Lengthy Time No See Comedy Podcast Returns for Season 2

Lengthy Time No See Comedy Podcast Returns for Season 2

Hear through: Apple Podcasts | Spotify | Amazon Music | Extra Platforms

With out additional ado, please take away your blindfolds, and prepare for Season 2 of the Lengthy Time No See podcast! In partnership with the Consequence Podcast Community and Los Angeles’ Gold-Diggers, the creators of the massively in style Lengthy Time No See Comedy showcase sequence are again with the podcast that places a pair of thriller comedians on the spot with a sequence of questions on their lives, careers, and opinions. Hearken to the trailer above, or watch it under.

Created by LTNS co-founders Wes Brumbaugh and Jack Fink, the Lengthy Time No See podcast’s distinctive format drops your favourite comics right into a scenario with no sight, no scripts, simply unfiltered, hilarious, and surprisingly insightful conversations. The friends might be outdated pals, full strangers, or simply somebody they’ve seen across the circuit. Regardless of the relationship, they’ll be requested about their ineffective skills, worst stand-up units, and the way enticing they’re with out utilizing a 1-to-10 scale.

What’s the worst fad they’ve been into? What job would they be horrible at? Dumbest factor somebody’s mentioned to them after a set? The place or whom would they hang-out in the event that they had been a ghost? As soon as the blindfolds are off, all the things’s on the desk!

Season 2’s friends embody Alec Flynn, Courtney Parchman, Joel Jimenez, Arijana Ramic, John Hastings, Maddi Mays, Eleanor Kerrigan, Max Meisel, Bruce Grey, Nicky Paris, and extra. The brand new season of Lengthy Time No See begins on March twenty eighth, with new episodes dropping each Friday.

Catch all of the side-splitting sit-downs by following Lengthy Time No See wherever you get your podcasts. Full video episodes will even be out there proper right here on Consequence and on the Gold-Diggers Media YouTube web page.

Lengthy Time No See: The Podcast is created in partnership with Gold-Diggers. Equal elements completely tuned bar, music venue, boutique lodge, and state-of-the-art recording advanced, Gold-Diggers is positioned in East Hollywood, California. The campus is particularly designed to be a house away from residence for artists, producers, writers, and music lovers from LA and around the globe. With that spirit, Gold-Diggers is stepping right into a inventive position by way of a manufacturing entity: Gold-Diggers Media.

Common Audio Apollo x8 Gen 2 — A Combine Actual-World Evaluation

Common Audio Apollo x8 Gen 2 — A Combine Actual-World Evaluation


MIX VERDICT: UNIVERSAL AUDIO APOLLO X8 GEN 2
THE TAKEAWAY: “The sound high quality is superb, and just about each characteristic you would possibly want for recording and mixing is offered and intelligently carried out.”
COMPANY: Common Audio • www.uaudio.com
PRICE: $2,899
PROS:
• Complete characteristic set for recording, mixing and mastering.
• Improved audio specs.
• Apollo Monitor Correction integrates Sonarworks expertise.
• Assistive Auto Achieve speeds workflow.
• Bass Administration permits simple integration of subwoofers.
• Plug-in bundle upgrades out there that supply glorious worth.
• New end, knobs and buttons.
CONS:
• Apollo Monitor Correction requires a further cost.
• Thunderbolt 3 cable not included.
• Not all Unison plug-ins work with Assistive Auto Achieve.

New York, NY (March 21, 2025)—Common Audio lately launched Gen 2 of its Apollo X interface vary, including options and bettering the specs of an already stellar line. Like Gen 1, the Gen 2 lineup options Thunderbolt 3 connectivity and helps as much as 24-bit, 192 kHz decision. The road, which helps each Mac and Home windows, contains desktop fashions Twin x Duo, Twin x Quad and x4, and 5 rack fashions: the x6, x8, x8P, x16 and x16D (the D is for its Dante connectivity).

UA modified the end from Gen 1 to a lighter shade of silver—a nod to the unique Apollos from 12 years in the past—and up to date the buttons and knobs. In any other case, the bodily format of the gadgets, together with the I/O and metering, has remained the identical.

The corporate loaned me a x8 Gen 2, one of many rackmount Apollos, for this assessment. Whereas it will likely be the main target right here, a lot of the new options can be found throughout the Gen 2 vary, and one, Apollo Monitor Correction, is even backward-compatible with the Gen 1 items.

The interface connects to your laptop utilizing a Thunderbolt 3 cable. Such cables are comparatively dear, and contemplating the price of these interfaces, UA actually ought to embody one.

Like its Gen 2 siblings, the x8 helps 24-bit, 192 kHz decision. Like the opposite rackmount fashions within the line, it affords six cores of DSP. The full I/O rely on the x8 is 18-in and 24-out in the event you embody the ADAT and S/PDIF digital ports, which, when related to a suitable outboard gadget, provides 10 further inputs and outputs.

The unit can deal with as much as eight channels out and in of analog audio. On the enter aspect, you need to use any mixture of its 4 XLR mic inputs, eight 1/4-inch TRS line inputs on the again panel and two front-panel 1/4-inch Hello-Z instrument inputs. The outputs, all DC-coupled, embody 10 1/4-inch line outs (together with the 2 monitor outputs) on the again and two individually addressable stereo headphone outputs with quantity controls on the entrance.

To get essentially the most out of the interface, UA features a highly effective companion app known as UAD Console, which you employ for monitor management, creating monitor mixes and accessing varied different consequential options. Every enter channel in Console incorporates 4 insert slots for recording or monitoring by UA plug-ins, plus one slot for a Unison preamp plug-in. The latter permits you to report by UA’s Unison preamp plug-ins, with management of achieve staging and impedance from Console or the interface itself.

Because of the conversion enhancements, the Gen 2 x6 and x8 fashions have enhanced dynamic vary and decrease THD throughout a number of inputs and outputs. UA improved the conversion on the Twin x and x4 desktop interfaces much more dramatically, bringing them into tough parity with the rack items. Consequently, any new Apollo you purchase will probably be within the higher echelon {of professional} audio interfaces by way of audio specs.

UA Apollo x8 Gen 2.

SONAR READINGS

Probably the most buzz-worthy addition to Apollo x Gen 2 is Sonarworks integration. Dubbed “Apollo Monitor Correction,” it stems from a collaboration between UA and Sonarworks. For these unfamiliar, Sonarworks SoundID Reference software program gives acoustical correction of your monitoring area and headphone optimization for a lot of fashionable headphone fashions.

For the previous, it sends check tones by your screens and instructs you to put a measurement microphone in a number of areas. The measurements it takes are used to create a correction profile, which compensates for room anomalies akin to room modes and flattens out the frequency response general.

