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Introducing… SSL 18 – A New Era Has Begun. SSL 18 is the first-ever rackmount USB audio interface from Solid State Logic. Developed using SSL's unmatched expertise in analogue and digital design, SSL 18 offers exceptional audio performance with a studio session-ready feature set, delivered with the signature SSL...

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15,373 Aufrufe • vor 1 Jahr •via X (Twitter)

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Mulindwa Rodneyvor 1 Jahr

@larryrealmusic

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Eli Schwartzvor 1 Jahr

SEO is not dead in the AI generation. It just needs to be adapted to a new reality. Check out my podcast with @lennysan YouTube: Spotify: Apple:

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Pingouin des ténèbres 🐧🐧🐧vor 1 Jahr

Now, the only missing part is an analog summing rack

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Thomas H. aus M.vor 1 Jahr

😍 It‘s 1/3 of the price that I expected when reading through the newsletter!! 😀

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JustSomeGuyvor 1 Jahr

$999 MSRP would have been a banger😎

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Sonixvor 1 Jahr

Namm booth #?

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I deployed Open SaaS to OpenShip (OpenShip)! It was my first time successfully self-hosting an app on a Hetzner VPS. The video below summarises what it took to get it done, and some of my thoughts on the process and platform, e.g.: - Server: Hetzner CPX22 4GB RAM, 80GB disk, with Ubuntu 24.04 -> $23/month - Create an SSH key locally, add it in Hetzner, and set up firewall rules - Add the server in OpenShip - Buy domain, point it at VPS - Write a Docker Compose file and Dockerfiles so OpenShip would deploy all three parts of Open SaaS stack (react, expressjs, postgres) as one unit - Set Env Vars - Add domain TXT records and get SSL certs Things I like: - Auto-deploy from GitHub pushes. - OpenShip handles domains, certs, and SSL provisioning for you. - Built-in jobs and backups: nightly database backups called out as a genuinely cool feature. - Satisfaction of ending up with a fully self-hosted SaaS. Things I didn't like: - The "$5/month VPS" everyone talks about wasn't actually available in any region. Ended up at $23/month. SAD. - OpenShip is still in beta and I hit multiple bugs. - Deploying anything multi-service isn't a first class citizen on OpenShip yet / requires hand-writing Docker config. - Whether to run your own mail server on a VPS is contested. Verdict: - At $23/month, managed hosting providers still look like better value until you have serious traffic, given how little you have to think about. - Would use it for hobby apps and small projects; wouldn't put an important or high-traffic SaaS on it yet until I trust OpenShip more and understand self-hosting better.
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I deployed Open SaaS to OpenShip (OpenShip)! It was my first time successfully self-hosting an app on a Hetzner VPS. The video below summarises what it took to get it done, and some of my thoughts on the process and platform, e.g.: - Server: Hetzner CPX22 4GB RAM, 80GB disk, with Ubuntu 24.04 -> $23/month - Create an SSH key locally, add it in Hetzner, and set up firewall rules - Add the server in OpenShip - Buy domain, point it at VPS - Write a Docker Compose file and Dockerfiles so OpenShip would deploy all three parts of Open SaaS stack (react, expressjs, postgres) as one unit - Set Env Vars - Add domain TXT records and get SSL certs Things I like: - Auto-deploy from GitHub pushes. - OpenShip handles domains, certs, and SSL provisioning for you. - Built-in jobs and backups: nightly database backups called out as a genuinely cool feature. - Satisfaction of ending up with a fully self-hosted SaaS. Things I didn't like: - The "$5/month VPS" everyone talks about wasn't actually available in any region. Ended up at $23/month. SAD. - OpenShip is still in beta and I hit multiple bugs. - Deploying anything multi-service isn't a first class citizen on OpenShip yet / requires hand-writing Docker config. - Whether to run your own mail server on a VPS is contested. Verdict: - At $23/month, managed hosting providers still look like better value until you have serious traffic, given how little you have to think about. - Would use it for hobby apps and small projects; wouldn't put an important or high-traffic SaaS on it yet until I trust OpenShip more and understand self-hosting better.

