Music is one of the most requested features by Tesla owners. Tesla already supports a variety of music serv…
Unfortunately, accidents happen. There are more and more Teslas on the road every day. Consequently, more of them are…
Elon has previously announced that video conference capabilities will be available in Teslas, but Zoom has now offici…
Tesla, that tiny little pie-in-the-sky electric company that set up in California nearly two decades ago, is now movi…
The first Hyperloop tunnel that hosted student competitions in 2018 and 2019 has been dismantled and replaced with pa…
The development of steer-by-wire systems, or drive-by-wire, is quickly making the traditional steering wheel obsolete…
For everything that Teslas offer, these incredible vehicles are missing something available in nearly every other new…
Tesla’s bringing its collection of revolutionary electric vehicles to the Petersen Automotive Museum in Los Angeles…
The Financial Times recently reported that Tesla had talks with Glencore about taking a stake in the Swiss mining gia…
Several Tesla enthusiasts posted videos to YouTube showing viewers their first drives with Full Self Driving (FSD) Be…
View the release notes for the upcoming version 2022.40.4.1.
Tesla’s vehicles will integrate with SpaceX’s Starlink to eliminate dead zones in the future. On August 25th a…
Take a look at features that Elon Musk has said will be coming soon.
There are many shortcuts and swipes gestures in your Tesla to make common tasks a little more painless and quicker to e…
Earlier this week Elon Musk spoke to the Financial Times at the Future of the Car conference. The Chie…
My Tesla Model 3, unimaginatively named “Blue Tesla,” is relatively new. I bought it in June 2020 during the pandemic. D…
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The best Tesla Model 3 and Model Y Wireless Phone Charger — now, even better. Get $10 off with promo: NotATeslaApp10
View all known voice commands for your Tesla.
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Hollywood Life
Latest Hollywood Celebrity & Entertainment News
From getting love from Skrillex to working with A$AP Ferg and partnering with his brother Klaxx on his new album, NGHTMRE takes you on a tour of seven songs that define his style and vision.
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Traveling through a dreamscape of many concepts, sounds, and sensations, cross-genre producer and DJ NGHTMRE is not one to stay in a specific lane. His new album, DRMVRSE, is a perfect example, containing moments of house-shaking beats (“Threshold”), seductive grooves (“Atmosphere,” ft. UPSAHL), intricate melodies (“Love”), and jungle excitement (“Another Dose”) that weave together. Like the images your subconscious channels in those moments of your deep slumber, DRMVRSE is multi-faceted, and though moments may seem discordant, everything fits together in a cohesive experience.
Yet, with so many music faces, who is NGHTMRE? The uninitiated may not know this talent (b. Tyler Marenyi), who first began life as a producer remixing his favorite tracks before becoming a star performer on the world festival circuit. NGHTMRE has worked with artists like Gunna, A$AP Ferg, The Chainsmokers, and Gunna – and he’s currently finishing up the DRMVRSE Tour (click here for details.) For those who are unfamiliar with NGHTMRE, he shares EXCLUSIVELY with HollywoodLife seven songs that have come to define his sound, his style, and his attitude…including how he will shed definitions to remix everything you know.
Check out the following to get to know NGHTMRE better before streaming DRMVRSE and catching the final dates on his tour.
“This is my most popular song, and I wrote it with some of my best friends, Slander. This song really helped jumpstart both of our careers and became the name of our record label. During the live shows, this is always a special moment. I generally play towards the end of the set, and it’s a happy moment where I tell everyone to grab their close friends, give them a hug, and enjoy being in the moment as much as possible. Vibes are always extremely high for this.”
“For a few years when I moved to LA, I was just hustling and writing new music everyday. Somehow, Skrillex got his hands on this song before it was released and played in his Ultra main stage 2014 performance. It was the only song he played that no one knew what it was. The resulting hype around the song really helped it blow up and was another instrumental song in helping my career get a kick start. This song shows the heavier side of NGHTMRE.”
“I am a sucker for melodic music. Even when I write my heavy tunes, I try to keep an element of melody to give it a bit more musical integrity. Fear and Love are two separate songs that stem from the same chord progression idea. One goes extremely dark and heavy, and the other beautiful and melodic. I feel these songs are a great representation of my style.”
Related: Black Star: 5 Things To Know About Rap Duo Reuniting To Perform On ‘SNL’ This Week
“This was a remix I did for good friends Dillon Francis and Alison Wonderland. I’ve done a ton of remixes but this one always goes absolutely crazy in my live show every time. The plucky melodic chords I wrote during the breakdown keep the energy high even during the slower parts of the song. I really love how this one turned out, and I’ve even seen Alison and Dillon playing in their own sets before.
 
“This was the follow up tune for me and Slander that I just KNEW would do great. I had the idea for this song many years before I sat down to really write the idea. It really felt like the perfect follow-up for Gud Vibrations,’ and our fans reacted extremely well to it. This song has been gaining traction ever since it was released. Matthew Santos also is the vocalist on one of my favorite songs ever, “Lupe Fiasco – Superstar,” so it was amazing to have his voice on the record.”
“I grew up in North Carolina listening to tons of hip hop. A$AP Ferg was always one of my favorites. I still am a bit mind-blown that I had such an amazing opportunity to work with him on this song. This is another one that truly goes OFF during my live shows. I think it’s really hard to blend hip hop and EDM tastefully, and I feel this is my best work in that regard.”
To balance it all out, this is a melodic song from the new album that I wrote with my brother Klaxx. Klaxx attended Icon Collective, the music production school in LA that I also attended. We linked up for a few different tracks recently, but this one just hits so hard while still being uplifting and happy. The vocal gives a bit of a nostalgic and euphoric vibe that fits perfectly into the album and my discography. Huge shoutout to AJ, aka Klaxx!!”

 
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An earnings boost from wider margins helped push up shares of EQ Bank owner Equitable Group Inc. EQB-T by more than 12 per cent Wednesday.
The jump came as the bank reported record third quarter earnings of $77.6-million, up from $72.5-million for the same quarter last year.
Earnings got a boost from a adjusted net interest margin of 1.94 per cent that was higher than any quarter in the bank’s history and 0.13 of a percentage point higher than the last quarter.
The jump was also well ahead of the bank’s 2022 guidance of flat to moderate growth.
“I think perhaps we were a touch cautious in projecting that to the Street until we actually saw it manifest,” said Andrew Moor, chief executive, on an earnings call.
The bank benefited on the margins with a strategy of being more nimble and responsive to rising interest rates, he said.
“It’s been a good management approach to take very little interest rate position.”
The bank, which last week closed a $495-million takeover of Concentra Bank, saw its share close up $5.55, or 12.24 per cent, to $50.88 on the Toronto Stock Exchange on a day that saw markets generally down.
Earnings for the quarter ending Sept. 30 worked out to $2.22 per diluted share, up from $2.07 per share last year, while adjusted diluted earnings were $2.35 per share.
Analysts had been expecting adjusted earnings of $2.11 per diluted share, according to financial markets data form Refinitiv.
Scotiabank analyst Meny Grauman said in a note that while markdowns on Equitable’s fintech investment portfolio did weight, it was more than cancelled out by margin expansion.
“While that charge did indeed come in as we had expected, it was overwhelmed by very significant sequential margin expansion and elevated securitization revenue that completely took us by surprise.”
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Elon Musk told Twitter staff during an all-hands meeting that they need to return to the office full-time, or "resignation accepted."
