Hank Azaria on His Bruce Springsteen Tribute Band: Audio

Hank Azaria on His Bruce Springsteen Tribute Band: Audio

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In a memorial act that began as a 60th birthday party and rapidly turned into a normal job, Hank Azaria, the singer of Hank Azaria and the EZ Street Band, channels his inward Bruce Springsteen. He’s even taking it on the road ( get tickets here )! In a discussion with Kyle Meredith, Azaria delves into his voyage from humorous acting to rock’ n’ move, tackling Bruce’s classic voice, and the mental thrill of performing Springsteen’s classics on stage. Hear above or wherever you get your apps.

Known for his wide-ranging roles in The Sopranos, Friends, and Brockmire, Azaria reflects on his journey from a being Bruce lover in 1976 to fronting a band that performs frequently. He explains how Springsteen’s initial five songs, which bootleg live tapes and never-ending spins, helped grow his fans. ” These melodies just really mean a lot to me,” I wanted to accomplish them justice”, he shares.

For Azaria, singing Springsteen’s music is not only about nailing the idea, it’s an mental shop and a way to network Springsteen’s expressive story. Azaria’s fresh setlist covers Springsteen legends from Greetings from Asbury Park, N. J. to Wrecking Ball. Between music, he uses Springsteen’s traditional “talks” design, weaving in individual stories that connect him even further to Bruce’s themes of endurance, creativity, and conflict. Every performance adds an extra dimension of function because it benefits his generosity each and every performance.

This sudden tilt, he says, has opened a new chapter in his career — one that combines his skills for vocal change, his longtime love of music, and his commitment to giving up. ” Little brings me more pleasure than working up these music”, he reflects,” and every exhibit, I’m finding anything new in them, just like Bruce does”.

Listen to Hank Azaria talk about Hank Azaria and the EZ Street Band, his love of Bruce Springsteen, The Simpsons, and more in the new episode above or by watching the video below. Keep up on all the latest episodes by following Kyle Meredith With … on your favorite podcast platform, plus, check out all the series on the Consequence Podcast Network.

Indiana University’s Jacobs School of Music Goes Immersive Sit

Indiana University’s Jacobs School of Music Goes Immersive Sit

L-Acoustics A Series monitors and L-ISA audio design system upgrade the famous music arts center.

Indiana University’s Musical Arts Center is presently home to an L-Acoustics A Series loudspeaker method featuring L-ISA systems.

With the installation of L-Acoustics L-ISA Hyperreal Sound Technology at its 1,460-seat Musical Arts Center, Indianapolis University’s Jacobs School of Music has established itself as a leader in interactive music knowledge. The new system not only provides better sound for live performances, but it also gives students hands-on training using technology that is quickly establishing itself as the norm in professional settings around the world.

The MAC is both a top efficiency venue and a cutting-edge learning environment thanks to its inspiration from New York’s Metropolitan Opera House. Based on project expert Sound Associates ‘ specifications, Solotech performed the most recent setup and system integration.

According to Michael Stucker, head of IU’s Music Industry Department and the Jacobs School of Music,” we’re committed to giving our kids the technology that will shape the future of life noise.” Our kids will graduate with a substantial competitive advantage because they have used this technique, according to L-ISA. ”

L-ISA tracks are being produced by Jacobs School of Music students at IU using the MAC’s fresh L-Acoustics system.

Domonic Sack, Executive Vice President of Sound Associates in New York and former Metropolitan Opera tone, emphasizes the strategic value of the assembly: “Immersive tone has become important in contemporary productions, from theater to Broadway. L-ISA students are developing skills that will be essential for their theatre and lived sound careers.

“This is not just any school, ” Sack continues. One of the best schools in the world for musical, and song, is Indianapolis University. Some of my coworkers taught it, and many of them went there for musical training. The theater was well-versed in L-Acoustics and knew that when necessary, L-ISA was a very welcome thought. ”

L-ISA is then integrated with the MAC’s brand-new L-Acoustics A Series loudspeaker technique, which includes five similar Field array of five L-A15i Focuses spread out above the level and one A15i Wide each; On the edges of the second and fourth A15 panels, eight KS21 channels are flown in two hangs of two, with one vertically oriented A15i Large per side flowing.

For step monitoring, a pair of Syva colinear columns, supported by six X8, are installed in addition to the fifteen ultra-compact 5XT coax systems that line the stage mouth. Seven LA7 are used to power the program. One LA12X and two 16i enhanced consoles. System control and control is done via an L-ISA Processor II and the P1 Milan-AVB computer.

Stucker information that the indicates produced so far with L-ISA, including regular dance performances and two opera, have been crowd-pleasers. The students ‘ opinions on it are equally important, and they really like it. He continues,” The students have been engineering everything so far,” and all of us faculty members are kind of jealous because we have n’t got to mix on it yet. The kids are having the most entertaining. ”

From Dawn to &quot, DUSK&quot,: How HAYLA Set the Stage for Her Music Breakthrough

From Dawn to &quot, DUSK&quot,: How HAYLA Set the Stage for Her Music Breakthrough

Success is when preparing meets opportunity. For HAYLA, the window to attack revealed itself at a unique time.

The majority of HAYLA’s comeback was a time of great trouble. The UK was ebbing in and out of lockdowns during the COVID-19 epidemic. During one government-sanctioned ease-up in June 2020, HAYLA reunited with writing lovers May Clarke, Eddie Jenkins and EDM.com Class of 2024 sun Camden Cox.

HAYLA was encouraged by the circumstance to write a song about enjoyment, something that everyone may agree with.