Vinny

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🎥 Today we’re premiering Meta Movie Gen: the most advanced media foundation models to-date. Developed by AI research teams at Meta, Movie Gen delivers state-of-the-art results across a range of capabilities. We’re excited for the potential of this line of research to usher in entirely new possibilities for casual creators and creative professionals alike. More details and examples of what Movie Gen can do ➡️ 🛠️ Movie Gen models and capabilities Movie Gen Video: 30B parameter transformer model that can generate high-quality and high-definition images and videos from a single text prompt. Movie Gen Audio: A 13B parameter transformer model that can take a video input along with optional text prompts for controllability to generate high-fidelity audio synced to the video. It can generate ambient sound, instrumental background music and foley sound — delivering state-of-the-art results in audio quality, video-to-audio alignment and text-to-audio alignment. Precise video editing: Using a generated or existing video and accompanying text instructions as an input it can perform localized edits such as adding, removing or replacing elements — or global changes like background or style changes. Personalized videos: Using an image of a person and a text prompt, the model can generate a video with state-of-the-art results on character preservation and natural movement in video. We’re continuing to work closely with creative professionals from across the field to integrate their feedback as we work towards a potential release. We look forward to sharing more on this work and the creative possibilities it will enable in the future.
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🎥 Today we’re premiering Meta Movie Gen: the most advanced media foundation models to-date. Developed by AI research teams at Meta, Movie Gen delivers state-of-the-art results across a range of capabilities. We’re excited for the potential of this line of research to usher in entirely new possibilities for casual creators and creative professionals alike. More details and examples of what Movie Gen can do ➡️ 🛠️ Movie Gen models and capabilities Movie Gen Video: 30B parameter transformer model that can generate high-quality and high-definition images and videos from a single text prompt. Movie Gen Audio: A 13B parameter transformer model that can take a video input along with optional text prompts for controllability to generate high-fidelity audio synced to the video. It can generate ambient sound, instrumental background music and foley sound — delivering state-of-the-art results in audio quality, video-to-audio alignment and text-to-audio alignment. Precise video editing: Using a generated or existing video and accompanying text instructions as an input it can perform localized edits such as adding, removing or replacing elements — or global changes like background or style changes. Personalized videos: Using an image of a person and a text prompt, the model can generate a video with state-of-the-art results on character preservation and natural movement in video. We’re continuing to work closely with creative professionals from across the field to integrate their feedback as we work towards a potential release. We look forward to sharing more on this work and the creative possibilities it will enable in the future.

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2,265,334 Aufrufe • vor 1 Jahr

CHARLIE KIRK MICROPHONE UPDATE: Candace Owens addressed the wireless mic that Charlie was using and how it was a newer feature on Charlie's tour. Charlie was wearing a Rode Wireless PRO, which comes standard with a lapel magnet, 2 storage cases/computer docks, 32-bit sound, and internal device recording & storage. FUNCTIONS: ▪️With the Wireless PRO model, it begins recording the moment it's removed from the case/docking station. ▪️Once the mic is removed from the case & recording, it can only be turned off remotely—neither Charlie nor the security team could have turned it off. It communicates with the computer-connected receiver assembly on a 2.4 GHz digital transmission link with a range of 850 feet at most. Beyond that, Philip Goldsberry would not have had the capability to turn it off, either. Which means it should/could have recorded indefinitely, because Philip fled and didn't return to the scene until after Charlie was driven away. Alternatively, it can be turned off using the app + bluetooth, but Philip Goldsberry would have had to be in bluetooth range. But he wasn't. ▪️All audio was captured, recorded & stored on the mic itself. The 32-bit sound captures quiet whispers, loud shouts & everything in between. Implications: Unless that microphone was destroyed, it was recording everything—including the trip to the hospital and even after that. TPUSA and/or Philip Goldsberry should have ALL of the audio. Where is that mic? Where are the audio files? What audio did it pick up? Shouldn't TPUSA provide that audio feed? Why haven't we heard anything about this AT ALL from TPUSA? Surely someone has listened to that recording, right? RIGHT?
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CHARLIE KIRK MICROPHONE UPDATE: Candace Owens addressed the wireless mic that Charlie was using and how it was a newer feature on Charlie's tour. Charlie was wearing a Rode Wireless PRO, which comes standard with a lapel magnet, 2 storage cases/computer docks, 32-bit sound, and internal device recording & storage. FUNCTIONS: ▪️With the Wireless PRO model, it begins recording the moment it's removed from the case/docking station. ▪️Once the mic is removed from the case & recording, it can only be turned off remotely—neither Charlie nor the security team could have turned it off. It communicates with the computer-connected receiver assembly on a 2.4 GHz digital transmission link with a range of 850 feet at most. Beyond that, Philip Goldsberry would not have had the capability to turn it off, either. Which means it should/could have recorded indefinitely, because Philip fled and didn't return to the scene until after Charlie was driven away. Alternatively, it can be turned off using the app + bluetooth, but Philip Goldsberry would have had to be in bluetooth range. But he wasn't. ▪️All audio was captured, recorded & stored on the mic itself. The 32-bit sound captures quiet whispers, loud shouts & everything in between. Implications: Unless that microphone was destroyed, it was recording everything—including the trip to the hospital and even after that. TPUSA and/or Philip Goldsberry should have ALL of the audio. Where is that mic? Where are the audio files? What audio did it pick up? Shouldn't TPUSA provide that audio feed? Why haven't we heard anything about this AT ALL from TPUSA? Surely someone has listened to that recording, right? RIGHT?