Elon Musk told Twitter staff during an all-hands meeting Thursday that they need to return to the office full-time, or "resignation accepted," he can be heard saying in audio obtained exclusively by ABC News.
"Let me be crystal clear, if people do not return to the office when they are able to return to the office — they cannot remain at the company," Musk is heard in the audio telling an employee who asked about his new plans for a 40-hour workweek at the company during an all-hands company meeting. "End of story."
MORE: Twitter's chief information security officer quits amid company turmoil
Audio excerpts from the meeting were obtained first by ABC News via a lawyer representing former Twitter employees in a lawsuit against the company. ABC News has verified the authenticity of the audio.
"Even if people returned to the office," a Twitter employee can be heard replying to Musk, "the offices are separate offices — we won't be in person anyways."
"Yes," Musk responds on the audio. "But you can still maximize the amount of in-person activity." Musk continued throughout the meeting to compare the company to Tesla.
"Tesla is not one place either, but you know, it's basically if you can, if you can show up at an office and you do not show up at the office, resignation accepted — end of story," Musk is heard saying.
MORE: Twitter briefly rolled out gray 'official' check marks before Elon Musk changed his mind
"There are plenty of people at Tesla and SpaceX that do work remotely… but it is on an exception basis for exceptional people — and I totally understand if that doesn't work for some people," Musk is also heard saying. "But that's the new philosophy for Twitter."
Twitter began layoffs on Friday that will cut roughly half of its workforce, the company announced in an email, which ABC News reviewed.
The lawsuit alleges that Twitter violated federal and California laws by not giving staff proper notice before termination. The lawsuit was amended this week to include Twitter's alleged unfair severance offers.
Twitter hasn't responded to the lawsuit.
MORE: Here's how Twitter employees are finding out they've been laid off as nearly 50% of workforce cut
The attorney representing former Twitter employees in the class-action lawsuit, Shannon Liss-Riordan, said she plans to use Musk's words against him.
"The audio makes clear that Musk's elimination of remote work, with no notice, is an effort to claim employees have resigned when, in fact, they have been pushed out, so that the company can try to avoid obligations under the WARN Act and promises regarding severance," Liss-Riordan told ABC News. "This new ridiculous move is just one of the schemes Musk has come up with in an attempt to avoid paying laid off employees what they are owed."
Musk has implemented the same back-to-work policy at Tesla and SpaceX.
Musk closed a deal to acquire Twitter in late October. Some of Twitter's top executives were fired, including CEO Parag Agrawal, chief financial officer Ned Segal, chief legal officer Vijaya Gadde and general counsel Sam Edgett.
ABC News has reached out to Twitter.
Gallagher, comedian known for watermelon-smashing routine, dies at 76
Medical assistant charged with identity theft from health clinics
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A video of the sailors seeking the government of India’s help to secure their release went viral on social media earlier this week.
Has secularism ever fulfilled its mandate in India or was it always sent askew by communal politics?
Caught between a deeply religious citizenry and a religion-driven polity, secularism is facing threat both as an ideal and as a practice
Indian secularism has had a chequered history where political expediency means trading off secular ideals for power
Right wing forces are marching centre stage across the world in a worrying development
Secularism, in modern terms, means mostly the separation between religion and state, but it has been interpreted differently across the world
Updated: 10 Nov 2022 8:35 pm
The Ministry of External Affairs on Thursday said all possible consular assistance will be provided to the 16 Indian sailors in detention in Equatorial Guinea and that it was making all efforts for an early resolution of the matter.
A video of the sailors seeking the government of India’s help to secure their release went viral on social media earlier this week. They have allegedly been detained for over 85 days now by the Guinean navy.
16 Indian sailors, member of 26 member crew of a ship detained and held captive in Equatorial Guinea on suspicion of oil theft plead to Indian government for their release. They have been in detention since mid August 2022. pic.twitter.com/1N93s7cP31
Ministry of External Affairs spokesperson Arindam Bagchi said the ministry is aware of the case and at least 16 Indian sailors from a ship, which also has people of other nationalities, are detained.
He, however, refused to comment on the nature of the charges against them or the legal processes involved.
"Our missions are in Malabo (Equatorial Guinea) and in Abuja in Nigeria. Both these missions are closely engaged with their respective local authorities in this case. We are also in touch with the detained sailors. We have had several rounds of consular access to these sailors," he said at a media briefing.
"Our missions in Eq Guinea, Nigeria in touch with local authorities.." says MEA Spox @abagchimea on 16 Indian sailors in custody pic.twitter.com/s60j7krTHp
"We are making all efforts for the early resolution of this issue. Our Charge d'affaires in Malabo told me that the soldiers are still in Equatorial Guinea. We saw some reports that Nigeria has asked for them to be sent over… but they appear to be in Equatorial Guinea right now," he said.
The missions are in touch with authorities in both countries to find a resolution to this issue, Bagchi said.
"I would not like to comment on the charges or the legal processes. We will extend all possible consular assistance we can to these individuals," he said.
(With inputs from PTI)
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“Bob Fosse’s Dancin’” returns to Broadway next spring in a reimagined production.
Previews for the musical revival are scheduled to begin on March 2 at the Music Box Theatre, ahead of an official opening night on March 19.
Direction and musical staging are by Wayne Cilento, who starred in the original Broadway production and earned a Tony nomination for his performance. Cilento will keep Fosse’s original choreography intact for the upcoming Broadway run.
“Bob achieved immortality through his work, and I consider it both the responsibility and honor of my life to steward his legacy for a new generation” said Cilento in a statement, “none of Bob’s shows exemplified the fullness of his spirit quite like DANCIN’ and bringing it back in this fresh way is how I hope to keep that spirit alive.”
“Bob Fosse’s Dancin’” features scenic design by Robert Brill, costume design by Reid Bartelme and Harriet Jung, lighting design by David Grill, sound design by Peter Hylenski, video design by Finn Ross, orchestrations, music supervision, vocal and incidental music arrangements by Jim Abbott, music direction by Justin Hornback, new music and dance arrangements by David Dabbon, casting by Tara Rubin Casting, production stage manager Beverly Jenkins, reproduction of Fosse’s choreography by Christine Colby Jacques, associate direction/musical staging and additional choreographic reconstruction by Corinne McFadden Herrera, text consultation and additional material by Kirsten Childs and assistant musical staging and additional choreographic reconstruction by Lauren Cannon.
The cast features Yeman Brown, Peter John Chursin, Dylis Croman, Jōvan Dansberry, Karli Dinardo, Tony d’Alelio, Aydin Eyikan, Manuel Herrera, Gabriel Hyman, Kolton Krouse, Mattie Love, Krystal Mackie, Yani Marin, Nando Morland, Khori Michelle Petinaud, Ida Saki, Ron Todorowski, and Neka Zang. Additional casting to be announced.
Fosse, who was nominated for 20 Tony Awards throughout his career, developed “Dancin’” in the 1970s. The original production opened at the Broadhurst Theatre on March 27, 1978, and ran there for two-and-a-half years before transferring to the Ambassador Theatre on Nov. 30, 1980. In total, “Dancin’” ran for more than five years, playing 13 previews and 1,774 performances before closing on June 27, 1982. Fosse served as the director and choreographer, with additional choreography by Christopher Chadman.