” It was quite an emotional day for everybody”, HAYLA tells EDM.com while discussing the release of her debut studio album, DUSK. ” The information we conveyed, I hope lots of people felt they had interact with. Additionally, we felt incredibly firmly about how we were all held together. We did n’t have anywhere else we could go”.

Watch embedded press in the original article.

HAYLA’s powerful vocals and music prowess were a gift from Kx5’s album single,” Escape,” making her name a historical record. Someone is not frequently on the first surface of a brand-new building. Something great. Deadmau5 and Kaskade, two founding producers gearing up for a strange joint venture, were the two co-writers who presented the track to HAYLA and her co-writers.

” Kx5—the real project—was not in the world yet. It was a brand-new cooperation between Kaskade and deadmau5″, HAYLA says. Being a part of that project was “absolutely wonderful.” Considering the time we were going over, it’s incredible how many people it’s resonated with. We all needed to escape a little during quarantine”.

” The type you hear now, the song they added turned it into a masterpiece”, she adds. I adore what the singers did, in my opinion. It was truly amazing to give the vocal over and get a track up like that.

” Evade” put HAYLA on a collision course with a track of even broader effect. An official” Escape” remix by John Summit recently included his own artistic touch. HAYLA and her co-writers contacted him with the music” Where You Are” due to the distance between Kx5 and Summit.

” When’ Escape ‘ happened, John did the remix”, HAYLA explains. The exact group “almost got together again and wrote the opening lines to” Where You Are.” We said,’ It’s really exciting. People seemed to really enjoy what we did it, so maybe he would like it because he is doing really well with the mix. We sent it across”.

” Where You Are” exploded as arguably the biggest song of 2023, even eclipsing the broad reach of” Escape” the year prior.

According to HAYLA, “it’s truly one of the quickest transitions of a monitor I’ve ever had.”

HAYLA’s walk was a joint efforts, an assumption that rings true for people who’s succeeded. No matter how well-known a person appears, they often have a strong case for their help. HAYLA and her co-writers, Kx5 and Summit, each contributed essential items to their praised music.

But now that HAYLA is around, she’s firmly planting her legs and paying it forward.

Over the years, I’ve found solace in using reading as a treatment, a journal, and an opportunity to experiment and succeed, says HAYLA. I want to write this because I think it will make people think that if I can do it, then maybe the man who is listening as well.

Since releasing DUSK and additional partnerships with MEDUZA and Kygo, she is fully blossoming professionally. However, HAYLA could hang her hat and leave a lasting impression on music fans if everything came to an end with” Escape” and” Where You Are.”

One of song’s great products is how it tethers to experience. They meld at the seams because of how strongly songs and thoughts interconnect. Try as you might, maybe it’s impossible to separate music from idea. ” Escape” and” Where You Are” were electronic songs for 2022 and 2023, songs with enduring popularity. Because of their significant impact, thousands of thoughts will remain in HAYLA’s tone forever.

” Being a music fan myself, I have songs that are both significant to my life and times of greatest importance.” It’s really nice to hear that other people’s vocals are included in their memories and will enjoy eternally,” HAYLA says. ” Honestly, I do n’t know if I’ve really sat back and thought of that, but it’s been amazing. It means a bunch”.

Fortunately, there is no need to examine what-ifs or adhere just to old memories. There are numerous fresh creations waiting. For her first headline performance at Los Angeles ‘ Roxy Theatre on December 4th, HAYLA and her euphoric lyrics will take center stage. Watch the entire video interview beneath, and follow her on Spotify and other streaming services.

Follow HAYLA:

X: x.com/haylasings
TikTok: tiktok.com/@haylasings
Instagram: instagram.com/haylasings
Facebook: facebook.com/haylasings
Spotify: https://spoti.fi/41MXBgq


IPRMENTLAW WEEKLY HIGHLIGHTS (OCT 21-27, 2024)

IPRMENTLAW WEEKLY HIGHLIGHTS (OCT 21-27, 2024)


Adar Poonawalla acquires 50% stake in Karan Johar’s Dharma Productions for ₹1,000 crore

Adar Poonawalla’s Serene Productions has introduced an funding of INR 1000 CR into Karan Johar’s manufacturing corporations, Dharma Productions and Dharmatic Leisure (known as Dharma collectively) and shall now maintain a 50 per cent stake in Dharma. Karan Johar who can also be the corporate’s Government Chairman shall retain the remaining 50 per cent possession. “Poonawalla’s funding values Dharma at Rs 2,000 crore,” Serene Productions stated in an announcement.

Coldplay live performance ticket scalping: PIL filed in Bombay Excessive Courtroom towards searching for pointers to curb ticket scalping and black advertising

A public curiosity litigation has been filed within the Bombay Excessive Courtroom searching for pointers to curb black advertising and ticket scalping at main occasions within the backdrop of alleged foul play in the course of the on-line tickets sale for British band Coldplay’s extremely anticipated live performance in Mumbai in January 2025. The plea was talked about for pressing listening to earlier than the division bench of Chief Justice D Okay Upadhyaya and Justice Amit Borkar who has posted the listening to after Diwali trip.

ED Raids Uncover Ticketing Rip-off for Coldplay and Diljit Dosanjh Concert events Throughout India

The Enforcement Directorate (ED) raided places in 5 cities—Delhi, Mumbai, Jaipur, Chandigarh, and Bangalore—exposing unauthorized ticket resales and scams associated to Coldplay’s and Diljit Dosanjh’s concert events. The investigation revealed that tickets, which bought out rapidly on official platforms, had been resold on secondary markets at inflated costs. BookMyShow filed FIRs towards a number of suspects concerned. Seized gadgets and SIM playing cards are being analyzed for cash laundering hyperlinks.