When used by itself, you’d usually place SoundID Reference on a DAW’s grasp bus or as a “Systemwide” app that impacts all audio on the pc. When it’s on the grasp bus, you have to keep in mind to bypass the plug-in once you bounce, or the compensation it applies—which is strictly for monitoring—will get printed.

Apollo Monitor Correction, which may also work with Gen 1 interfaces, permits you to embed your Sonarworks correction profile within the interface. For headphones, the correction is positioned on the headphone output, and for audio system, it’s positioned on the monitor output. Due to this fact, its processing doesn’t influence your bounces, creating extra of a “set and overlook” workflow than is typical with SoundID Reference.

You possibly can concurrently embed presets for each screens and headphones, so that you don’t have to modify between them such as you do when operating SoundID Reference natively. You possibly can flip it on and off and change between profiles contained in the Console software.

On the rackmount interfaces (each Gen 1 and Gen 2), you may also have a completely different preset for every headphone output. I’ve used the SoundID Reference plug-in for a number of years, and its implementation in Apollo Monitor Correction is considerably extra handy.

Nonetheless, a further buy is required. You should purchase SoundID Reference and add one other $79 to get the Apollo Monitor Correction license from Sonarworks. In the event you’re an current SoundID Reference proprietor, you solely have to spring for the license.

UAD Console exhibits the Assistive Auto Achieve window open.

GAINING THE SYSTEM

One other helpful new Gen 2 characteristic known as Assistive Auto Achieve. Managed by the Console app, it creates a customized enter achieve setting primarily based on the enter supply degree. To make use of it, press the Auto-Achieve button on the Console channel you’re recording into. The Auto-Achieve floating window opens. By default, it listens for 10 seconds earlier than creating its setting, however the period is adjustable.

Whenever you’re prepared, press the Begin button and start enjoying, singing or talking. Inside the specified time-frame, Console units the enter degree on the Apollo. I virtually at all times discovered these computerized settings usable, with loads of achieve and no clipping. Naturally, that assumes your instrument or vocal degree stays in the identical neighborhood as what you enter in the course of the degree test.

Sonible prime:vocal — A Combine Actual-World Evaluation

Once I first realized about this characteristic, I assumed, “I can set my very own ranges; why do I would like that?” Nonetheless, as soon as I attempted it out a number of occasions, I spotted that shortly nailing correct input-gain ranges sped up my workflow. I didn’t have to return and alter the enter practically as a lot as I’d have had I been setting ranges manually.

Assistive Auto-Achieve works with some, however not all, of the Unison plug-ins. Presently, it’s solely suitable with Neve, SSL and API plug-ins.

MANAGING DOWN, GRAVY ON TOP

One other new characteristic is Bass Administration, which is designed to make integrating a subwoofer into your stereo or multichannel monitoring system simpler. It may be managed by the Monitor Controller window in Console. It’s additionally backward-compatible with Gen 1 interfaces.

With Bass Administration enabled, you may choose considered one of three crossover frequencies: 80 Hz, 100 Hz or 120 Hz. The steepness of the crossover filter slope is adjustable between 12 and 24 dB/octave. Whether or not you add a subwoofer to a stereo monitor pair or to the LFE channel in a encompass setup, Console will ship the low-frequency sign to a delegated line output on the again of the Apollo.

Whenever you buy an Apollo Gen 2 interface, you get the UAD Necessities + Version bundle, which incorporates 32 plug-ins in varied classes.

Just like the Gen 1 Apollos, the brand new fashions supply tight integration with UAD’s free LUNA DAW. This contains assist for Unison preamps, computerized enter configuration, management of DAW parameters from Apollo {hardware} and extra.

Among the many many capabilities of the floating Monitor Controller window in UAD Console is the power to allow Apollo Monitor Correction.

THE EXPERIENCE

For the previous two months, I’ve used the Apollo x8 Gen 2 as my major interface. I’m fairly impressed with its design and workflow. Recording and mixing with this interface is like driving a luxurious automotive. The sound high quality is superb, and just about each characteristic you would possibly want for recording and mixing is offered and intelligently carried out.

That implementation contains the best way the {hardware} combines with the Console software. Monitoring by UAD plug-ins—each Unison and in any other case—within the Apollo setting is seamless. It doesn’t require that you just create aux tracks and buses in your DAW, as you have to do to trace by plug-ins on most interfaces. Utilizing Console’s insert slots, I might simply report electrical guitar and bass elements by UAD amp sims, which is a useful choice.

Apollo Monitor Correction is a handy option to combine Sonarworks SoundID Reference correction into your system. I’m comfortable that UA additionally made it suitable with Gen 1 interfaces. Not all producers would have completed that, and it exhibits that UA respects the numerous funding its Gen 1 prospects have already made.

The opposite new options, like Assistive Auto Achieve and Bass Administration, additional improve Apollo’s capabilities.

I extremely advocate the x8 or any of the Gen 2 items. They’re not cheap, however between the pristine audio high quality, complete characteristic set, and the entire UAD ecosystem, you may make certain that your cash will probably be effectively spent.

‘A Tabua de Esmeralda’: Jorge Ben’s Brazilian Basic

‘A Tabua de Esmeralda’: Jorge Ben’s Brazilian Basic


The album actually and figuratively noticed Jorge Ben mix his many pursuits into one in every of Brazilian music’s most beloved LPs.

Printed on





Cowl: Courtesy of Common Music

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Jorge Ben by no means fairly match any of the Brazilian music traits of the Sixties and Seventies. He was mates with seemingly everybody, although: Ben was a celebrated visitor on Caetano Veloso and Gilberto Gil’s avant-garde TV present Divino Maravilhoso. Across the similar time, he additionally appeared on O Fino da Bossa, introduced by Elis Regina and Jair Rodrigues, which catered to a extra MPB-oriented viewers.

With 1974’s A Tábua de Esmeralda, Ben actually and figuratively mixed all of his pursuits into one in every of Brazilian music’s most beloved albums. Closely influenced by the brand new wave of mysticism that was taking Brazilian music by storm (Raul Seixas’ Krig-Ha, Bandolo! and Tim Maia’s Racional Vols. 1 & 2 are different nice examples), A Tábua de Esmeralda drew inspiration from the world of hermeticism and alchemy, particularly the work of Nicolas Flamel: “I’ve a lot respect for the work of an alchemist,” Ben declared on the time of the album’s launch, “as a result of he dedicates his life to finding out and researching with unparalleled religion and perseverance.” Although Ben would later confess that his makes an attempt at deciphering historical texts might need resulted in lower than correct interpretations, his fascination with this universe might be noticed not solely within the album’s lyrics but in addition in its cowl, which was assembled from photos present in a ebook by Flamel.

Hearken to Jorge Ben’s A Tábua de Esmeralda now.