Cilento won the 1993 Tony Award for Best Choreography for “The Who’s Tommy.” He was nominated for his choreography for “Wicked,” “Baby,” the 1995 revival of “How to Succeed in Business Without Really Trying,” “Dream” and “Sweet Charity.” In addition to ‘”Dancin’,” Cilento’s performance credits include the original company of “A Chorus Line,” “Irene,” “Seesaw,” “The Act,” “Perfectly Frank” and “Big Deal.”
“Bob Fosse’s Dancin’” ran earlier this year at San Diego’s Old Globe Theatre. The production featured well-known songs spanning a variety of decades and genres, including tunes from “Pippin,” “Gypsy” and “Sweet Charity.”
“Bob Fosse’s Dancin’” is produced on Broadway by Joey Parnes in cooperation with Nicole Fosse.

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Paul Pelosi, Nancy Pelosi’s husband, attacked at couple’s home: Live updates  CNN
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A combination of professional goals and being a student-athlete led Maria Villanti to consider receiving an online Master of Arts in global security from Arizona State University. 
While COVID-19 cut Villanti’s junior year lacrosse season short, the NCAA granted all spring athletes an extra year of eligibility. Maria Villanti Download Full Image
Villanti knew she wanted to continue her lacrosse career, so she worked to complete her bachelor’s degree in political science and continued her academic journey studying global security.
“The thought of getting a second degree while playing was appealing. I had heard and read about the (global security) program during my undergrad,” Villanti said. “Based on the (program’s) reputation and my career goals, it was an easy choice to apply.”
Villanti’s undergrad experience allowed her to expand her understanding of how politics and security intersect, which the graduate program would go on to explore in depth. 
Receiving her master’s degree has been insightful, Villanti said, because she is able to tailor her academic trajectory to her specific interests. 
“I am super thankful for the program. It has taught me to critically think about a concept that I once thought was much simpler,” Villanti said.
“The professors and staff are intelligent and experienced in a variety of security fields, which has made for a great learning experience.” 
Villanti appreciates the flexibility of graduate school. She feels that she has the freedom to design her academia, which has only amplified her passion for global security. 
She attributes her successes in the School of Politics and Global Studies to attending events hosted by subject-matter experts and conversing with faculty outside of the classroom. 
“Not everyone can say they have learned from a world-renowned staff,” Villanti said. 
By capitalizing on connections, Villanti has been able to explore her interests in the professional workplace by acting as a global security watch officer for Boeing. 
Villanti’s responsibilities in the position include monitoring worldwide events and identifying events with potential impact to Boeing operations, assets and personnel. She also practices briefing executives and facilitating crisis management. 
“The (global security) program posted the job announcement on the weekly job opportunities page,” Villanti said. “The job description and the company were really attractive. I applied, and the rest is history.” 
While she would like to eventually become a policy or intelligence analyst, Villanti is satisfied with her current role and the experience it has provided her with. 
Villanti is grateful for her additional time spent at ASU as it allowed her to be open to change and maximize her relations with peers and professors.
“These are connections that will prove invaluable through time,” Villanti said. 
Student Journalist, School of Politics and Global Studies
805-603-7619 [email protected]
David Lowdermilk made his decision to come to Arizona State University as a freshman without political science in mind. After taking a handful of introduction-level political science courses, Lowdermilk applied to the School of Politics and Global Studies with a newfound passion for democracy and civil liberties. Upon his admittance into the program, Lowdermilk worked to redefine his academic tr…
David Lowdermilk made his decision to come to Arizona State University as a freshman without political science in mind. 
After taking a handful of introduction-level political science courses, Lowdermilk applied to the School of Politics and Global Studies with a newfound passion for democracy and civil liberties.  David Lowdermilk Download Full Image
Upon his admittance into the program, Lowdermilk worked to redefine his academic trajectory by becoming involved in the school, collaborating with peers and gaining mentorship from professors. 
Lowdermilk’s time as a Junior Research Fellow was spent assisting Margaret Hanson in her ongoing research project that focuses on judicial corruption in post-Soviet nations. 
During this process, Lowdermilk was tasked with analyzing and summarizing intensive research papers regarding the concept and occurrences of neopatrimonialism and personalism in governing authorities. 
“DJ and his partner, Hannah Mangold, helped me with the challenging task of organizing and synthesizing articles on a topic relevant to my research. They did an excellent job, and I enjoyed working with them,” said Hanson, an assistant professor in the School of Politics and Global Studies. 
Capitalizing on collaboration, Lowdermilk and his partner developed a comprehensive literature review detailing the findings between the relations of these variations of social-political hierarchy and the degree of corruption within their judicial system. 
“Alongside exercising my research and writing abilities as a Junior Fellow, I also gained an enhanced global awareness involving a profession I aspire to participate in,” Lowdermilk said. 
Hanson provided Lowdermilk not only with ongoing guidance and expertise, but acted as an inspiration for him to pursue his passions. 
“Dr. Hanson was an inspirational and caring professor to work with,” Lowdermilk said. “I am extremely thankful for my time with her.” 
During his time at ASU, Lowdermilk has been able to gain experiences in the workplace that help sharpen his skillset as he prepares for graduation. 
As he looks to expand his knowledge in the legal field, Lowdermilk works as a litigation file clerk and receptionist at May, Potenza, Baran and Gillepsie, P.C.
This experience has given Lowdermilk a perspective of the legal system from a law firm point of view. His role within the company has challenged his problem-solving abilities by working directly with urgent and sensitive legal matters. 
“I believe that my time at MPBG has helped me immensely in preparing me for my future endeavors as I know when I join the legal profession one day, I will already understand how important it is to be attentive, personable and confident to succeed,” Lowdermilk said. 
Lowdermilk also took advantage of on-campus opportunities, including acting as president of the Undergraduate Law Association, where he initiated academic developmental workshops, provided members with networking and LSAT opportunities and helped develop bylaws. 
According to Lowdermilk, the most important role in this position was being able to contribute to maintaining a club culture of high ambition. 
Lowdermilk says he credits the School of Politics and Global Studies for its array of opportunities and its ability to connect students with fellow peers, staff and potential employers.
Student Journalist, School of Politics and Global Studies
805-603-7619 [email protected]
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StreetInsider.com Top Tickers, 11/11/2022
Latest loan from real estate private equity firm’s debt fund ‘ACRE Credit I’ will support HHHunt’s acquisition of 231-unit multifamily property
NASHVILLE, Tenn.–(BUSINESS WIRE)– ACRE, a global real estate private equity firm, today announced it has finalized a $54.5 million loan with HHHunt Corporation (HHHunt), to support the newly-built multifamily community ‘Abberly Foundry,’ formerly known as ‘Alta Foundry,’ in Nashville, Tennessee.
This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20221108005830/en/
Abberly Foundry, a 231-unit multifamily community in Nashville, Tennessee. (Photo: Business Wire)
Issued through ACRE’s debt fund “ACRE Credit I”, the loan will aid HHHunt’s purchase of the 231-unit community. Executed in October, the three-year agreement includes options for two single-year extensions.
Roger Edwards of JLL served as broker for the deal.
“Nashville has proven to be a resilient market in recent years, with low unemployment rates, an increase in corporate expansions to the area, and a rental market that continues to perform in terms of occupancy levels, new product delivery, and more,” said Sam Browne, Vice President of ACRE. “We’re proud to play a part in HHHunt’s acquisition of Abberly Foundry, and look forward to continuing this partnership and seeing the property reach its full potential under its new ownership.”