Sam Parker 🇺🇸🧯

886,233 Aufrufe • vor 1 Monat

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I wanted to show you guys how hard we've been working to get the Diddy Kong Racing decompilation to run this well on the Sega Dreamcast... So I took the liberty of splicing together some high-action moneyshots directly captured from the console for a look at how the game currently performs. Just a few days ago, it was dipping to below 20FPS with audio cutting in and out as the main thread couldn't keep up with the audio decoding while simultaneously handling rendering and game logic. I know, I know, how could a Dreamcast struggle with an N64 game? It's because these decompilations are written to essentially emulate the N64's unique hardware as accurately as possible. In this case, that means the Dreamcast's main SH4 CPU is emulating all audio decoding, mixing, and synthesis in software, including DSP effects. This was originally handled separately by the RSP coprocessor in the N64... Not wanting to have to rewrite the entire audio back-end to use the DC's AICA sound processor, I've vectorized the absolute living HELL out of the ADPCM decoder with my SH4ZAM library... Which gave us enough performance out of the SH4 to continue emulating all of the sound processing in software. You will notice in the footage that the only time the FPS isn't at solid 30 is when there is a lot of overlapping SFX from nearby racers chattering or items getting used. That's the SH4 having to work even harder to mix multiple audio channels together and possibly even apply DSP effects to them as well!

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ELON MUSK: "Optimus will be the biggest product ever, but it is a very complex problem to solve. It's one of the hardest things to solve, to make an autonomous humanoid robot that can do tasks that, if you simply ask it to do something or show it a video, it can do the task without any programming. No one's ever achieved this, and there are many challenges in the design of the robot to achieve sufficient dexterity and to be very reliable and have long wear and tear, meaning it needs to be out in the field and not break down. Otherwise, you've got sort of a 70 kilogram robot that just flopped over and you've got to carry it out like a body, you know, it doesn't have wheels. And we don't want Optimus to go haywire. So it's a lot of work to scale, to get the design right and to scale production. This is going to be the hardest product to scale manufacturing that we've ever made at Tesla because everything on the robot is new. And the difficulty of scaling the production ramp is proportionate to the newness of the parts in the robot. With Optimus, there is no supply chain. So we've had to build up a supply chain in its entirety or in-house the production. The Optimus production line that we're building out in Fremont in place of what used to be the Model S & X production, it looks incredible. It's quite stunning to see."
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ELON MUSK: "Optimus will be the biggest product ever, but it is a very complex problem to solve. It's one of the hardest things to solve, to make an autonomous humanoid robot that can do tasks that, if you simply ask it to do something or show it a video, it can do the task without any programming. No one's ever achieved this, and there are many challenges in the design of the robot to achieve sufficient dexterity and to be very reliable and have long wear and tear, meaning it needs to be out in the field and not break down. Otherwise, you've got sort of a 70 kilogram robot that just flopped over and you've got to carry it out like a body, you know, it doesn't have wheels. And we don't want Optimus to go haywire. So it's a lot of work to scale, to get the design right and to scale production. This is going to be the hardest product to scale manufacturing that we've ever made at Tesla because everything on the robot is new. And the difficulty of scaling the production ramp is proportionate to the newness of the parts in the robot. With Optimus, there is no supply chain. So we've had to build up a supply chain in its entirety or in-house the production. The Optimus production line that we're building out in Fremont in place of what used to be the Model S & X production, it looks incredible. It's quite stunning to see."