Calcutta Excessive Courtroom turns into India’s third HC With specialised division to listen to Mental Property circumstances

The Calcutta Excessive Courtroom not too long ago adopted the much-awaited Mental Property Rights Division Guidelines, 2023, (Calcutta IPD Guidelines) making it the third Excessive Courtroom in India, after Delhi and Madras, to implement specialised laws for mental property (IP) issues.

Ekta Kapoor and mom Shobha booked beneath POSCO Act for objectionable scenes in Gandi Baat.

A case has been filed towards them beneath the POCSO Act towards Ekta Kapoor and mom Shobha  for allegedly exhibiting inappropriate scenes involving minor women in an ALT Balaji’s internet collection Gandi Baat. They’ve refuted the claims and shared an official assertion on Tuesday by way of an Instagram submit clarifying that Shobha and Ekta aren’t concerned in day after day operations of the corporate and the identical is managed by separate groups. The assertion additional learn that the corporate is absolutely compliant with all relevant legal guidelines together with the POCSO Act and any reference to engagement of minors by the corporate is fully incorrect.”

Bombay HC bars ‘Mrs. India’ winner from competing in different pageants, upholds contractual obligations

The Bombay Excessive Courtroom has quickly restrained 2023 ‘Mrs India’ pageant winner, ,Sherry Singh, implementing contractual obligations within the magnificence pageant business from collaborating in any nationwide and worldwide magnificence contests throughout pendency of  the go well with towards her. The case was filed by Mrs. Mohini Satyendra Sharma, the only real proprietor of “Mrs. India Inc.,” which conducts pageants beneath the model title “Mrs. India” and holds numerous worldwide franchise licenses. The group’s phrases and circumstances explicitly forestall winners from collaborating in different pageants throughout their tenure and for 5 years thereafter. Sharma submitted that Sherry Singh was going to take part within the Mrs. Bharat Universe 2024 pageant scheduled in South Korea. Justice Physician noticed that regardless of being given ample alternative since April 2024, Singh had not filed any response to the interim software. The courtroom acknowledged, “Having heard Mr. Shah as additionally having gone by means of the Phrases and Circumstances relied upon… I’m glad that the Plaintiff has made out a prima facie case for the grant of advert interim reduction. That is extra so, since No.3, Mrs. Sherry Singh, although served, has chosen to not seem at present

Learn the order right here.

Nawazuddin Siddiqui lands in hassle over poker Advert carrying police uniform

As per experiences, the Hindu Janajagruti Samiti has written a letter to the Mumbai Police Commissioner and the Director-Normal of Maharashtra Police, demanding motion towards Nawazuddin Siddiqui and Ankur Singh, the proprietor of Massive Money Poker over an commercial. Within the advert, the actor is seen encouraging the viewers to play poker carrying a police uniform. The organisation has claimed that the commercial is damaging the popularity of the Maharashtra police by linking it to playing.

View the advert right here.

Madras Excessive Courtroom dismisses ban on ‘Thangalaan’ OTT launch

The Madras Excessive Courtroom dismissed the ban on the OTT launch of ‘Thangalaan’ starring Chiyaan Vikram. As per experiences, the PIL was filed by a resident named Porkodi from Thiruvallur who demanded the ban on the movie’s on-line launch. He alleged that the movie portrayed Vaishanvism in a humorous approach which may result in potential tensions between communities. The petition demanded a keep on the OTT launch and argued that such a portrayal may disrupt the concord of the society. The courtroom discovered that the Thangalaan movie was already cleared by the Central Board of Movie Certification (CBFC) for theatrical launch. Because of this, the bench dominated that there have been no grounds to impose any limitations on the movie’s digital launch.

Star Well being information leak: Madras excessive courtroom asks Telegram to delete posts, chatbots

The Madras excessive courtroom, whereas listening to a petition filed by Star Well being towards Telegram and different platforms after its database was hacked, has directed Telegram to delete posts flagged by Star Well being Insurance coverage. The courtroom in its interim order, has directed the insurance coverage firm to ship an e-mail with the username and the URL from which such bots are posted so Telegram can block and delete them after the messaging platform stated it was unable to seek for leaks by itself.

Copyright infringement case filed towards Navi Mumbai firm for unauthorised use of font

A Navi Mumbai firm is dealing with a copyright infringement case for the unauthorized use of the Sailfin font. The case sheds gentle on the significance of font licensing, emphasizing that even fonts, usually neglected as minor design parts, are topic to mental property protections. This authorized motion highlights the dangers companies face in the event that they fail to adjust to licensing agreements, together with potential lawsuits and reputational injury. Because the digital ecosystem grows, the necessity for clear font utilization insurance policies turns into important to keep away from copyright violations.

Bombay Excessive Courtroom Acknowledges ‘GIRNAR’ as a Properly-Identified Trademark

The Bombay Excessive Courtroom, has acknowledged the trademark “GIRNAR” as a widely known mark in India inside the which means of the Commerce Marks Act, 1999 recognising that the goodwill and popularity of the trademark prolonged properly past particular items or providers, making it a family title in India and deserving of safety throughout all product classes.

Delhi HC protects Dream11 trademark: Points everlasting injunction towards reproduction web site

A go well with was filed by Sporta Applied sciences Pvt. Ltd. searching for everlasting injunction restraining the defendants for alleged illegal actions of the defendants, particularly the operation of an internet site that intently mimics the plaintiffs’ established fantasy sports activities platform, “DREAM11”. The plaintiff argued the defendants web site (http://www.dream11com.in/) has replicated the plaintiffs’ earlier web site and utilized their ‘DREAM11′ logos and logos with out authorization. The defendant’s web site diverted customers to a betting platform, tarnishing the plaintiffs’ goodwill.