A regional real estate development, building, and management company, HHHunt owns and manages over 8,800 apartment homes in Virginia, Maryland, North Carolina, South Carolina, Tennessee, and Georgia.
Since its launch, ‘ACRE Credit I’ has raised $509 million of equity and has closed and committed to providing over $2 billion in loans across more than 50 transactions to support the acquisition, lease-up, redevelopment, and recapitalization of multifamily assets in growing secondary markets across the U.S. such as Miami and Orlando, Florida; Denver, Colorado; Durham, North Carolina; Charleston, South Carolina; and Dallas, Texas.
“ACRE remains steadfast in our mission to provide debt financing for rental housing developments across the country, and the agreement with HHHunt marks yet another exciting milestone for the company, “ said Browne. “We’re committed to supporting the multifamily industry through our fast-growing lending platform, and we’re honored to stand as a valuable, reliable partner to those continuing their efforts to improve the health of this industry from the inside out through acquisition, ground-up development, and more.”
Abberly Foundry, which was developed by Wood Partners and reached completion in 2022, is located at 640 21st Avenue North in Midtown Nashville. The community features a mix of studio, one-, and two-bedroom units, ranging in size from 582 square feet to over 1,200 square feet, across three residential buildings. As of October 2022, the property was 79 percent occupied.
The community offers residents an array of modern features, including quartz countertops, custom shaker-style cabinetry, designer pendant lighting, stainless steel appliances, spacious walk-in closets, hardwood-style plank flooring, private patios and balconies, and integrated smart home technology. Amenities include a rooftop Sky Lounge with panoramic views of downtown Nashville, electric vehicle charging stations, a pet spa and dog park, a co-working space, a 24/7 package room, and an art installation.
Abberly Foundry residents also enjoy convenient access to Nashville’s business, healthcare, technology, and higher education establishments, as well as an array of outdoor recreational areas such as Marathon Village, Watkins Park, and Centennial Park.
About ACRE
ACRE is a vertically integrated private equity firm specializing in commercial real estate through active investments in both direct equity and debt capital markets as well as special situation opportunities. ACRE manages a global portfolio in excess of $3.1 billion concentrated in U.S. multifamily with holdings in the United Kingdom and Southeast Asia through separate verticals. ACRE has offices in Atlanta, New York, and Singapore.

View source version on businesswire.com: https://www.businesswire.com/news/home/20221108005830/en/
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Source: ACRE
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Stratagem Market Insights published a report titled “Business Music Software Market” research report which covers comprehensive data on prevalent trends, drivers, growth opportunities, and restraints that can change the market dynamics of the global industry. This report provides an in-depth analysis of the market segmentation that includes products, applications, and geographical analysis. Global Business Music Software market report delivers a close watch on leading competitors with strategic analysis, micro and macro market trend and scenarios, pricing analysis, and a complete overview of the industry situations during the forecast period.
The research report on the Business Music Software industry offers a comprehensive analysis of existing companies that can affect the market outlook throughout the forthcoming years. In addition to that, it provides an accurate assessment by highlighting data on multiple aspects that may contain growth drivers, opportunities, trends, and hindrances. It also represents the overall Business Music Software market size from a global perspective by analyzing historical data and qualitative insights.
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On the basis of applications, the Business Music Software market covers:
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The Business Music Software Market report provides information about the market area, which is further subdivided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities.
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“I think that Elon Musk’s cooperation and/or technical relationships with other countries is worthy of being looked at,” Biden said.
Oftentimes, DDoS attacks are used during elections to result in large-scale disruptions or prevent people from voting.
A dual Russian-Canadian national has been arrested in Canada on charges of being involved in the LockBit ransomware campaign – Copyright GETTY IMAGES NORTH…
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WILMINGTON, N.C. (WECT) – It’s been more than two years since several recordings of three former Wilmington Police Department officers revealed racism within the police department’s rank and file.
And for more than two years they’ve been kept confidential.
The murder of George Floyd by former Minneapolis Police officer Derek Chauvin sparked outrage and protests across the country with thousands calling for police reform and calls to end racism within police departments.
Recent recordings obtained by WECT revealed racist conversations by now-former Columbus County Sheriff Jody Greene, but it is not the first time recordings revealed racism within law enforcement in southeastern North Carolina.
WECT has now obtained the videos along with audio recordings conducted by Internal Affairs that were never released to the public. These videos not only reveal the tone and context of the conversations, but also how the three officers tried to explain their actions and words.
The recordings included racist conversations by officers Kevin Piner, James Brian Gilmore, and Jesse Moore — all captured by accident and discovered by chance. The only reason videos were recorded is due to what appears to be a malfunctioning camera in Piner’s car unknowingly turned on by accident.
“You have a civil war, go ahead and wipe ‘em off the f***ing map – that’ll put them back about four or five generations. You know what the good ones can go live in their little communities they can do what the f*** they want to do, just stay the f*** out of my way,” Piner said at one point.
Getting recordings made by the police is difficult in North Carolina due to a state law that shields these cameras from public scrutiny without the order of a judge. However, the public nature of the case is due to Wilmington Police Department’s Chief Donny Williams, along with District Attorney Ben David and Wilmington’s City Council deciding that personnel information should be released under an exception outlined in state law.
That exception says records can be released if the trust of the organization is at stake. That is what Wilmington’s City Council voted to allow in late June 2020.
“Council voted unanimously today to give its full concurrence to release personnel information that is normally confidential, but in this case, the public needs to know so that the public can maintain its confidence in the city and our police department,” Mayor Bill Saffo said in 2020 during a press conference.
Williams, who was just days into his role as the Chief, announced the firing of the officers during that same press conference.
“[The conversations] were brutally offensive and deserved immediate attention,” Williams said in 2020. “When I first learned of these conversations, I was shocked, saddened, and disgusted. There is no place for this behavior in our agency or our city and it will not be tolerated.”
Following the release of the partial transcripts, WPD took the unusual step to request a judge allow the release of the recordings — that request was denied.
The Judge never changed his mind to release these recordings, however, an appeal by one of the three fired officers, Brian Gilmore, reached Superior Court.
That’s when the recordings were submitted as evidence — making them public record.
Gilmore appealed his termination first with the city’s Civil Service Commission, which ultimately upheld his termination. In his 2020 appeal to the Civil Service Commission, Gilmore said his comments were regarding his religious beliefs, and not racially motivated.
“The Holy Bible teaches that no one should bow down before another human being or idol and worship them,” Gilmore explained in his appeal letter in 2020. “This conversation was about the Black Lives Matter protesters and was not racially motivated but expressed my personal opinions, based on my religious beliefs.”
The CSC didn’t reverse his termination and that’s when this reached the courts — ultimately, in May of 2022, a judge upheld Gilmore’s firing. While the evidence submitted was public record, it took legal assistance to get the recordings themselves.
At first, the Clerk of Court told WECT the recordings were digital and due to a lack of technology to copy DVDs, they were unable to provide the recordings.
The events leading to the discovery of the recordings are best described as coincidental and random.
During the interview conducted by Professional Standards, Piner appears confused as to how and why the camera in the back seat of his car turned on and started recording.
Regardless of how the camera was turned on, Piner takes responsibility and does not deny anything said in the video.
“I try to make sure that the cameras are off, I cannot figure out why the rear camera was on … it doesn’t really matter because I did what I did, I said what I said,” he said.
As for the discovery of the content of the videos, that too was chance.