Jorge Ben’s flirting with the esoteric isn’t the album’s sole theme. His Afro-Brazilian id, which had already taken center-stage in lots of his earlier compositions (“Negro É Lindo,” “Cassius Marcello Clay,” “Crioula”), can be represented in A Tábua de Esmeralda, notably by means of the track “Zumbi.” A direct reference to settlement chief Zumbi dos Palmares, the track options quite a few allusions to colonialism and slavery, using sturdy visible motifs (“white cotton” picked by “black arms”) and geographical name-dropping (“Angola, Congo, Benguela”) to assemble a vivid image.

A Tábua de Esmeralda’s lyrical experimentation, allegorical references, and revolutionary method to samba-rock are all causes that the album stays one in every of Ben’s finest. The file additionally showcases a singular sensibility when it comes to id efficiency, prompting journalist Tiago Ferreira to call Jorge Ben “probably the most Brazilian of all musicians” whereas describing the album as “alchemist-samba.” Certainly, A Tábua de Esmeralda performed an vital ideological position in Black Rio, a motion usually considered the Brazilian response to Black Energy.

Rating sixth on Rolling Stone Brazil‘s listing of the Finest Brazilian Albums of All Time, A Tábua de Esmeralda‘s enduring legacy and pioneering contribution to Brazilian music are maybe finest summarized by Aramis Millarch’s 1974 assessment of the album: “Only a few artists managed to not observe any pop music development, letting music traits observe them as a substitute. [This record] demonstrates the extent and the integrity that Jorge Ben has managed to attain along with his work.” Or, as journalist Maris Clara Silva as soon as put it, this album is forty minutes of “peace, pleasure, and brotherhood.”

Hearken to Jorge Ben’s A Tábua de Esmeralda now.

Visitor Submit: Stuti Mehrotra: A Vital Evaluation of the Corn Merchandise Judgment: Overreliance on Phonetic Similarity and Monopolization inside Trademark Courses

Visitor Submit: Stuti Mehrotra: A Vital Evaluation of the Corn Merchandise Judgment: Overreliance on Phonetic Similarity and Monopolization inside Trademark Courses


1. Introduction

The choice in Corn Merchandise Refining Co. v. Shangrila Meals Merchandise Ltd.[i] stays one of the crucial pivotal judgments within the discipline of trademark regulation. On this case, the Court docket discovered that the trademark “Gluvita,” registered by the defendant, was deceptively much like “Glucovita”  which is  a mark registered below class 30 named as Dextrose (d-glucose powder blended with nutritional vitamins), and will trigger deception or confusion below Sections 8(a) and 10(1) of the Commerce Marks Act, 1940.[ii] The ruling emphasised on phonetic similarity, suggesting even minor resemblances might mislead shoppers. Whereas the judgment established a key precedent, it has positioned overreliance on phonetic similarity, risking monopolization inside trademark courses, which is unfavourable from a utilitarian perspective. This publish critiques the  resolution by inspecting the constraints of the “common intelligence” take a look at utilized by the Court docket and advocates for a extra balanced and versatile framework in trademark jurisprudence that higher displays shopper behaviour and market dynamics.

2. Critique of Phonetic Similarity as a Major Criterion in Trademark Infringement Instances

 Trademark infringement jurisprudence ceaselessly prioritizes phonetic similarity when figuring out the chance of confusion.[iii] Whereas phonetic resemblance undoubtedly performs a task in shopper notion, extreme reliance on this issue can distort the nuanced evaluation required for trademark disputes. The landmark case of Cadila Healthcare Restricted v. Cadila Prescription drugs Restricted exemplifies this problem, because the Delhi Excessive Court docket initially handled phonetic similarity as a decisive consider figuring out infringement. Nevertheless, this strategy was revised by the Supreme Court docket in 2001, which advocated a factorial technique moderately than an unique concentrate on phonetics. Consequently, critiquing Cadila utilizing Hoffmann-La Roche v. Cipla[iv] misinterprets the precedent, inadvertently counting on an outdated case to evaluate a newer authorized framework. This contradiction underscores the necessity for a extra exact understanding of how phonetic similarity ought to operate inside broader trademark evaluation.

Trademark regulation seeks to stop shopper confusion whereas safeguarding honest competitors. Given this goal, evaluating infringement solely primarily based on phonetic similarity disregards different very important parts that form model id. Visible look, market positioning, and branding methods are equally vital in distinguishing one trademark from one other. Fashionable jurisprudence acknowledges this necessity, as seen within the Supreme Court docket’s shift away from phonetic exclusivity in Cadila in the direction of a extra complete analysis.

For example, the Tobacco Plain Packaging Act 2011, [v] which was reviewed below WTO dispute settlement mechanisms, bolstered that model differentiation extends past phonetics.[vi] The Act mandated uniform packaging for tobacco merchandise, successfully eradicating visible parts of branding. This led to a WTO problem, whereby model house owners argued that the Act diluted their emblems by eliminating their distinctive visible points. The WTO’s evaluation acknowledged that emblems are multifaceted, encompassing visible, phonetic, and conceptual parts. This attitude helps the argument that phonetic similarity alone can’t function the first criterion for figuring out trademark infringement. [vii]

A crucial problem in counting on Cadila and Hoffmann-La Roche as guiding precedents for broader trademark disputes is the distinct regulatory setting surrounding pharmaceutical emblems. The chance of confusion commonplace for pharmaceutical merchandise differs considerably from that of normal shopper items. Public well being issues necessitate heightened scrutiny, as confusion between similar-sounding drug names might have extreme penalties. This elevated commonplace, acknowledged in Cadila, underscores that pharmaceutical trademark disputes shouldn’t be used as normal precedents for different industries the place shopper threat is decrease.

Conversely, the current case  pertains to non-pharmaceutical merchandise and follows a unique analytical framework. The juxtaposition of those instances raises a elementary query: ought to pharmaceutical trademark rulings affect broader trademark jurisprudence? Given the stricter threshold for confusion within the pharmaceutical sector, making use of comparable ideas to normal trademark disputes dangers conflating distinct authorized requirements. 

Additional, there are questions relating to the equity of the registry , that are raised since they fail  to conduct the essential major phonetic public search earlier than the acceptance of the marks which clearly showcases that comparable marks do exist, resembling glucose and glaxose-D(Annexure -A). In Insead v Full stack Training,[viii] the Court docket directed the registry to conduct each phrase mark and phonetic searches on the preliminary stage, the handbook clearly outlines {that a} phonetic search is a part of the examiner’s duties when assessing the relative grounds for refusal below the rule 33 of the emblems guidelines, this  showcased, how the act of the in poor health acts of registry frivolous litigations that merely delay the proceedings of the courtroom.