The courtroom discovered a transparent case of trademark infringement and passing off, ordering a everlasting injunction towards using the ‘DREAM11’ marks and the switch of the infringing area ‘dream11com.in’ to the plaintiffs.

Main Labels, Hundreds of Artists Signal Assertion Opposing Use of Artistic Works in AI Coaching

Hundreds of musicians, composers, actors and authors from throughout the artistic industries, together with ABBA’s Björn Ulvaeus, all 5 members of Radiohead and The Remedy’s Robert Smith, have signed an announcement opposing synthetic intelligence corporations and builders utilizing their work and not using a license for coaching generative AI techniques. Signatories additionally embrace all three main document labels — Common Music Group, Sony Music Leisure and Warner Music Group — in addition to a variety of music commerce organizations representing document labels, publishers and creators from the U.S., Canada, Australia, France, Germany, Spain, Austria, Mexico, the U.Okay., Eire, Sweden and Brazil.

Elon Musk and Warner Bros. Discovery sued by Blade Runner 2049 Producer over AI Advert

Alcon Leisure, the producers behind Blade Runner 2049, are suing Elon Musk over AI-generated photos in an advert for the launch of Tesla’s Robotaxi. The lawsuit is alleging direct copyright infringement over the advert, which was utilized in an occasion for the Robotaxi presentation livestreamed on the Warner Bros. As per Selection, article, in line with the lawsuit, the day earlier than the Robotaxi launch, Alcon was contacted by Warner Bros concerning using particular photos and pictures from Blade Runner 2049 within the presentation, and requested particular permission and rights to a picture from the Movie which Alcon co-CEOs Andrew Kosove and Broderick Johnson had expressly denied.

Wall Avenue Journal, New York Submit Sue Perplexity AI For Copyright Infringement

The Wall Avenue Journal and the New York Submit has filed a lawsuit in a US courtroom towards AI firm Perplexity AI for illegally copying and reproducing copyrighted content material from The Wall Avenue Journal and the New York Submit to energy its AI-driven “reply engine.”. Perplexity is one in every of Silicon Valley’s hottest startups in the mean time, whose AI powered search engine is usually talked about as a possible disruptor to Google. In contrast to ChatGPT, Perplexity’s device supplies up-to-date solutions that always embrace hyperlinks to supply supplies, permitting customers to confirm info.

Examine it right here.

Gainport Streaming adds FLAC file playback support for uncompressed sound.

Gainport Streaming adds FLAC file playback support for uncompressed sound.

The enthusiasts asked – and Beatport answered. Members of both the Beatport Streaming Professional program and the Beatsource Streaming Pro+ strategy now have the option to play uncompressed FLAC files on Beatport Streaming.

That means Beatport’s full 12-million+-track library– along with Beatsource’s 7-million-strong golden mine – is now at your disposal to flow in high-quality, unencrypted, crystal apparent form. This may be the reason to reconsider if you’re a DJ who has n’t yet tried streaming tracks for your set because of the poor sound quality when MP3s were your only option.

Lossy files also have a quicker loading time, which lessens the chance of running into slow cushion times for tracks you’re trying to play during your set. This development alone could produce streaming a much more appealing option for DJs who work in fast-paced environments where launching a monitor in seconds is non-negotiable.

If you’re not ready to shift completely to a lossless collection, that’s not an issue sometimes, versatile switching between FLAC and MP3s is applicable to Professional customers as well. Playing on a massive and/or high-quality sound system? Keep it in FLAC. Need to save on bandwidth or storage? Without compromising your workflow, you can make adjustments accordingly. When it really comes to it, this is a significant Beatport move that truly honors and embodies the importance of maintaining the best possible sound quality. Beyond that, the new features give DJs more control and lessen the barriers to high-quality audio streaming in a live performance.

FLAC streaming is currently only compatible with Serato ( Mac ), but it will soon roll out across a number of widely used platforms including the CDJ-3000, rekordbox, Traktor, and Serato for Windows. This cross-platform support is an admirable step on the path to make lossless streaming a new standard in the scene.

With this quick start guide from Beatport, learn how to stream lossless audio. Be aware that you will need a$ 29.99 USD/month Beatport Streaming Professional subscription to do so. The website is currently providing a 30-day free trial.

George Harrison’s Triumphant Return To Pop

George Harrison’s Triumphant Return To Pop

George Harrison’s ‘ Cloud Nine,’ co-produced with ELO’s Jeff Lynne and a significant return to form, even included his second US No. 1 ‘ Got My Mind Established On You.’

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There were five times between the discharge of George Harrison‘s 1982 song, Gone Troppo, and Cloud Nine, his song that was released on November 2, 1987. Cloud Nine was co-produced with ELO’s Jeff Lynne– who likewise co-wrote three of the songs – and is a significant return to form, including as it does,” Got My Mind Fixed On You” that became George’s next No. 1 second in the US, it reached No. 2 in the UK.

Talk to George Harrison’s Cloud Nine on Apple Music and Spotify.

I’m sure many of you are aware that George wrote the song” Got My Mind Set On You,” which George fully separates himself from James Ray, despite the fact that it was first released by him. In 1962, his first recording of the Rudy Clark structure was released on the Dynamic Sound tag. The tune became George’s second No. 1 for 15 times, but stalled at No. 2 in the UK, saving 4 week kept from No. 1 by T’Pau’s” China In Your Hand”.