“We’re supposed to review a video from each person every month and I just sat down that day saying, I’m going to try to knock a few out today and that’s what I was doing,” the officer who found the recordings told internal affairs in a recorded interview.
Wilmington Police Department Policy confirms this is the standard operating procedure — at least one video per month from Mobile Video Recording Equipment (MVRE).
The policy reads, in part, “Personnel who supervise officers assigned to utilize MVRE/BWC’s shall … Conduct a monthly inspection of equipment and quality assurance review of the videos of each subordinate under them. At least 1 MVRE video will be reviewed from each subordinate.”
Through the internal affairs interview, the supervisor reveals how they came across the recordings.
“Part of your duties as a supervisor is a video review and that’s how you came across this video, nobody pointed it out to you or anything?” IA asked the supervisor.
“Oh, no,” the supervisor responded.
Early into the recording, the supervisor says it was evident that the video appeared to be an accidental recording, but decided to take a closer look. Although the video only showed the back seat of the vehicle, she kept watching.
“When I hit play, it was just I could tell it was the backseat of his vehicle. So I wasn’t really interested in that,” the officer told IA. “I don’t remember the first thing that caught my attention, but I knew it was more than just hey, I’m talking to my buddy here.”
During the interview, the Internal Affairs officer asks the supervisor if she was surprised by what she heard, to which she answered — no.
She went on to explain how she had heard similar, albeit less extreme language between the officers over the past few weeks.
Both Piner and Moore’s interviews with internal affairs show two officers saying they’ve been under stress and fear since the protests against police started to take off. According to the IA interviews, Piner and Moore’s conversation was in response to the protests and the attitude toward law enforcement.
Both of the former officers were adamant they are not racists.
“The language is horrible but I can promise you this, people that know us, even the people that we probably will offend by this video, will say that’s not us,” he said.
However, the excuse that the language was simply venting is not one that Keisha James, an attorney with the National Police Accountability Project, says she believes.
“I think it’s really hard to believe that these officers were just venting. Especially when you have them calling for civil war, and you have them using racial slurs,” she said.
Internal affairs also questioned that excuse.
“You just use the term ‘f***ing n*****s’ and then you follow that up with him and take it to a ‘negro magistrate.’ And, and so what’s going on with that? Is that just how you vent?” the IA officer asks Moore.
One of the other steps that local officials took to hold these officers accountable was to ensure they were unable to be rehired, something that James said isn’t common.
“In a lot of these cases, it’s rare to even see officers get terminated for this kind of conduct, without there being some kind of video or audio or kind of media getting involved and putting some more pressure on the department to take action,” James said.
Even then, officers don’t always stay off the force.
“It’s also rare for those officers to remain terminated instead of being reinstated either at that department or another department,” she said.
The steps that District Attorney Ben David took following the discovery of the recordings were aimed to prevent the officers from ever holding a badge again. David determined all three officers are now Giglio impaired, meaning they could never be called as a witness for the state again.
“Consistent with our Giglio policy, I met with attorneys representing the former officers earlier today to inform them of my office’s decision. Pursuant to that same policy, we have sent a letter to North Carolina Law Enforcement Training and Standards, which certifies law enforcement officers working in the state. These officers should not only lose their jobs with the WPD but, in the view of my office, have lost the right to wear the badge for any law enforcement agency in the future,” David wrote in a letter to Williams.
Williams was also clear that he did not want these officers to ever work for his department, or the city again.
“I have recommended that none of them be eligible for rehire in any position with the city of Wilmington,” he said in 2020.
James said the conversations captured on camera at the Wilmington Police Department are not isolated to Wilmington — but says it is rare for the recordings and transcripts to be made public.
“The scary part is that these two conversations just happened to get accidentally recorded and then the Department took steps to investigate and then release some of the details about their investigation and what was contained in the recordings, that is typically not the case,” she said.
Without recordings like these, James said the chances of officers being held accountable for their words and actions are uncommon.
The racism within the ranks of the police department didn’t just impact the community, but the police department itself.
Following the judge’s decision not to release the videos to the public in 2020, Williams asked the community to not let a few officers’ bad actions reflect on the department as a whole.
“We petitioned the court to release this video in an effort to be transparent; however, we understand and support the judge’s decision. As I said in my statement on June 24: Please do not judge our agency based on the conduct of a few. We have great officers who go above and beyond to do what’s right, and I proudly stand with them and beside them. We are all hurt by this incident. We are all angry. Let this be an opportunity for us to come together as a community and heal. We will be stronger for it,” he said.
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NEW YORK, Nov. 10, 2022 /PRNewswire/ — Compass, Inc. (NYSE: COMP), a leading tech-enabled real estate brokerage, today announced its financial results for the quarter ended September 30, 2022.
“Against a backdrop of significant challenges for the housing industry, Compass continued to make progress in a number of important areas during the third quarter,” said Robert Reffkin, Chief Executive Officer of Compass.”We continued to successfully roll out our enhanced national end-to-end workflow platform which we believe allows our agents to be the most productive in the industry and deliver their buyers and sellers a best-in-class experience. Over the longer term, I believe our platform offers important differentiation in the marketplace and it is a conduit to drive incremental revenue lift and cost efficiency.”
Reffkin continued “Importantly, in line with our major cost savings program announced in August, we have achieved significant cost reductions in our technology, engineering and general and administrative expenses. Actions taken in the third quarter and in progress are expected to deliver targeted non-GAAP operating expenses after commissions and other related expenses of between $1.05 billion and $1.15 billion exiting 2022.”
Reffkin added, “As we look ahead, we believe the housing market will remain challenged during 2023 before returning to stability and growth in the future. The Compass team remains laser focused on providing our agents with technology, workflow tools, and marketing support to be successful in the market. At the same time, we are driving to implement fundamental cost productivity measures that will deliver profitability in the future.”
3Q22 Financial Highlights:
3Q22 Operational Highlights:
Additional information can be found in the Company’s 3Q22 Earnings Presentation on the Investor Relations section of the Compass website at https://investors.compass.com.
Outlook
4Q22 Outlook:
FY22 Outlook:
We have not reconciled our guidance for Adjusted EBITDA to GAAP Net Loss because certain expenses excluded from GAAP Net Loss when calculating Adjusted EBITDA cannot be reasonably calculated or predicted at this time. Additionally, we have not reconciled our guidance for non-GAAP operating expense after commissions and other related expense because certain expenses excluded from GAAP operating expenses cannot be reasonably calculated or predicted at this time. Accordingly, reconciliations are not available without unreasonable effort.
——————————————————————————————————————————-
Conference Call Information
Management will conduct a conference call to discuss the third quarter results as well as outlook at 5:00 p.m. ET on November 10th, 2022. The conference call will be accessible via the Internet on the Compass Investor Relations website https://investors.compass.com. You can also access the audio webcast via the following link: Compass Inc. 3Q22 Earnings Conference Call.
An audio recording of the conference call will be available for replay shortly after the call’s completion. To access the replay, visit the Events and Presentations section on the Compass Investor Relations website at https://investors.compass.com.