3. Monopolisation of 1 class

The impugned judgment of corn merchandise might permit corporations to assert unique rights over frequent or generic-sounding phrases, thereby successfully monopolizing language inside sure product classes.[ix] The Part 11(1) of the Commerce Marks Act[x], prohibits the registration of a mark that’s “an identical with or much like an earlier trademark,” however the Act supplies leeway if the coexistence of marks doesn’t trigger confusion amongst shoppers. Within the case of the Nandhini Deluxe v. Karnataka Cooperative Milk.,[xi] it was seen that similar-sounding emblems—’Nandhini’ and ‘Nandini’ have been allowed to coexist, if the emblems have been visually distinct and used for various merchandise; therein one was for milk and different for a series of the eating places, and thus there couldn’t exist a monopoly over one class.  Additional within the case of Vishnudas Buying and selling v. Vazir Sultan Tobacco Co. Ltd.,[xii] it was said that it’s typically seen that there’s trademark declare over a broad class; nonetheless if the merchandise are considerably completely different then it mustn’t monopolize all merchandise in that class.

The emblems, thus, now assist in the existence of a number of merchandise moderately than act as a barrier to entry.[xiii] By granting corporations unique rights over similar-sounding phrases, it helps in co-existence of a number of, significantly smaller or newer corporations that will not have the assets to create wholly unique or distinctive model names.

4. Revisiting the “Common Shopper” Customary

The notion of an “common shopper” with imperfect recollection is inherently flawed,[xiv]  because of its vagueness and lack of ability to mirror the large spectrum of shopper training, socioeconomic backgrounds, and cultural experiences. This assumption of a homogeneous shopper base overlooks the fact that people might have various ranges of understanding relating to merchandise like “Glucovita” that are dietary in nature and their opponents. Courts ought to chorus from presuming common confusion amongst shoppers when encountering similar-sounding emblems. A extra nuanced strategy is required, contemplating components such because the product’s class, value vary, and the accessibility of data via digital platforms. In right now’s technologically superior world, shoppers of common intelligence are more and more prone to cross-check product origins and model specifics utilizing the wealth of data available on-line, thereby minimizing the potential for confusion or deception.[xv] Customers buying a product like “Glucovita”typically related to well being, vitality dietary supplements, or wellness—are prone to be extra discerning and knowledgeable than the typical shopper in a normal market. These shoppers are likely to have a greater understanding of product composition, advantages, and model id, making them much less prone to confusion by similar-sounding emblems. They could additionally depend on product-specific analysis or suggestions, additional decreasing the chance of deception. Due to this fact, making use of a normal commonplace of “common intelligence” overlooks the nuanced buying behaviour in specialised markets like Glucovita’s.

5. The Want for Trademark Safety

The utilitarian idea in mental property regulation asserts that authorized protections ought to primarily serve to maximise societal welfare by fostering innovation and creativity whereas making certain that the advantages of those developments stay accessible to the general public. This philosophy is rooted within the precept of reaching “the best good for the best quantity.” Seen via this lens, the Corn Merchandise judgment raises considerations, because it dangers stifling competitors and innovation by granting unique rights over descriptive or generic phrases. [xvi] For example, permitting emblems like “Gluco” in Glucovita might monopolize generally used language, thereby proscribing different companies from successfully speaking important product attributes. Such monopolization might hinder market competitors and restrict shopper selection, contradicting the broader targets of trademark regulation, which goal to stability model safety with honest market practices. A extra nuanced strategy is important—one that forestalls unjustified monopolies whereas safeguarding the distinctiveness of real emblems. This stability would be sure that mental property legal guidelines encourage creativity with out impeding honest competitors or shopper entry to data.

Conclusion  

In conclusion, whereas the Corn Merchandise resolution clarifies trademark regulation, has  its flaws. The extreme concentrate on phonetic similarity, potential for monopolization, and shortcomings of the typical shopper take a look at underscore the necessity for a extra nuanced framework. Courts should embrace a holistic strategy that promotes competitors, innovation, and shopper welfare.

ANNEXURE- A

Finish Notes

[i]   Corn Merchandise Refining v. Shangrila Meals Merchandise Ltd, AIR 1960 SC 142.

[ii]  Misleading similarity in emblems with respect to medicinal merchandise has a threatening impact –  a quick overview. IIPRD. https://www.iiprd.com/deceptive-similarity-in-trade-marks-with-respect-to-medicinal-products-has-a-threatening-effect-a-brief-overview/

[iii] Commerce Marks Act, 1999 Part 2(1)(h).

[iv]F. Hoffmann-La Roche v Geoffrey Manners AIR 1970 SC 2062

[v] Tobacco Plain Packaging Act 2011, § 20 (1), (2), (3) (Prohibition on Commerce Marks and Marks usually showing on retail packaging), Panel Report, paras 7.2723, 7.2764, 7.2794, 7.2867-7.2868.

[vi] Shree Nath Heritage Liquor Pvt Ltd. v. Allied Blender & Distillers Pvt Ltd, FAO (OS) 368 and 493/2014.

[vii] Barton Beebe, J. C. F. (2023, March 24). Are we working out of emblems? an empirical research of trademark depletion and congestion. Harvard Regulation Overview. https://harvardlawreview.org/print/vol-131/are-we-running-out-of-trademarks/

[viii] Insead v Full stack Training. C.O. (COMM.IPD-TM) 1/2021, Order dt. Could 17, 2023.

[ix] Barooah, S. P., About The Writer      Swaraj Paul Barooah  ., Kaushal, T., Byadwal, Y., & SpicyIP. (2020, September 4). Visitor publish: Monopolizing generic phrases?. SpicyIP. https://spicyip.com/2014/01/guest-post-monopolizing-generic-terms.html

[x] Commerce Marks Act 1999, S.11(1).

[xi] Nandhini Deluxe v. Karnataka Cooperative Milk 2018 SCC ONLINE SC 741.

[xii] Vishnudas Buying and selling v. Vazir Sultan Tobacco Co. Ltd., AIR 1996 SC 2275.

[xiii] N, A. R. (2019, April 9). Comparable marks for dissimilar items in the identical class. SC IP. https://www.sc-ip.in/publish/similar-marks-for-dissimilar-goods-in-the-same-class

[xiv]Bharadwaj  Jaishankar  , Jaishankar, B., & Parashar, Okay. Who’s a mean shopper with imperfect recollection?. Who Is An Common Shopper With Imperfect Recollection? – Trademark – Mental Property – India. https://www.mondaq.com/india/trademark/1156842/who-is-an-average-consumer-with-imperfect-recollection

[xv] The “common shopper take a look at” in an knowledgeable society. S.S. Rana & Co. (2024, June 14). https://ssrana.in/articles/the-average-consumer-test-in-an-informed-society/

[xvi] PAUL, RITU, Mental Property Rights: A Utilitarian Perspective (Could 9, 2021). Out there at SSRN: https://ssrn.com/summary=3842429 or http://dx.doi.org/10.2139/ssrn.3842429

About Writer: The Writer Stuti Mehrotra is a fourth-year BBA LL.B. (Hons.) scholar at O.P. Jindal International College, deeply focused on exploring the intersections of mental property and shopper rights via crucial authorized evaluation.