Recruiting some prominent companions

The final trail on George’s eleventh solo album, Cloud Nine, was his rendition of” Got My Mind Set On You.” The song came out a week after the second. George had begun recording the song in January 1987 and, along with Jeff Lynne, it features many of the original Beatle’s companions, most of whom had played on some of George’s earlier albums.

There’s Eric Clapton on the title track, as well as” That’s What It Takes”,” Devil’s Radio” and” Wreck of the Hesperus”. Elton John plays music on the latter two monitors, as well as” Cloud Nine”. Gary Wright, who had been in Spooky Tooth, and had a really successful solo career in America, plays music on” Really For Now” and” When We Was Fab”, as well as co-writing,” That’s What It Takes” with George and Jeff Lynne. Drums include Ringo Starr and another of Harrison’s long-time companions, Jim Keltner, along with Ray Cooper helping out on drums.

The other major hit one from the album,” When We Was Fab,” was a song title that, when used with a Liverpudlian accent, can only ever mean The Beatles, no matter what voice it is.

When he was fantastic

It’s the epitome of those heinous weeks of Beatlemania, when those lovable Mop-Tops, the Fab Four, ruled the world and we all believed they would endure forever. Before the two of them formed The Traveling Wilburys with Tom Petty, Bob Dylan, and Roy Orbison, George and Jeff Lynne co-wrote the music.

According to George,” …until I finalized the song on it, it was always called’ Aussie Fab’. That was its working name. I was n’t sure what the song was going to say or what the lyrics would be, but I knew it was a fantastic song. It was based on the Fabs, and as it was done up in Australia that, away in Queensland, then that’s what we called it. As we developed the lyrics, it became’ When We Was Fab ‘. Due to all the little overdubs, all the cellos, the odd sounds, and the support voices, it’s a challenging one to survive.

Nobody really care that Cloud Nine is a collection of only two strikes and a ton of binder; the overall quality of the songs is excellent. Standouts include,” Someplace Else”, which could easily have come from All Things Must Pass, the same of which could be said of” Just For Today” a beautiful song that is made even more so by an exquisite, trademark, Harrison slide guitar solo.

Jeff Lynne’s aces producing

Jeff Lynne deserves praise for his generation prowess. Lynne had been, but certainly, inspired by the Beatles during his day with Electric Light Orchestra– only as Get That were inspired by ELO on their” return” album, Beautiful World. How decades of players pass on to the next, items that will continue to make us feel better about the world in which we live, is a part of what makes songs so powerful.

Cloud Nine made the top 10 in America, Britain, Australia, Canada, Norway, and Sweden. The support of the song features the second American-made harp that George owned, a 1957 Gretsch 6128″ Duo Jet” that he bought in Liverpool in 1961, Harrison called it his “old dark Gretsch”. He had given it to his long-time friend, Klaus Voormann who kept it for 20 years, having left it in Los Angeles where it had been modified, Harrison asked for its return, had it restored, and used it for the cover shoot for both the album and single ( photographed by Gered Mankowitz ).

There are some extra lines on the printed song, including” Zig Zag,” the B-side of” When We Was Fab,” which George and Jeff Lynne wrote for the movie Shanghai Surprise. The film’s name monitor, which features Vicki Brown on singers and George, is also included. Vicki, formerly, Haseman was actually one of The Vernons Girls, a England team that had been friends of the Beatles, she eventually married English song and guitar, Joe Brown– another lovely ( and local ) friend of George’s. Vicki painfully passed away in 1990 from breast cancer.

If you have n’t seen Cloud Nine in a while, you’ll feel like you’ve reconnected with an old friend, which could also be the case if you have n’t really listened to it at all. No one but George could have produced an song like this. Attentive, music, humorous, and fantastic.

George Harrison’s Cloud Nine can be bought around.

” Breakage” in the Digital Age – Music Business Research

” Breakage” in the Digital Age – Music Business Research

The word “breakage” dates back to a day when information were made of acrylic and may break during travel. A label was obviously unable to continue selling these records, so clauses were written in the label contracts at the time to make sure that damage was not taken into account when determining the artists ‘ communicate. The phrase has survived into the modern era and is used to describe a band’s income that is not required to get shared with artists. In this final installment of the line on streaming music’s economics, we examine precisely what this profit is and the controversy that has arisen from it.

The Music Streaming Economy – Part 18:” Breaking” in the Digital Age

In” Record Makers and Breakers,” John Broven’s regular work on the US music business from the 1940s and 1950s exposes the deliberate use of record labels to break shellac records to prevent music productions from breaking even, avoiding paying the artists their profits. Henry Stone, the leader of De Luxe Records, claimed in an interview with the writer that the business was able to recover the lost revenue because the sales were typically covered by insurance against breakage. ]1 ]

But,’ breakage’ is also important in the modern age, albeit in a unique form. This has to do with the legal arrangements between music streaming services and brands, which we have covered extensively elsewhere. In a nutshell, Spotify &amp, Co. make progress payment to the categories to be allowed to use their song directories. These improve payments are therefore recouped using the streaming fees. Nevertheless, if the income is less than the progress, the change remains with the brands as “breakage”. A brand has US$ 25,000 in extra income that is not required to be distributed to the artists if a streaming company pays a label US$ 1 million as an advance for the contract period but the label’s catalogue is simply streamed to the value of US$ 750, 000 as an advance. The proceeds from the sale of the collateral that the degrees have acquired from streaming services are the same. They can convert it into dollars when they are sold, such as in an Investor like Spotify, where the designers are not required to disclose their artistic accomplishments, which in turn increased the value of the streaming service. The record label must determine whether or not to give “its” performers this money.