Safe Harbor Statement
This press release includes forward-looking statements, which are statements other than statements of historical facts, and statements in the future tense. These statements include, but are not limited to, statements regarding our future performance, including expected financial results for the fourth quarter and full year of 2022, planned operating expense and cash flow levels for 2023, and our expectations for operational achievements. Forward-looking statements are based upon various estimates and assumptions, as well as information known to us as of the date of this press release, and are subject to risks and uncertainties, including but not limited to: general macroeconomic conditions in the U.S. and globally (e.g., inflation), geopolitical events (e.g., conflict in Ukraine), the health of the U.S. real estate industry, and risks generally incident to the ownership of residential real estate, including seasonal and cyclical trends (e.g., increases in mortgage interest rates, continued limited inventory, slowed consumer demand, reduced home affordability and declines in price appreciation and home prices); our ability to continuously innovate, improve and expand our platform; our ability to attract new agents and retain current agents or increase agents’ utilization of our platform; our ability to expand our brokerage and adjacent services businesses; our ability to offer additional adjacent services; our ability to grow revenue from adjacent services at our anticipated rate; our ability to achieve expected benefits from our mortgage business and our joint venture, OriginPoint; our rapid growth and rate of growth; our net losses and ability to achieve or sustain profitability in the future; any future impact of the ongoing COVID-19 pandemic on our business; our ability to compete successfully in the markets in which we operate; the effect of monetary policies of the federal government and its agencies; any decreases in our gross commission income or the percentage of commissions that we collect; fluctuation of our quarterly results and other operating metrics; our ability to successfully complete acquisitions and integrate target companies; the effect of the claims, lawsuits, government investigations and other proceedings that we are subject to from time to time; our ability to protect our intellectual property rights; and other general market, political, economic, and business conditions. Additionally, these forward-looking statements, particularly our expected financial results, involve risks, uncertainties and assumptions, including those related to general macroeconomic conditions, mortgage interest rates and inflationary pressure on our clients’ spending decisions. Significant variation from the assumptions underlying our forward-looking statements could cause our actual results to vary, and the impact could be significant. Accordingly, actual results could differ materially from those predicted or implied or such uncertainties could cause adverse effects on our results.  Reported results should not be considered as an indication of future performance.
More information about factors that could adversely affect our results of operations, financial condition and prospects, or that could cause actual results to differ from those expressed or implied in forward-looking statements is included under the captions “Risk Factors”, “Legal Proceedings” and “Management’s Discussion and Analysis of Financial Condition and Results of Operations” in our most recent annual report on Form 10-K and our subsequent quarterly reports on Form 10-Q, copies of which are available on the Investor Relations page of our website at https://investors.compass.com/ and on the SEC website at www.sec.gov.   All information herein speaks as of the date hereof and all forward-looking statements contained herein are based on information available to us as of the date hereof, and we do not assume any obligation to update these statements as a result of new information or future events. Undue reliance should not be placed on the forward-looking statements in this press release.
Non-GAAP Financial Measures
To supplement our condensed consolidated financial statements, which are prepared in accordance with GAAP, we present Adjusted EBITDA, which is a non-GAAP financial measure, in this press release. We use Adjusted EBITDA in conjunction with GAAP measures as part of our overall assessment of our performance, including the preparation of our annual operating budget and quarterly forecasts, to evaluate the effectiveness of our business strategies and to communicate with our board of directors concerning our financial performance. We believe Adjusted EBITDA is also helpful to investors, analysts and other interested parties because they can assist in providing a more consistent and comparable overview of our operations across our historical financial periods. Adjusted EBITDA has limitations as an analytical tool, therefore you should not consider it in isolation or as a substitute for analysis of our results as reported under GAAP. Because of these limitations, you should consider Adjusted EBITDA alongside other financial performance measures, including net loss attributable to Compass, Inc., operating cash flows and our other GAAP measures. In evaluating Adjusted EBITDA, you should be aware that in the future we may incur expenses that are the same as or similar to some of the adjustments reflected in this press release. Our presentation of Adjusted EBITDA, should not be construed to imply that our future results will be unaffected by the types of items excluded from the calculation of Adjusted EBITDA. Adjusted EBITDA is not presented in accordance with GAAP and the use of this term varies from others in our industry.
Reconciliation of this non-GAAP measure has been provided in the financial statement tables included in this press release and investors are encouraged to review this reconciliation.
About Compass
Compass, a Fortune 500 company, is the largest residential real estate brokerage in the United States. Founded in 2012 and based in New York City, the technology-enabled brokerage provides an end-to-end platform that empowers its residential real estate agents to deliver exceptional service to seller and buyer clients. The platform includes an integrated suite of cloud-based software for customer relationship management, marketing, client service, brokerage services and other critical functionality, all custom-built for the real estate industry. Compass agents utilize the platform to grow their business, save time and manage their business more effectively. For more information on how Compass empowers real estate agents, one of the largest groups of small business owners in the country, please visit www.Compass.com.
¹ A reconciliation of GAAP to Non-GAAP measures can be found within the financial statement tables included within this press release.
² We calculate Total Transactions by taking the sum of all transactions closed on the Compass platform in which our agent represents the buyer or seller in the purchase or sale of a home (excluding rental transactions). We include a single transaction twice when one or more Compass agents represent both the buyer and seller in any given transaction. The 21% decline is based on NAR data as of September 30, 2022.
Compass, Inc.
Condensed Consolidated Balance Sheets
(In millions, unaudited)
September 30, 2022
December 31, 2021
Assets
Current assets
Cash and cash equivalents
$                            354.9
$                            618.3
Accounts receivable, net of allowance
34.2
48.5
Compass Concierge receivables, net of allowance
60.2
32.9
Other current assets
92.5
94.9
Total current assets
541.8
794.6
Property and equipment, net
196.7
157.4
Operating lease right-of-use assets
490.1
484.7
Intangible assets, net
107.7
127.2
Goodwill
198.5
188.3
Other non-current assets
54.3
48.4
Total assets
$                         1,589.1
$                         1,800.6
Liabilities and Stockholders’ Equity
Current liabilities
Accounts payable
$                              44.7
$                              34.6
Commissions payable
66.1
63.9
Accrued expenses and other current liabilities
204.9
240.9
Current lease liabilities
91.7
81.5
Concierge credit facility
36.5
16.2
Total current liabilities
443.9
437.1
Non-current lease liabilities
494.3
483.0
Other non-current liabilities
9.3
32.9
Total liabilities
947.5
953.0
Stockholders’ equity
Common stock
—
—
Additional paid-in capital
2,676.3
2,438.8
Accumulated deficit
(2,038.4)
(1,595.0)
Total Compass, Inc. stockholders’ equity
637.9
843.8
Non-controlling interest
3.7
3.8
Total stockholders’ equity
641.6
847.6
Total liabilities and stockholders’ equity
$                         1,589.1
$                         1,800.6
Compass, Inc.
Condensed Consolidated Statements of Operations
(In millions, except share and per share data, unaudited)
Three Months Ended September 30,
Nine Months Ended September 30,
2022
2021
2022
2021
Revenue
$              1,493.7
$              1,743.6
$              4,910.8
$              4,808.9
Operating expenses:
Commissions and other related expense ⁽¹⁾
1,218.0
1,430.6
4,017.3
3,963.2
Sales and marketing ⁽¹⁾
144.4
130.6
444.3
366.2
Operations and support ⁽¹⁾
95.1
97.0
308.9
263.7
Research and development ⁽¹⁾
81.5
89.7
296.9
259.8
General and administrative ⁽¹⁾
56.5
79.5
167.0
231.8
Restructuring costs
29.0
—
47.9
—
Depreciation and amortization
21.0
16.7
65.1
45.1
        Total operating expenses
1,645.5
1,844.1
5,347.4
5,129.8
Loss from operations
(151.8)
(100.5)
(436.6)
(320.9)
Investment income, net
1.1
0.1
1.5
0.1
Interest expense
(0.9)
(0.7)
(2.3)
(1.8)
Loss before income taxes and equity in loss of unconsolidated entity
(151.6)
(101.1)
(437.4)
(322.6)
Benefit from income taxes
—
1.3
1.4
3.3
Equity in loss of unconsolidated entity
(2.5)
—
(7.5)
—
Net loss
(154.1)
(99.8)
(443.5)
(319.3)
Net (income) loss attributable to non-controlling interests
(0.1)
—
0.1
—
Net loss attributable to Compass, Inc.