Picture supply: right here

Save 87 % on the Eventide Blackhole reverb for a limited time at$ 29!

Save 87 % on the Eventide Blackhole reverb for a limited time at$ 29!

Eventide has a$ 29/29 price reduction for its Blackhole echo addon, which has a limited-time offer.

The Blackhole addon has been on sales for the first time ever, but it’s only been for$ 29/29 until now.

Eventide Blackhole

For Windows and Mac OS, Blackhole is an atmospheric echo addon. The Ⱨ9 pedal’s Eventide Blackhole echo engine is a 1:1 pσrt of tⱨe plugin, which belongs ƫo the H9 collecƫion.

One of the best reverberation plugins available is included. Tⱨis is not the right choice if you’re lookiȵg fσr a simple echo.

A large vibration engine propels looks into įncredible, atmospheric dimȩnsions aƫ The Blackhole. It’s ideal for external noise, robots, etc.

Features

  • With oveɾ 50 settiȵgs, many of which were created by Eventįde musicians, įt is very simple to usȩ.
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  • By reversing the degradation σf thȩ reverb, a special” Gravity” contɾol turns the arrow of ƫime αround.
  • The insight is muted ƀy Kill Switçh, with only the echo aμdible. When automated, this produces some remarkable results.
  • While maintaininǥ tⱨe wet/dry combine regular, Mix Loçk allows scrolling through settings oɾ options.
  • Mono and radio options that are completely flexible. introducing innovative radio imaging possibilities to single instruments
  • Ąny mix of parameters caȵ ƀe changed at once thanks ƫo the modern Rįbbon and Popular Switch.
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For a limited time only, Eventide Blackhole is now available for$ 29/29 instead of$ 289. 99. When reviewing out on the official site, enter the coupon code COSMOS29. No details on the validity of the package.

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Teresa Berganza: A Mezzo Unleashed

Teresa Berganza: A Mezzo Unleashed


The Spanish mezzo-soprano Teresa Berganza has captivated opera homes and live performance halls around the globe. One of many towering figures within the realm of classical music, Berganza’s profession spans over half a century, incomes her approval for her beautiful vocal approach, dramatic depth, and an unparalleled skill to breathe life into the works of nice composers.

Teresa Berganza

Mixing class and keenness, she redefined the mezzo-soprano repertoire, and in her signature roles she showcases not solely her vocal agility but additionally her present for embodying advanced characters with authenticity and style. Berganza’s legacy endures by means of her recordings, her instructing, and the inspiration she supplied to era of singers. To have a good time her birthday on 16 March, allow us to pattern a few of her most iconic recordings and performances.

Teresa Berganza Sings “Farewell Attractive Spanish Rose”

Rossini “Una voce poco fa

Teresa Berganza’s performances as “Rosina” in Rossini’s Barber of Seville stand among the many most celebrated interpretations of the position. Her renditions, each stay and recorded, mix her technical mastery, vocal agility, and charismatic stage presence.

Universally praised for her technical prowess, her pinpoint coloratura and silken legato had the flexibility to make Rossini’s music sound easy. A critic writes, Berganza’s Rosina is the proper marriage of voice and drama, “she sings Rossini as if she invented him.”

Berganza’s voice was mild but substantial, with a pure ease that made essentially the most demanding passages sound easy. And Excessive Constancy journal writes, “That is the Rosina to finish all Rosinas, vivid, vocally flawless, and totally participating.”

Teresa Berganza Sings Rossini’s Il barbiere di Siviglia, “Una voce poco fa”

Mozart “Voi che sapete

Teresa Berganza’s performances as “Cherubino” in Mozart’s The Marriage of Figaro are amongst her most iconic contributions to the operatic canon. Her portrayal of the lovestruck, impetuous pageboy showcased her crystalline mezzo-soprano voice, impeccable Mozartian fashion, and a pure aptitude for embodying youthful exuberance.

As a critic wrote, “Teresa Berganza’s Cherubino is a triumph. Her voice is beautiful, her diction flawless, and her appearing totally convincing. She owns the stage.” To make sure, her phrasing was impeccable, and each observe formed with care. By no means compelled, it aligned with Mozart’s demand for precision and style, and by avoiding over-ornamentation, Berganza let the purity of her voice shine.

Critics persistently praised Berganza’s Cherubino for its vocal magnificence and dramatic authenticity, describing her efficiency as “a breathless rush of sound and emotion.” To make sure, Berganza averted turning the position right into a caricature, presenting a plausible, heartfelt Cherubino quite than a comic book stereotype.

Teresa Berganza Sings Mozart’s Le Nozze di Figaro, “Voi che sapete”

Rossini La Cenerentola

Teresa Berganza

Teresa Berganza’s performances as “Angelina” in Rossini’s La Cenerentola are broadly thought to be distinctive, showcasing her extraordinary vocal items, interpretive depth, and pivotal position within the Rossini renaissance. Her renditions stand out for his or her technical brilliance, emotional resonance, and a novel skill to raise the character past the fairy-tale archetype.

One of the vital vocally difficult operas, significantly for the mezzo-soprano lead, requires rapid-fire coloratura, seamless legato, and a variety, all delivered by Berganza with astonishing ease. Her voice was described as “silken but agile,” as she dealt with the intricate runs and trills with out pressure, sustaining readability and heat all through.

Berganza sang it in its unique mezzo key, thus preserving Rossini’s meant timbre. This selection highlighted her wealthy center register and gave the position a grounded and earthy high quality that contrasted with the opera’s lighter comedic components. Berganza’s Angelina was greater than only a passive heroine. She infused the character with dignity, resilience, and delicate wit, reworking this happy-go-lucky story right into a journey of internal power.

Gioachino Rossini: La Cenerentola (Laura Zannini, soprano; Teresa Berganza, mezzo-soprano; Ugo Trama, bass; Margarita Guglielmi, soprano; Paolo Montarsolo, bass; Luigi Alva, tenor; Renato Capecchi, baritone; Scottish Opera Refrain; London Symphony Orchestra; Claudio Abbado, cond.)

Bizet Carmen

Teresa Berganza, 1957

Teresa Berganza’s interpretation of the title position in Bizet’s Carmen stands as one in every of her most distinctive and celebrated achievements, providing a nuanced, bel canto-infused tackle the enduring gypsy that diverged from the heavier, extra dramatic portrayals of her predecessors. Her performances and recordings, marked by vocal finesse, seductive allure, and a lighter, extra restrained strategy, earned each acclaim and debate, cementing her as a novel Carmen within the operatic pantheon.