Many performers and their administrators have asked themselves whether their names, mainly the main labels, promote electronic “breakage” with them. Darius Van Arman, the founder and publisher of Secretly Group, criticized the majors ‘ “breakage” practice in a much-reported guest article for Billboard Magazine. He stated that” the majors typically share breakage only when required to do so in their contracts with big artists or larger distributed labels. ]… ] Unfortunately, this practice of maximizing breakage puts a downward pressure on the value of music ( i. e. in negotiations, major labels are requesting larger lump-sum payments, rather than pushing for higher royalty rates ), when really the whole music industry should be working together to increase the value of music, especially as large technology companies continue their assault on copyright”. ]2 ]

This was stated by Van Arman in advance of his evidence at the US Congressional” Music Licensing” sessions held on 10 and 25 June 2014 before the Subcommittee on Courts, Intellectual Property, and the Internet of the House Judiciary Committee. During the reading, the Members of the House interrogated representatives of the music industry, collecting societies, streaming services and labels, as well as Roseanne Cash, the daughter and heiress of singer and Johnny Cash, who testified about the disparate supply of streaming revenues between rights owners and artists, and called for a radio straight for authors in the US. In his detailed written statement, Darius Van Arman criticized the major labels, which “use their market power to maximize only the guarantee” [ …] with the intention that the guarantee cannot possibly be recouped within the time allotted for it. The major does not have to share the money with its artists, the independent labels that the major distributes, or publishing interests because it cannot be attributed to specific recordings or performances. ]5 ]

As a positive counterexample, Van Arman cited the indie label licensing association MERLIN, which distributes all “breakage” revenues to its members ,]6 ] although it should be added that MERLIN’s members are indie labels, not artists. However, in a” Labels ‘ Fair Digital Deal Declaration” ]7] drawn up by the Worldwide Independent Network ( WIN), the indies have agreed to share breakage revenues with their artists on a voluntary basis.

The public debate that ensued caused the music majors to feel uncomfortable. However, they were only made to comply when a contract between Spotify and Sony Music Entertainment was leaked in May 2015, disclosing the major labels ‘ business model of preferential treatment and terms of favor. [8 ] The International Music Managers Form ( IMMF) immediately responded by writing an open letter to music publishers and labels asking for more transparency in the reporting of streaming revenues, citing the Spotify-Sony deal, and voicing concerns about the music majors ‘ breakage practices. [9 ] In an interview, IMMF Vice-Chairman Volker May vehemently criticized Sony &amp, Co.’s handling of these” collateral additional revenues,” saying that” the labels are receiving all manner of collateral benefits from supplying the artists ‘ music to digital platforms, benefits that are not shared with the artists ( performers or writers )”. ]10]

Sony was forced to respond to these accusations by issuing a solemn statement in which it solemnly assured that the group’s labels would distribute all of its recording artists ‘ unallocated income from advances, non-recoverable payments, and minimum revenue guarantees as part of its digital distribution agreements. ]… ] This applies to all revenue under digital catalogue distribution agreements, whether or not the guarantees, advances or ‘ flat’ payments can be associated with individual master transactions”. ]11]

It’s probably not a coincidence that Warner Music Group leaked an anonymous royalty statement to Music Business Worldwide shortly afterward, revealing that Warner does indeed “break” revenues with its artists. To be fair, Van Arman specifically excluded Warner from his criticism. In any case, Warner Music Group felt obliged to issue the following statement:” Warner Music shares all advances, minimum guarantees and ‘ flat fees’ with its artists, ]…] This policy has been in effect at Warner Music since 2009, purposely treating breakage like other digital revenue”. ]12]

The statements from Sony and Warner have now put pressure on the third major music label, Universal Music Group, to also comment on its handling of “breakage” revenues. Universal also clarified its approach to digital “breakage” revenues on June 2 by stating that” we also choose to share with artists minimum guarantees as well as unrecouped digital advances, where they exist,” while the most significant source is composed of royalty payments. ]13]

However, the majors ‘ statements did not address whether all signed musicians would receive a portion of the “breakage” money or just a select few stars with bargaining leverage. Additionally, it’s unclear whether the sharing provisions only apply to artists who are currently under contracts or to those whose contracts have expired but whose music is still available and making money. In any case, we can only speculate about the artists ‘ share of the “breakage” revenues and the amount of compensation.

Finally, one might wonder why the majors have implemented such a system of improvements for music streaming services. Risk avoidance plays a particularly significant role in risk avoidance in addition to the same way that was used to recover advances from label contracts. In the early days of music streaming, there were many short-living players, with a high risk that they would generate little or even no streaming revenue. The advances were a revenue guarantee from the perspective of the majors, and they had the advantage of reducing the reliance on streaming services.

Overall, the example of “breakage” revenues highlights how multifaceted and complex the distribution problem in music streaming is. We have seen that rights holders are fiercely opposed to switching to alternative revenue distribution models like pro-rata and user-centric, and that revenue distribution models like pro-rata and user-centric have a negative impact on the distribution of streaming revenues. However, research on the musician’s income shows that only a select few stars profit from the streaming industry and that the majority of artists only make a small amount of money from music streaming. The big winners, on the other hand, are the labels and, secondarily, the music publishers, who were able to significantly improve their income situation in the US with the Music Modernization Act 2018. The main pillar of the business model of music streaming services is the music rights ( master and publishing rights ), which makes them structurally dependent on the rights holders, and, as we have seen with Spotify, makes it very difficult for them to operate their business model profitably.


Endnotes

]1 ] John Broven, 2010, Record Makers and Breakers. Voices of the Independent Rock ‘ n’ Roll Pioneers, Urbana and Chicago: University of Illinois Press, p 141.