$               (154.2)
$                 (99.8)
$               (443.4)
$               (319.3)
Net loss per share attributable to Compass, Inc., basic and diluted
$                 (0.36)
$                 (0.25)
$                 (1.04)
$                 (1.06)
Weighted-average shares used in computing net loss per share attributable to Compass, Inc., basic and diluted
432,459,739
392,979,596
425,338,530
300,303,624
(1)
Total stock-based compensation expense included in the condensed consolidated statements of operations is as follows (in millions):
Three Months Ended September 30,
Nine Months Ended September 30,
2022
2021
2022
2021
Commissions and other related expense
$                   12.7
$                   26.3
$                   36.1
$                   82.6
Sales and marketing
10.8
10.3
32.7
27.9
Operations and support
3.9
4.5
12.3
12.3
Research and development
9.4
13.2
45.2
76.2
General and administrative
13.3
16.8
46.8
93.9
Total stock-based compensation expense
$                   50.1
$                   71.1
$                 173.1
$                 292.9
Stock-based compensation expense for the nine months ended September 30, 2021 includes the following amounts related to a one-time acceleration of stock-based compensation expense in connection with the IPO (in millions):
IPO Related
Expense
Commissions and other related expense
$                   41.7
Sales and marketing
1.8
Operations and support
3.1
Research and development
46.9
General and administrative
55.0
Total stock-based compensation expense
$                 148.5
Compass, Inc.
Condensed Consolidated Statements of Cash Flows
(In millions, unaudited)
Nine Months Ended September 30,
2022
2021
Operating Activities
Net loss
$                  (443.5)
$                  (319.3)
Adjustments to reconcile net loss to net cash (used in) provided by operating activities:
Depreciation and amortization
65.1
45.1
Stock-based compensation
173.1
292.9
Equity in loss of unconsolidated entity
7.5
—
Change in acquisition related contingent consideration
(1.9)
(4.4)
Bad debt expense
5.2
8.9
Amortization of debt issuance costs
0.7
0.9
Changes in operating assets and liabilities:
Accounts receivable
11.1
1.6
Compass Concierge receivables
(29.1)
(7.1)
Other current assets
1.8
(29.6)
Other non-current assets
1.9
(13.4)
Operating lease right-of-use assets and operating lease liabilities
5.8
1.6
Accounts payable
5.9
(2.4)
Commissions payable
2.2
8.8
Accrued expenses and other liabilities
20.3
64.7
Net cash (used in) provided by operating activities
(173.9)
48.3
Investing Activities
Investment in unconsolidated entity
(15.0)
—
Capital expenditures
(56.9)
(33.6)
Payments for acquisitions, net of cash acquired
(15.0)
(127.3)
Net cash used in investing activities
(86.9)
(160.9)
Financing Activities
Proceeds from exercise and early exercise of stock options
8.6
19.1
Proceeds from issuance of common stock under Employee Stock Purchase Plan
2.3
—
Taxes paid related to net share settlement of equity awards
(19.5)
—
Proceeds from drawdowns on Concierge credit facility
47.0
29.6
Repayments of drawdowns on Concierge credit facility
(26.7)
(19.3)
Payments related to acquisitions, including contingent consideration
(13.9)
(8.2)
Payments of debt issuance costs for credit facilities
(0.4)
(1.9)
Proceeds from capital contribution of non-controlling interest
—
5.0
Proceeds from issuance of common stock upon initial public offering, net of offering costs
—
439.6
Net cash (used in) provided by financing activities
(2.6)
463.9
Net (decrease) increase in cash and cash equivalents
(263.4)
351.3
Cash and cash equivalents at beginning of period
618.3
440.1
Cash and cash equivalents at end of period
$                    354.9
$                    791.4
Compass, Inc.
Reconciliation of Net Loss Attributable to Compass, Inc. to Adjusted EBITDA
(In millions, unaudited)
Three Months Ended September 30,
Nine Months Ended September 30,
2022
2021
2022
2021
Net loss attributable to Compass, Inc.
$                      (154.2)
$                        (99.8)
$                      (443.4)
$                      (319.3)
Adjusted to exclude the following:
Depreciation and amortization
21.0
16.7
65.1
45.1
Investment income, net
(1.1)
(0.1)
(1.5)
(0.1)
Interest expense
0.9
0.7
2.3
1.8
Stock-based compensation
50.1
71.1
173.1
292.9
Benefit from income taxes
—
(1.3)
(1.4)
(3.3)
Restructuring costs
29.0
—
47.9
—
Acquisition-related expenses⁽¹⁾
1.6
3.6
12.7
14.5
Litigation charge⁽²⁾
10.5
21.3
10.5
21.3
Adjusted EBITDA
$                        (42.2)
$                          12.2
$                      (134.7)
$                          52.9
⁽¹⁾ For the three months ended September 30, 2022 and 2021, acquisition-related expenses includes gains of $1.6 million and $3.9 million, respectively, as a result of changes in the fair value of contingent consideration and $3.2 million and $7.5 million, respectively, in expenses related to acquisition consideration treated as compensation expense over the underlying retention periods. For the nine months ended September 30, 2022 and 2021, acquisition-related expenses includes gains of  $1.9 million and $4.4 million, respectively, as a result of changes in the fair value of contingent consideration and $14.6 million and $18.9 million, respectively, in expenses related to acquisition consideration treated as compensation expense over the underlying retention periods.
⁽²⁾ Represents a charge of $10.5 million incurred during the three and nine months ended September 30, 2022 in connection with the Realogy Holdings Corp. matter and a $21.3 million charge incurred during three and nine months ended September 30, 2021 in connection with the settlement of the Avi Dorfman and RentJolt, Inc. matter.
Compass, Inc.