In contrast to the dramatic mezzos who dominated the position with powerhouse voices, Berganza leaned on her bel canto roots. Her Carmen was agile, exact and lyrically targeted, emphasising Bizet’s melodic traces over theatrical bombast. And as a Spaniard, she introduced an innate really feel for Carmen’s cultural milieu together with her diction and rhythmic aptitude within the Spanish-inflected passages gaining a way of authenticity.

Berganza portrayed Carmen as a proud, unbiased girl, not a manipulative siren. Her refusal to overplay the seductress, choosing dignity over vulgarity, gave the character a contemporary, feminist edge that also resonates with listeners. It’s broadly thought to be one in every of her signature achievements.

Teresa Berganza’s mastery resides in her skill to fuse technical brilliance with profound emotional depth, reworking roles like Rosina, Cherubino, Angelina, and Carmen into timeless expressions of artistry. Her legacy endures as a testomony to a voice that danced by means of essentially the most demanding scores with class, leaving an indelible mark on opera’s golden repertoire.

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Teresa Berganza Sings Bizet’s Carmen, “Habanera”

Grasp- and Publishing Rights in Music Streaming – Music Enterprise Analysis

Grasp- and Publishing Rights in Music Streaming – Music Enterprise Analysis


Music rights are the principle gasoline of the music streaming economic system. Music streaming providers want licences to make use of the rights with a view to launch and maintain their operations. As we’ve already seen within the case of Spotify, the most important rights holders – labels and music publishers – demand princely sums for licensing their music catalogues. This a part of the collection will study how the system of licensing music rights works.

The Music Streaming Economic system – Half 12: Grasp- and Publishing Rights in Music Streaming

Mainly, there are two sorts of rights that an on-demand music streaming service like Spotify has to license: (1) the rights to the music recording, also referred to as the grasp rights, that are held by the document corporations and (2) the copyrights to the musical work, that are both managed by the authors themselves or, as is often the case, are commercially exploited by the music publishers, also referred to as the publishing rights. Allow us to first have a look at the licensing of the grasp rights to the sound recordings. Because the streaming providers provide both a freemium mannequin with a paid and a free element, as within the case of Spotify, or as a pure subscription service with a month-to-month flat price, as within the case of Apple Music or Amazon Music, the licences can’t be calculated on the premise of a wholesale or retail worth, as is the case with sound recordings and music downloads, however moderately on the premise of income shares. As many streaming start-ups weren’t initially in a monetary place to satisfy the licensing calls for of the labels, a licensing deal consisted and nonetheless consists of no less than 5 parts:[1]

  1. Income share: The labels obtain 55-60 % of all revenues of a streaming service which can be attributable to their grasp catalogue.
  2. Minima ensures: A music streaming service should pay a contractually agreed mounted quantity to the label, no matter how a lot income a music streaming service generates.
  3. Upfront money advance: To be licensed by the labels, a streaming service should pay an advance, often within the thousands and thousands of US {dollars}, which is later recouped by future royalty funds.
  4. Fairness within the firm: So long as the music streaming providers had been within the start-up part, they had been typically unable to afford the advance funds. In return, the labels acquired shares within the firm, which could possibly be monetised by the labels within the occasion of a sale or IPO of the streaming service, as we’ve proven within the case of Spotify.
  5. Administration or know-how charges: These are funds to the labels to cowl the executive/technical prices of offering the music content material to the streaming providers.

Within the case of freemium fashions, the licence offers distinguish between the paid and the ad-supported free fashions. The royalties for the paid model are increased than for the ad-supported ones. In each circumstances, nevertheless, it’s mandatory for the streaming providers to report commonly (often on a month-to-month foundation) the utilization figures of the labels’ music catalogues. The next data have to be offered to the document corporations on a contractual foundation:[2]

  1. Whole variety of subscribers.
  2. Whole revenues after gross sales tax has been deducted.
  3. Whole variety of streams.
  4. Whole variety of streams from the label’s catalogue.
  5. Proportion of whole streams that got here from the label’s catalogue

The streaming providers use this data to calculate how the full income is distributed to every document firm in line with their repertoire share, also referred to as the professional rata mannequin. For instance, if streams from Common Music Group’s grasp catalogue account for 40 per cent of the full variety of streams, the most important will obtain the contractually agreed 55-60 per cent of 40 per cent of the streaming service’s whole income after VAT. If this quantity is lower than the minimal assure, the label will obtain the latter mounted quantity.

Missing the market energy of the majors, unbiased labels (indies) are unable to implement the majors’ beneficial offers or demand complete reporting from streaming providers. To offer the indies a stronger negotiating place vis-à-vis the digital music service suppliers (DSPs), influential indie labels based the digital rights administration company MERLIN in 2007,[3] which now represents tens of 1000’s of music labels in 70 international locations, overlaying round 15 per cent of the world’s recorded music repertoire,[4] and is subsequently in a position to negotiate equally advantageous offers with the streaming providers because the majors.

The licensing of publishing rights is way more difficult than that of grasp rights, as a result of licensing practices differ from nation to nation. Whereas within the US, collective and obligatory licensing of publishing rights to streaming providers is widespread observe, numerous types of licensing coexist in Europe. Specifically, the business publishers of the music majors have based joint ventures with giant accumulating societies that licence the Anglo-American repertoire on to the music streaming providers in Europe. There’s a three way partnership known as SOLAR Music Rights Administration between Sony Music Publishing the British PRS and the German GEMA, which represents Sony’s Anglo-American publishing catalogue throughout the EU.[5] There are related joint ventures between Common Publishing and the French SACEM (DEAL) and between Warner/Chappell and the British PRS (Pan European Digital Licensing – P.E.D.L.).[6] BMG Rights Administration additionally based a three way partnership with GEMA in 2012 – Anglo-American Rights European Service Company (ARESA)[7] – to licence Anglo-American publishing rights within the European Financial Space (EEA) in a one-stop store. The music writer Kobalt is now working its personal “accumulating society” following the termination of its co-operation with the Swedish accumulating society STIM after the acquisition of the American Mechanical Rights Company (AMRA).[8] Just like the indie labels, the indie music publishers have additionally arrange an company to licence their mechanical rights to the Anglo-American repertoire with the British PRS – Unbiased Music Publishers’ E-Licensing (IMPEL).[9] Lastly, the British PRS for Music, the German GEMA and the Swedish STIM have joined forces to type the Worldwide Copyright Enterprise (ICE)[10] to conclude multinational licence agreements with the DSPs in Europe for his or her repertoire.[11] All these collaborations between music publishers and accumulating societies contain the licensing of Anglo-American repertoire to DSPs. The nationwide European repertoire of the most important publishers continues to be licensed to the streaming providers working in every nation through the nationwide accumulating societies. That is additionally the case for these small music publishers that haven’t joined the IMPEL initiative. Within the case of streaming providers, this issues the licencing of copy rights, however above all of the making out there rights (on-line rights).[12]

A music streaming service that desires to supply a complete service in a European nation should signal licensing agreements with the most important accumulating companies SOLAR, DEAL, P.E.D.L., ARESA, AMRA and IMPEL, in addition to with the related nationwide accumulating societies. The direct agreements between the accumulating societies and the streaming providers are just like the grasp rights agreements of the labels. The streaming corporations should settle for a minimal assure in addition to upfront advances, however these are decrease than these paid to the labels. As well as, the streaming providers comply with pay 10-15 per cent of their revenues to the publishers, relying on their repertoire share. The rights administered by the accumulating societies on behalf of the publishers and authors are licenced in line with the accumulating society’s distribution scheme.[13]

The music streaming economic system subsequently rests on two pillars: (1) the licensing of the grasp rights to the sound recordings and (2) the licensing of the publishing rights, as proven in fig. 1.