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Announcing Innovative Dreams, a new production company by Luma and Wonder Project built by filmmakers for filmmakers, and our first production — Moses starring Sir Ben Kingsley, coming this Spring on Prime Video. AI is a fundamental change to the craft and business of filmmaking, and through ID, we are building a new production process for this era — one that brings Humans and AI together to enable great storytelling. We call it Hybrid Production — actors, artists, and generative AI working together in Luma. In real time. Innovative Dreams is a production services company where seasoned filmmakers from Director Jon Erwin's team and Luma's creative technologists work with great studios and filmmakers to help them realize ambitious ideas. It's a liberating force. Hybrid Production enables actors, directors, and artists to work together in real time. Creative teams collaborate with Luma Agents live and make changes to sets, props, lighting, and bring in performance capture from human actors. This is a significant improvement over the current virtual production and performance capture processes where things come together only in post. This is the leverage of AI — not just faster or cheaper, but better than what came before. We have built the first Hybrid Filmmaking studio at Manhattan Beach Studios where Moses is being shot. ID is significantly oversubscribed with demand and is actively growing the team to extend its services to more studios and filmmakers. Read more:

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A Space "Carousel": All About the CF-18 Centrifuge When people hear the word "centrifuge," many immediately picture a playground merry-go-round. However, the CF-18 is not an amusement park ride, but a training device that prepares cosmonauts for spaceflight. ▶️ The CF-18’s purpose is to simulate—here on Earth—the G-forces a person will encounter in space, such as during a spacecraft's launch into orbit and its descent back to Earth. However, G-forces in space vary; the direction of the force differs depending on whether the craft is accelerating or decelerating. Therefore, simply spinning the cabin around a single axis is not enough. How It Works Its key feature is a long radius of rotation (18 meters). This is no accident: at such a distance, the effect of Coriolis acceleration on the vestibular system is minimized. The occupant stops feeling the rotation itself and perceives the load as if moving in a straight line—exactly as they would during an actual spaceflight. A Complex, Multi-Component Design It consists of an 18-meter-long steel arm with a tubular structure; at the end of the arm sits a pressurized, two-seat cabin equipped with special seats for conducting training sessions and experiments. The cabin is attached to the arm via a gimbal mount—comprising a "yoke" and a "ring"—which allows for the precise setting and tracking of the required G-force vector direction. Capabilities The CF-18 can not only generate G-forces (up to 30g, though cosmonaut training typically involves up to 8g) but also alter the cabin's internal microclimate: adjusting pressure, temperature, humidity, and even air composition. This enables the simulation of various stages of a flight. Throughout the training session, the occupant's physical condition is continuously monitored by medical personnel.

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The first time I saw MPH was at the Do Lab at Coachella this year and his set was awesome. His 2 hour set at Elsewhere in New York last night blew his Coachella set out of the water. The set started off strong and energetic and just kept getting better and better as it went on. He kept pushing boundaries with his sounds throughout the set - with a blend of UKG & bass house, mixing in some tasteful wubs and even techno leaning tracks at one point. I felt like I was hearing so many different styles of music and yet mixing was flawless. Every song transitioned so well into one another. MPH has taken UKG and added his own spin, completely reinventing the wheel. What a performance. As for Elsewhere, it’s frustrating that a venue that has the potential to be so cool brings in the type of crowd that has no idea who the DJ is. People in the crowd were brutal all night and it was insanely packed.
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The first time I saw MPH was at the Do Lab at Coachella this year and his set was awesome. His 2 hour set at Elsewhere in New York last night blew his Coachella set out of the water. The set started off strong and energetic and just kept getting better and better as it went on. He kept pushing boundaries with his sounds throughout the set - with a blend of UKG & bass house, mixing in some tasteful wubs and even techno leaning tracks at one point. I felt like I was hearing so many different styles of music and yet mixing was flawless. Every song transitioned so well into one another. MPH has taken UKG and added his own spin, completely reinventing the wheel. What a performance. As for Elsewhere, it’s frustrating that a venue that has the potential to be so cool brings in the type of crowd that has no idea who the DJ is. People in the crowd were brutal all night and it was insanely packed.

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.Tesla Model Y Performance Driving Review: In this video, I share my hands-on experience driving the refreshed 2026 Tesla Model Y Performance Key Highlights: Blistering Performance: 510 HP dual-motor AWD, 0-60 mph in 3.3 seconds, top speed 155 mph – owners call it a "supercar slayer" with "insane" acceleration that stands out in the EV world. Upgraded Ride & Handling: Adaptive suspension in Standard and Sport modes; smoother and more refined than the old model for a sportier feel. Comfort Upgrades: Best-in-class seats with heating, ventilation, and thigh extensions (10/10 comfort from users); quieter cabin thanks to sound-damping and acoustic glass; premium audio system that's "voluminous and clear." Practicality: 306-mile EPA range, massive cargo space (frunk + trunk), Vehicle-to-Load (V2L) capability, and a larger 16" high-res touchscreen. This is by the far the best Performance EV and family sports car.