]2 ] Billboard,” ‘ We Want to Compete,’ Says Secretly’s Van Arman, Ahead of His Congressional Testimony Tomorrow ( Guest Post )”, June 24, 2014, accessed: 2024-10-14.

]3 ] These hearings marked a significant step forward toward the Music Modernization Act of 2018.

]4 ] Testimony by Roseanne Cash before the” Subcommittee on Courts, Intellectual Property, and the Internet” of the House Judiciary Committee, 113th Congress, 2nd Session, Hearing on” Music Licensing under Title 17 ( Part I &amp, II ) on June 10 &amp, 25 2014, pp 240-242 of the hearing-transcript.

]5 ] Written statement complementary to Darius Van Arman’s testimony before the” Subcommittee on Courts, Intellectual Property, and the Internet” the House Judiciary Committee, 113th Congress, 2nd Session, Hearing on” Music Licensing under Title 17 ( Part I &amp, II ) on June 10 &amp, 25 2014, pp 270-286 of the hearing-transcript, cit. on p 274.

]6 ] Ibid., p 275.

]7 ] World Independent Network ( WIN),” Fair Digital Deals”, n. d., accessed: 2024-10-14.

]8 ] The Verge,” This was Sony Music’s contract with Spotify”, May 19, 2015, accessed: 2024-10-14.

]9 ] International Music Managers Forum ( IMMF),” Open letter on Record Label and Music Publisher Deals in the Digital Market”, May 21, 2015, accessed: 2024-10-14.

]10] Cited in Music Business Worldwide,” Managers react to leaked Sony and Spotify contract”, May 22, 2015, accessed: 2024-10-14.

]11] Cited in Music Business Worldwide,” Sony: We share Spotify advances with our artists”, May 27, 2015, accessed: 2024-10-14.

]12] Cited in Music Business Worldwide,” Warner pays artists share of Spotify advances… and has for 6 years”, May 29, 2015, accessed: 2024-10-14.

]13] Cited in Music Business Worldwide,” Universal: Yes, we share digital breakage money with our artists”, June 2, 2015, accessed: 2024-10-14.

Behringer Floods,$ 49 Variable Instruments Ripples digital multimode filter clone, available for pre-order

Behringer Floods,$ 49 Variable Instruments Ripples digital multimode filter clone, available for pre-order

SYNTH ANATOMY uses affiliation & partner programs ( big red buttons ) to finance a part of the activity. If you use these, you support the web. Cheers!

Behringer produces Storms, a fresh$ 49 digital multimode filtering based on the open-source Mutable Instruments Ripples package.

Upgrade: it’s now available for pre-order for 45€ from Thomann

After Plaits ( Brains ) and Things Ears ( Radar ), Behringer announced two more clones of open-source Mutable Instruments modules in April 2023. The Stones as Chaos, and the Vibrations as Doctors.

The$ 99 version of the MI Marbles module Chaos has been available at the dealers since the beginning of the year. Then the filter is also set. Now, Behringer released Storms.

Behringer Floods

Floods is a brand-new 8HP digital copy of the famous Eurorack Mutable Instruments Ripples v2 multimode filtration.

Like the classic package, it’s a multimode filtration with focused lowpass, highpass, and bandpass outputs. Both lowpass and bandpass give switchable 2-pole and 4-pole cliffs, giving you little flexibility. The filter’s traditional limit and resonance controls are accessible via the interface.

On the connection side, you have two audio inputs with an attenuator and CV inputs for the cutoff frequency (attenuverter) and resonance. The V/oct input on the Behringer Floods also allows you to play the filter in self-oscillation as an oscillator. 

Second Idea

Even if the module is n’t a real gem, the$ 49 price tag makes up for it. In comparison, Ripple’s clones are offered between 109€ ( Tunefish Modular in Germany ) to 199€ ( After Later Audio ).

That’s a huge value difference. I’m interested to know when the stereo version ( MI Blades ) will be available for$ 99 Behringer.

Behringer Floods is available soon for $49/45€

More details these: Behringer

Accessible for pre-order at my companion

Thomann

Eurorack News


My Favourite Canons and Different Music Mysteries IV

My Favourite Canons and Different Music Mysteries IV

The Gutenberg press’s creation precipitated a music and societal revolution. For one, with the development of a capitalist class, the need for music as both as entertainment and as a cultural activity increased. From this evolving society came a popular and cohesive musical language that was now accessible throughout Europe. In the functions of composers like William Byrd, Lassus, and Palestrina, this integration of harmonic techniques into a smooth style reached its culmination in the next half of the 16th century. And it was poly vocal song, in both a spiritual and secular framework, that dominated the music landscape. The musical narrative’s use of canons and rounds was much established, and the whole mass settings were built on complex, highly sophisticated canonic plans.

Palestrina’s Mass, 1597

Giovanni Pierluigi da Palestrina’s” Missa Repleatur system haec” for five voices was based on a lute by Jachet de Mantua in 1570. With only a couple of instances, the large features precepts between the Tenor and Quintus throughout. It all begins with a cannon at the chords, 8 beats off. The canons gradually diminish in length and duration until a lore starting one beat off and unison is reached in the last section of the bulk setting.

Giovanni Pierluigi da Palestrina: Missa Repleatur os meum, “Kyrie I” ( Delitiæ Musicæ, Marco Longhini, cond. )
Giovanni Pierluigi da Palestrina: Missa Repleatur os meum, “Kyrie II” (Delitiæ Musicæ; Marco Longhini, cond.)