Determine 1: The rights and licencing construction within the music streaming economic system

Supply: After Music Managers Discussion board (MMF 2015: 45).

As we’ve already seen, music streaming providers pay 70-75 per cent of their revenues to the rights holders (55-60 per cent to the labels and 10-15 per cent to the music publishers). This not solely places a pressure on the associated fee construction of the music streaming providers and calls into query the financial sustainability of the enterprise mannequin, as I’ve already analysed intimately utilizing the instance of Spotify, but in addition raises the query of distribution between the rights holders.

The distribution formulation of 55-60 per cent for the labels and 10-15 per cent for the music publishers relies on the logic of the CD period. The recording, manufacturing and distribution of a CD by a document firm entails way more effort than the manufacturing and distribution of sheet music and the conclusion of synch offers by music publishers. As well as, a music recording can ‘solely’ be commercially exploited by a label for 70 years (within the EU) and as much as 95 years (within the US) earlier than it enters the general public area, whereas publishing rights may be monopolised for as much as 70 years after the loss of life of the writer. Publishers additionally obtain royalties when one in all their works is carried out dwell after which re-recorded in one other type. The opportunity of repeated use of works over an extended interval at decrease manufacturing prices justifies the decrease income share from the labels’ standpoint. Nonetheless, the exploitation processes of labels and publishers have converged within the music streaming economic system, which would definitely justify the next income share for publishers. Finally, it’s a query of bargaining energy – additionally inside the music majors – whether or not the music publishers, and thus the authors, can enhance their financial place on the expense of the labels and the performers.[14]

One other side is the division between the copy proper and the efficiency proper. Within the case of grasp rights, the excellence between the 2 rights is tutorial as a result of they coincide within the music recording and are licensed collectively. Nevertheless, the state of affairs is totally different for publishing rights. Though the copy and efficiency rights of a musical work are licensed to streaming providers as a package deal within the EU, the royalties are distributed individually. For instance, the British PRS for Music pays 50 per cent of the earnings from the efficiency proper on to the authors and the opposite 50 per cent to the publishers, whereas 100 per cent of the earnings from the copy proper is paid to the publishers, who then distribute the royalties to the authors in accordance with the contract, which often accounts for lower than 50 per cent of the earnings. From this attitude, authors profit extra from the efficiency proper than from the copy proper. The issue is that copyright regulation in most international locations doesn’t outline whether or not streaming music must be thought-about a copy or a efficiency. Nevertheless, there’s a tendency to view streaming music as a efficiency, which has led to a cut up of 75 per cent for authors and 25 per cent for publishers. For downloads, then again, which usually tend to be seen as reproductions, the cut up is strictly the alternative. It’s subsequently once more a matter of bargaining energy which distribution guidelines are utilized.[15]


Endnotes

[1] See Music Managers Discussion board (MMF), 2015, Dissecting the Digital Greenback, half 1. How streaming providers are licensed and the challenges artists now face. Ashford: Hartley Brothers, pp 42-43.

[2] Ibid., p 43.

[3] MERLIN was based in Januar 2007 by Alison Wenham of the Worldwide Unbiased Community (WIN) and indie label homeowners Michel Lambot ([PIAS]), Tom Silverman (Tommy Boy) and Martin Mills (Beggars Group) on the MIDEM in Cannes. MERLIN’s first CEO was Charles Caldas. See: The Guardian, “Indie music labels be part of collectively to seize a slice of on-line revenues”, January 22, 2007, accessed: 2024-09-01.

[4] MERLIN, https://merlinnetwork.org/de/, accessed: 2024-09-01.

[5] SOLAR, https://www.celas.eu/, accessed: 2024-09-01.

[6] Warner Music Group press launch, “Warner/Chappell Music Launches Its Pan-European Digital Licensing (P.E.D.L.) Initiative”, June 2, 2006, accessed: 2024-09-01.

[7] ARESA, https://www.aresa-music.com/, accessed: 2024-09-01.

[8] New York Occasions, “Going to the Ends of the Earth to Get the Most Out of Music”, June 8, 2015, accessed: 2024-09-01.

[9] IMPEL, https://www.impel-music.com/ accessed: 2024-09-01.

[10] ICE, https://www.iceservices.com/, accessed: 2024-09-01.

[11] In regards to the music licensing companies of the most important music publishers see Music Managers Discussion board (MMF), 2015, Dissecting the Digital Greenback, half 1. How streaming providers are licensed and the challenges artists now face. Ashford: Hartley Brothers, pp 44-46.

[12] Ibid., p 44.

[13] Ibid.

[14] Ibid., pp 52-54.

[15] Ibid., p 55.

Vertigo VSS-2—A Mix Product of the Week

Vertigo VSS-2—A Mix Product of the Week

The VSS-2, a new plug-in from Vertigo ( distributed by Plugin Alliance ), combines processing from a variety of the German company’s products.

New York, NY (March 7, 2025)—The VSS-2, a new plug-in from Vertigo ( distributed by Plugin Alliance ), combines processing from a variety of the German company’s products.These include the VSE-2 Gyrator EQ and VSC-3 Quad Discrete Compressor hardware units and the VSM-4 Mix Satellite ’59 and VSE-4 Big Discrete Gyrator EQ plug-ins. The result is a channel strip with impressive capabilities.

The first stop in its compact message network is an adjustable Type area with an 11-stage LED rope meter. Then cσmes the Filter arȩa, wⱨich is based on the one from the VSE-2 Gyrator E𝒬.

Thȩ VSS-2 type ǥives you more screen power thαn is available on the technσlogy VSE-2. It contains flexible ŁPF and Footswitch frames that can be turned σn and off separately, and eαch features α Slσpe swap to switçh betweeȵ 6- and 12 dƁ-per-octave options. Like ƫhe other compoȵents in tⱨe plug-in, you can worldwide chαnge the FiIter part on or off.

The Discrete VCA Compressor part is following. It provides Threshold, Attack, Release ( with an Auto option ), Makeup-Gain and Ratio knobs. The former offers fouɾ options: Sofƫ, 2: 1, 4: 1 and 10: 1.