Tesla Owners Silicon Valley

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1:40

Introducing Quad Cortex mini Quad Cortex mini delivers the full Quad Cortex experience in our most compact, usable format yet, without cutting corners. It brings the same processing power, audio quality, Neural Capture technology, and 7” touchscreen in a footprint that fits effortlessly into pedalboards, modern rigs, or on your desktop. Built for exceptional performance at its size and price, Quad Cortex mini makes it easy to dial in world-class sounds, explore a vast range of amps, effects, and Captures, and build rigs without creative limits wherever you play. Whether you’re stepping into the Quad Cortex platform for the first time or already feel at home, Quad Cortex mini shares the same platform and workflow, making great sounds fast, intuitive, and deeply rewarding from the first note. Quad Cortex mini is available now from select dealers. Find out more at

Neural DSP

327,409 Aufrufe • vor 6 Monaten

WARNING: LOUD SCREAMING 🚨 The original 4 Minutes premiere sound file I thought was lost in time! On December 16, 2007, Timbaland premiered 4 Minutes—or "4 Minutes to Save the World," as it was rumored to be titled at the time—at Q102's Jingle Ball in Philadelphia (Camden, NJ). The recording immediately surfaced online, spreading like wildfire across music blogs, fan forums, and early social media platforms. The Leak & Online Reaction As soon as the audio hit the internet, fans dissected Madonna’s new sound, heavily influenced by Timbaland and Justin Timberlake's signature production style. The upbeat, marching-band-inspired beat and energetic hook sparked mixed reactions—some were shocked by Madonna’s shift toward a more urban pop sound, while others praised it as a fresh, radio-friendly evolution of her music. After months of anticipation, 4 Minutes was officially released on March 17, 2008, as the lead single from Hard Candy. The track became a global hit, reaching #3 on the Billboard Hot 100 and #1 in over 20 countries, including the UK, Canada, and Australia. The song remains one of Madonna's most commercially successful singles, marking a bold collaboration between three of the biggest artists of the 2000s and further solidifying her ability to reinvent herself for each new era. #Madonna4Minutes
2:57

WARNING: LOUD SCREAMING 🚨 The original 4 Minutes premiere sound file I thought was lost in time! On December 16, 2007, Timbaland premiered 4 Minutes—or "4 Minutes to Save the World," as it was rumored to be titled at the time—at Q102's Jingle Ball in Philadelphia (Camden, NJ). The recording immediately surfaced online, spreading like wildfire across music blogs, fan forums, and early social media platforms. The Leak & Online Reaction As soon as the audio hit the internet, fans dissected Madonna’s new sound, heavily influenced by Timbaland and Justin Timberlake's signature production style. The upbeat, marching-band-inspired beat and energetic hook sparked mixed reactions—some were shocked by Madonna’s shift toward a more urban pop sound, while others praised it as a fresh, radio-friendly evolution of her music. After months of anticipation, 4 Minutes was officially released on March 17, 2008, as the lead single from Hard Candy. The track became a global hit, reaching #3 on the Billboard Hot 100 and #1 in over 20 countries, including the UK, Canada, and Australia. The song remains one of Madonna's most commercially successful singles, marking a bold collaboration between three of the biggest artists of the 2000s and further solidifying her ability to reinvent herself for each new era. #Madonna4Minutes

Madonna Ultimate

15,566 Aufrufe • vor 1 Jahr

“Genie in a Bottle” is the debut single from Christina Aguilera’s self-titled 1999 album. The track became an instant worldwide success, spending five weeks at #1 on the Billboard Hot 100. It also reached #1 in Canada, #2 in the UK, #2 in New Zealand, #5 in Australia, and the Top 10 in several European countries. Christina was only 18 years old when the song was released. Before releasing her debut album, she had already caught the industry's attention with "Reflection" from Disney's Mulan (1998), a performance that helped her secure a recording contract. "Genie in a Bottle" was co-written by hitmaker Steve Kipner, who also co-wrote Chicago's "Hard to Say I'm Sorry", and was later recorded in Spanish as "Genio Atrapado" for the Latin American edition of Aguilera's debut album. The single earned Aguilera a Grammy Award nomination for Best Female Pop Vocal Performance and paved the way for her Best New Artist win at the 42nd Grammy Awards in 2000.
2:48