Mozart’s Canon” Nasty lectu”

Although not all of my favorite doctrines are of such a critical kind, I had undoubtedly listen to Renaissance canonic wizardry for the rest of my life. In truth, they can be quite vulgar. Constanze Mozart sent some of her late husband’s documents to the Leipzig creators Breitkopf &amp, Härtel in 1799. One particular book contained Wolfie Mozart precepts, which he had probably written in Vienna in 1782. Constanze made the suggestion that some of the doctrines would need to be adapted before they could get published in her following text. Probably, Costanze was talking about the six-voice canon in B-flat major, K. 231, which was then published with the words” Laßt froh uns sein” ( Let us be glad ). Just in 1991 was the original language for that cannon found. Researcher at Harvard University found the matching text in the original manuscripts, and it reads” Leck mich im Arsch, g ‘schwindi”, ( Kiss my ass quickly ). Mozart’s profane words and words have been a significant source of embarrassment, and we have lengthy tried to suppress, belittle, or sanitize them, all starting, it seems with his wife Constanze.

Wolfgang Amadeus Mozart:” Leck mich im Arsch”, K. 231″ Kiss my ass” ( Chorus Viennensis, Uwe Christian Harrer, cond. )

Beethoven’s Canon” Kurz ist der Schmerz”

Now, this try to understand Ludwig van Beethoven much. Of course, he was a remarkable and incredible uniqueness in the history of art and left a lasting impression on later composers and organizations. However, there are still some areas of his oeuvre that have not been fully explored, especially his musical jokes and canons. None of these pieces of music make up outstanding audio or Beethoven, but we do discover the composer in a special cheerful mood with his shirt unbuttoning. Beethoven merely seemed to have had a little fun, whether he is artistically teasing his fat friend and violinist Ignaz Schuppanzigh, who both liken him to a donkey and who also refers to him as an ass or delighting in puns on the composer’s surnames. Additionally, there are a lot of youngster humor and birthday and Christmas congratulations for coworkers and associates. Beethoven responded to the phrases” Dear Count, you are a fool” with a 4-voice cannon when his great patron, Count Moritz Lichnowsky, attempted to arrange his financial interests in 1823. And as a critic writes,” the Beethoven who comes across in these precepts is one, who, for all his childish uncertainty and em, could also be warmly childish, and, above all, fine business”.

Ludwig van Beethoven:” Bester Herr Graf, Sie sind ein Schaf” ( Dear Count, you are a fool ) ( Ensemble Tamanial )

Brahms ‘ Canon Op. 113, No. 9

Contrapuntal enlightenment illuminates Johannes Brahms ‘ choral music. He carefully worked to become a contrapuntal master, which became a necessary component of his artistic language. Perhaps composed as early as 1858 during his career with the women’s singing in Detmold, Brahms published his 13 Canons, Op. 113 merely in 1891.

These precepts are meant to be sung, not to be listened to, as Brahms argued, and the composer added,” I should like to think that my efforts have enhanced home singing and wish the same for the performing of precepts.” The majority of these Bach doctrines are in harmony, with lore No. 6 unfolding in rotation, and Nos. 8 and 9 are doctrines at the second below. The concluding double cannon was inspired by the ancient rounded” Sumer is icumen in” and” Der Leiermann” from Schubert’s Winterreise.

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Johannes Brahms: 13 Canons, Op. 113 ( Leipzig Radio Chorus, Wolf-Dieter Hauschild, cond. )

Lil Nas X Partners With TikTok on Platform’s First NFT Collection

Lil Nas X Partners With TikTok on Platform’s First NFT Collection

Oh, what a earth: TikTok is now embracing the decentralized Wild West that is Web3. On Thursday, September 30th, the cultural program that really surpassed a billion monthly active users announced its first NFT set, called TikTok Top Moments. The collection’s purpose, according to media materials, is to let audio fans, public social media users, and influencers unique element of a viral moment in pop culture history.

Twitter is starting points off with a little help from Lil Nas X, a master of viral victory who was first ushered into the limelight when his 2019 hit” Old Town Road” sparked a burst of jokes and modern challenges. Nas will be the first performer to lose his cast of NFTs, which includes a one-of-one gift, along with a few different limited-edition choices, arriving on October 6th.

This project was based on Willingham’s stop-motion stop-motion video tribute to Nas ‘ song” Montero ( Call Me By Your Name )” and was put together by Nas and TikTok creator Rudy Willingham. ( Around three and a half million people are currently viewing the original TikTok video. )

Five different models — produced in collaboration with well-known Blog authors Bella Poarch, Curtis Roach, Brittany Broski, FNMeka, Jess Marciante, and Gary Vee — will follow. TikTok paired Internet stars with artists experienced in creating NFTs. Importantly, Grimes is assisting her real-life companion Poarch, as well as Broski, whose presence in a movie about rank-smelling tea inspired a lake of jokes and earned her more than six million fans. Another included crypto experts include COIN ARTIST, x0r, and RTFKT.

The NFTs may work on the Ethereum blockchain. TikTok plans to make them more eco-friendly by using what’s called” Layer 2″ technology. The one-of-one currencies may be put up for auction, but the limited edition NFTs may be sold at “accessible value points” on a regular basis until the end of October, according to data on the collection’s independent site.

” As the creator economy continues to grow, we’re continually looking for new and differentiated ways to support our creators”, Nick Tran, TikTok’s global head of marketing, said in a statement before highlighting TikTok’s ability to help” shape the internet” and cultivate the Internet’s “most beloved cultural milestones”. More bluntly, a headline on the microsite reads,” OWN A MOMENT THAT BROKE THE INTERNET”.