Selected Non-GAAP Operating Expenses
(In millions, unaudited)
Three Months Ended September 30, 2022
Commissions and other related expense
Sales and marketing
Operations and support
Research and development
General and administrative
GAAP Basis
$                     1,218.0
$                        144.4
$                          95.1
$                          81.5
$                          56.5
Adjusted to exclude the following:
Stock-based compensation
(12.7)
(10.8)
(3.9)
(9.4)
(13.3)
Acquisition-related expenses
—
—
(1.6)
—
—
Litigation charge
—
—
—
—
(10.5)
Non-GAAP Basis
$                     1,205.3
$                        133.6
$                          89.6
$                          72.1
$                          32.7
Three Months Ended September 30, 2021
Commissions and other related expense
Sales and marketing
Operations and support
Research and development
General and administrative
GAAP Basis
$                     1,430.6
$                        130.6
$                          97.0
$                          89.7
$                          79.5
Adjusted to exclude the following:
Stock-based compensation
(26.3)
(10.3)
(4.5)
(13.2)
(16.8)
Acquisition-related expenses
—
—
(3.6)
—
—
Litigation charge
—
—
—
—
(21.3)
Non-GAAP Basis
$                     1,404.3
$                        120.3
$                          88.9
$                          76.5
$                          41.4
Nine Months Ended September 30, 2022
Commissions and other related expense
Sales and marketing
Operations and support
Research and development
General and administrative
GAAP Basis
$                     4,017.3
$                        444.3
$                        308.9
$                        296.9
$                        167.0
Adjusted to exclude the following:
Stock-based compensation
(36.1)
(32.7)
(12.3)
(45.2)
(46.8)
Acquisition-related expenses
—
—
(12.7)
—
—
Litigation charge
—
—
—
—
(10.5)
Non-GAAP Basis
$                     3,981.2
$                        411.6
$                        283.9
$                        251.7
$                        109.7
Nine Months Ended September 30, 2021
Commissions and other related expense
Sales and marketing
Operations and support
Research and development
General and administrative
GAAP Basis
$                     3,963.2
$                        366.2
$                        263.7
$                        259.8
$                        231.8
Adjusted to exclude the following:
Stock-based compensation
(82.6)
(27.9)
(12.3)
(76.2)
(93.9)
Acquisition-related expenses
—
—
(14.5)
—
—
Litigation charge
—
—
—
—
(21.3)
Non-GAAP Basis
$                     3,880.6
$                        338.3
$                        236.9
$                        183.6
$                        116.6
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Trophie is an artist that rejects labels. Much of the music on her debut EP Dark City offers a sonic midpoint between catchy, ethereal melodies and the intensity of hard trance. Across its five tracks, listeners journey through various dance subgenres, ranging from more traditional EDM to hardstyle.
Hailing from Haworth in the UK, Trophie moved to Sydney as a teenager to study at the prestigious Conservatorium of Music. Her classical training is reflected in her unconventional progressions and melodies, as well as in her skill as a composer to understand the makings of an earworm. These abilities, paired with the boundary-breaking experimentation heard throughout the EP, is what makes Dark City such a captivating listen.
Lyrically, Trophie looks inwards as she reflects on her relationships with others and also herself. She explores themes of loneliness and isolation in the lead single “Destroyer”, singing “It feels like this world wasn’t meant for me” and “everywhere I go I want to leave”, over a backdrop of erratic, metallic percussion. Her dreamy, auto-tuned vocals offer an alien presence to the track. 
Alongside the music are visualisers; those for “Destroyer” and “Chemical” have already been released on Trophie’s YouTube. Both videos were created by directors Jordan Powell and Yuma Burgess – the latter of whom collaborated with FKA twigs on her glitchy animated short for “pamplemousse”. Their visuals for Trophie contain hyperreal, futuristic reimaginings of the singer, which serves as a fitting representation of her aesthetic, which she describes as a “future-ancient look that draws from the Irish female warriors, the banféinní’”.
Below, we speak to Trophie about her debut EP, inspirations, and dream collaborations.
How do you think being a classically trained musician has actually impacted the way you write and produce music?
Trophie: I learnt a lot of theory and so that type of music is ingrained in me. There was another aspect to being classically trained that I never really affiliated with, we were told to play music exactly as is on the paper. I always wanted to deviate, always wanted to change things. That would obviously really annoy my teachers and wasn’t ever that interested in being a perfect player. I enjoy playing a lot but the composer in me started to come out in a way. It inspired the composer and me to come out because I realised that was what I was more drawn to. I’ve recently delved into the modular synthesis world and it’s blowing my mind a little bit because it’s so random.
I’m really loving it because it’s just creating things that I wouldn’t think of. I’m not thinking of it in the sense of, put the third of the chord here on top. It creates things that I find really inspiring, and it takes me out of the laptop. There’s some downsides because everything seems really hard, even just linking everything to the same clock. It’s so intuitive with Ableton. 
From a production sense, the EP was super interesting: it feels like you are walking into a club at different points in the night.
Trophie: Yeah, good! That is exactly what I was trying to do. I wanted to kind of go through all those different emotions and being a body of work I wanted it to be that experience. I’d say that the highlight track of the EP is “Hypertrophie” for me. That song, the energy just encompasses everything [I’m trying to do] really effectively.
With your work being so eclectic, what were your biggest inspirations for the EP?
Trophie: It wasn’t so much ‘this pool obviously has inspired this EP’, I think that inherently things inspire me throughout – for example, Lene Lavich, Sinead O’Connor, Bjork and Tori Amos, particularly from a piano and vocal perspective. Those legacy artists have always been very inspirational to me, as well as strong female artists who were very musically talented in my eyes. From a production side of things, it was also amazing to collaborate with producers like DJ H and Himera because we move within the same circles but I also find those producers very inspiring as well. 
Recently I’ve been listening to a lot more hard trance, hard dance, going down that kind of route. I’m just finding it really inspiring and when I was making the EP that was definitely in my kind of sonic sphere. My music is very emotional to me, it’s not trying to be ironic or funny, I don’t really tend to make music like that. It is more of an expression. Trophie is very much about power and about strength, and sonically I wanted to really bring that out in the big and hard-hitting beats and the manic side of it as well. 
Dark City is a visual EP. In “Destroyer”, yours, Jordan Powell’s and Yuma Burgess’s styles really complement each other. How did that collaboration end up happening? What was your input in terms of the actual final piece that we ended up seeing?
Trophie: Obviously, there are lots of downsides to being an independent artist, but something that’s really powerful and special about it is that you have creative control. That’s always been very important to me. Visually, it is incredibly important that what we see represents the sonics effectively. There was a perfect kind of synergy between both artists, they completely understood what I was saying and the references I was giving. 
Music making software is super accessible now, and we’re all being exposed to such a wide variety of music thanks to streaming. People have influences from everywhere now. Why do you think it’s important to move towards this sort of post-genre sound when we are still in a constant cycle of returning old trends?
Trophie: What’s always drawn me to experimental electronic music is the lack of genre, it crosses over and has almost become, even though the DSP is like to kind of categorise things, a little bit anarchist in that way. It’s very creative, because you feel that you’re not bound to making a certain type of track. One of my first songs I ever wrote was “What’s Your Genre” and it was basically a pisstake of being constantly asked what type of music you make because I hate being categorised. I like to not be a stereotype. If you’ve been categorised it’s the opposite of why you got into music in the first place. I think it’s so important that music and music software has become so accessible to everybody. 
There is an element of elitism when it comes to learning musical instruments. I come from a very working-class background, I didn’t have a lot of money growing up,so I was definitely going against the grain through learning music. It’s really important to make it accessible to everybody because there are some amazing people out there who will never understand what they’re capable of. 
If you could collaborate with any of the artists that you’re currently listening to, who would it be and why?
Trophie: There are so many people. The track I’ve been listening to a lot is “La Teknoz” by De Grandi. It’s a fusion of hard dance, Irish and Scottish-inspired music. I just think it’s amazing. Talking again about genres, I’m like, “what the fuck is this?” Working with him would be incredible. Working again with the people I’ve worked with on the EP as well. Working on one track is amazing, you learn so much from each other through the first track but then it turns to what else could we create? I think collaboration is so important, when I started with Trophie it was very much I’m going to do everything by myself, I’m going to mix, I’m going to master it, I’m going to produce. It’s really cool to hopefully try and inspire people to do that but I also think collaboration is very important from a mental health perspective as well, it can be hard.
Trophie’s EP Dark City is out now 

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