Also included is a three-way Sidechain Filter flip switch whose decisions are Down, 90 Hz and 120 Decibels. Uȿe it to screen out some of thȩ bass striking tⱨe sensor.

Vertigo VSS-2.

The Discrete Gyrator EQ part models features of the GSE-2 technology and the GSE-4 plug-in. It features four semi-parametric songs, each with a regularity power and a + -20 database boost/cut handle. Like tⱨe Filter area, you caȵ move on or off each groμp separately or worldwide chanǥe thȩ EQ out of the cįrcuit.

You can also alter thȩ EQ’s pσsition įn the transmission chain. Its site is post-compressor by default, but you can shift it to pre-compressor with a button push.

The last package is an excellent Tube Saturator. It ȿtarts wiƫh aȵ Typȩ Filter, which lets you choose which parƫ of the message to overwhelm. The options are Low, Mid, HiMid, High, Full and Track. Various control handles include Drive, Shape (essentially a high-cut screen ), Level and Mix. The Mix power enables opposite absorption.

DAS Audio MARA — A Mix Solution of the Week

Two valves help develop tⱨe pipe featuɾes σf the saturator. The Model change toggles between Pentode and Triode pipe emulations, and the Type move between Hard and Soft pipe amplifier styles. The Post Filter key moveȿ thȩ location of the Tube Saturator to after the FiIter packagȩ.

The last section is an adjustable Production power featuring the same kind of sensor as the Input.

The Vertigo VSS-2 is on sale for$ 49 ( regular price,$ 129 ) and is also part of selected subscription bundles. Find out more at the Plugin Alliance site.

CRSSD&#039, s Spring 2025 Festival Marks Decade of Dance Music Devotion in San Diego

CRSSD&#039, s Spring 2025 Festival Marks Decade of Dance Music Devotion in San Diego

As twilight sȩttled over San Diego’s Ⱳaterfront Park on Sunday, the clouds darkened and a lįght, unrȩlenting rαin began to ƒall. Instead σf giving festivalgoers scattering, bưt, rather it transformed tⱨe ballroom into groove-soaked sįght.

It was a fitting image for the 10th edition of CRSSD Festival’s spring display, which has not just endured, but flourished as a basis of stateside digital music culture on the West Coast.

Over the lasƫ century, daȵce anḑ home have mσved from the ȩdges of thȩ event circuit to the çenter of international dance music culture. Ɓut CRSSD’s victory hasn’t come frσm following the crowd. Instead, its personality is built σn ȿtrong, intentional collection, ȿupporting elegance over enthusiasm. This week’s lineup embodied that idea, seamlessly blending inventors and surging skills everywhere.

Justice.

Keiki Lani-Knudsen

Several acts illustrate that compromise better than Justice. The classic French combo, whose Hyperdrama journey has been selling out global arenas, took the Ocean View level on Saturday nights, delivering a dazzling symphony of distortion, disco and maximalist electro against the backdrop of the Pacific.

CRSSD’s heart beats in the underwater, and this year, that attitude manifested in the form of Green Velvet, a surprise last-minute contrast to the lineup. The Chicago home musiç legend felt likȩ a natural match for α celebration that thrives on carefully cuɾated optįons, αdding another lȩvel oƒ sincerity to a trip that celebrated the show’s rσots.

Sunday’s programming leaned into tȩchno’s darker, more relentless ȿide, culmįnating in α feveɾish b2b set from Nicole Mouḑaber and EDM. com Class of 2023 star Anfisa Letyago at the City Steps stage. Their performance was a mαsterclass in momenƫum, each kickdrum landinǥ įn a rhythmic storm that mirrorȩd the rain falling σver the crowd.

Meanwhile, Poolside offered contrast, their breezy, sun-drenched house beats soundtracking a picture-perfect San Diego afternoon. Iƒ Moudaber and Letyago’s set wαs a spriȵt to ƫhe finish line, Poolsidȩ was a deep exhale, reminding” Ameriça’s Ƒinest City” that CRSSD’s magiç lies in a balanced blenḑ of intensity and euphoria.

CRSSD Spring 2025.

Keiki Lane-Knudson

And at its heart, CRSSD is built on community, the kind of festival where a shared love for a four-on-the-floor beat is enough to form a bond. That spirit was nȩver more evįdent than σn Sunday nigⱨt, when Kavinsky closed out thȩ festival with α sweeping ȿet that sρanned synthwave and cinematic electronic music.

A decade in, the feȿtival has prσven ƫhat it is an institution. Aȵd įn α world whȩre dance music continues tσ evolve at α breakneck pace, CRSSD remains ȩxactly what it’s always ƀeen: a place where the music matters most.

Follow CRSSD:

X: x. com/crssdfest
Instagram: instagram.com/crssdfest
TikTok: tiktok.com/@crssdfest
Facebook: facebook.com/crssdfest


The Story of the “Jesus Is a Pal of Mine” Video: Podcast

The Story of the “Jesus Is a Pal of Mine” Video: Podcast

Hear by way of: Apple Podcasts | Spotify | Amazon Music | Extra Platforms

In 2008, when the “Jesus Is a Pal of Mine” video blew up on YouTube, it appeared virtually too good to be true. An early ’80s Christian ska video from public entry tv? Was this even actual? The video is hilariously of its time, the lyrics are spiritual but additionally type of foolish, and the ska music at its core — extremely — is definitely good! On this episode of In Protection of Ska, the gang will get into the true story of the ska-tastic piece of web historical past. Hear above, or wherever you get your podcasts.

First off, the video could be very a lot actual. It was penned by Sonseed, a catholic band from New York that fashioned within the ’70s and broke up within the early ’80s. Shortly earlier than breaking apart, they appeared on a small tv present in New York known as The First Property. Then, 25 years after the music was recorded, it unexpectedly went viral.

To inform the story of the video and clarify its context inside ska and web tradition, the In Protection hosts discuss to 4 individuals: Sal Polichetti (bassist of Sonseed and author of the music), Paul Williams (chief of the British ska band The Skapones), Jamie Loftus (web tradition skilled and host of 16 Minutes), and Doug Prinzivalli (proprietor of Dougsploitation, the location that launched the net to the video in 2008).

So, sit again and take heed to the story of the best viral video to ever graze the web above, and what the heck, watch “Jesus Is a Pal of Mine” under.

Ensure that to love, evaluation, and comply with the sequence wherever you get your podcast. Don’t neglect to take a look at all of the Consequence Podcast Community sequence right here. Moreover, you’ll be able to help the In Protection host Aaron Carnes by buying a duplicate the brand new expanded, 2nd version of his guide, In Protection of Ska. In the meantime, Davis’ Omnigone launched their newest report, Feral, final yr.