“Genie in a Bottle” is the debut single from Christina Aguilera’s self-titled 1999 album. The track became an instant worldwide success, spending five weeks at #1 on the Billboard Hot 100. It also reached #1 in Canada, #2 in the UK, #2 in New Zealand, #5 in Australia, and the Top 10 in several European countries. Christina was only 18 years old when the song was released. Before releasing her debut album, she had already caught the industry's attention with "Reflection" from Disney's Mulan (1998), a performance that helped her secure a recording contract. "Genie in a Bottle" was co-written by hitmaker Steve Kipner, who also co-wrote Chicago's "Hard to Say I'm Sorry", and was later recorded in Spanish as "Genio Atrapado" for the Latin American edition of Aguilera's debut album. The single earned Aguilera a Grammy Award nomination for Best Female Pop Vocal Performance and paved the way for her Best New Artist win at the 42nd Grammy Awards in 2000.

Ladytron Fan Account

14,642 Aufrufe • vor 17 Tagen

Stars on '45, by Stars on '45 (1981). This is one of those important songs of modern pop music that often gets ignored. No don't laugh, it is! Let me explain... There were a few medley singles released in the 1970s, mostly as gimmicks. But producer Jaap Eggermont and music publisher and DJ Willem van Kooten took the idea and made it solid gold. Having heard a bootleg 12" medley in 1980 called 'Let's Do It in the 80's Great Hits' van Kooten realised that splicing different song snippets with a clap track in the background was a sure fire way to make a hit single. He made the wise choice to licence the music he wanted and to re-record it with session musicians under the direction of Jaap Eggermont, with strong quality control. Up to that point licensed re-recordings tended to be lower quality gimmick albums, such as Pickwick's Top of the Pops range in the UK. Crucially he also recorded a unique drum loop and a short sting to separate the medley tracks whilst keeping a consistent beat. The whole thing was carefully mixed together using analogue mixing and pressed as a 7 inch. It was a worldwide hit, with many follow-up singles and albums from the Stars on '45 crew. It also spawned a range of imitators in various genres: Hooked on Classics, Startrax and a range of one off medley singles under various names from Shakatak's Nigel Wright. Jive Bunny and the Master Mixers borrowed the template in the late '80s, there were also House music medleys called Jack Mixes and a range of Spanish mixes by Tortuga Rebel. The modern mash-up owes a lot to Stars on '45, and the fact that this was all analogue is impressive. The production quality is good as is the mixing. Whilst the medley fad has faded van Kooten and Eggermont still deserve kudos for refining and popularising the format.
0:42

Stars on '45, by Stars on '45 (1981). This is one of those important songs of modern pop music that often gets ignored. No don't laugh, it is! Let me explain... There were a few medley singles released in the 1970s, mostly as gimmicks. But producer Jaap Eggermont and music publisher and DJ Willem van Kooten took the idea and made it solid gold. Having heard a bootleg 12" medley in 1980 called 'Let's Do It in the 80's Great Hits' van Kooten realised that splicing different song snippets with a clap track in the background was a sure fire way to make a hit single. He made the wise choice to licence the music he wanted and to re-record it with session musicians under the direction of Jaap Eggermont, with strong quality control. Up to that point licensed re-recordings tended to be lower quality gimmick albums, such as Pickwick's Top of the Pops range in the UK. Crucially he also recorded a unique drum loop and a short sting to separate the medley tracks whilst keeping a consistent beat. The whole thing was carefully mixed together using analogue mixing and pressed as a 7 inch. It was a worldwide hit, with many follow-up singles and albums from the Stars on '45 crew. It also spawned a range of imitators in various genres: Hooked on Classics, Startrax and a range of one off medley singles under various names from Shakatak's Nigel Wright. Jive Bunny and the Master Mixers borrowed the template in the late '80s, there were also House music medleys called Jack Mixes and a range of Spanish mixes by Tortuga Rebel. The modern mash-up owes a lot to Stars on '45, and the fact that this was all analogue is impressive. The production quality is good as is the mixing. Whilst the medley fad has faded van Kooten and Eggermont still deserve kudos for refining and popularising the format.

Pulp Librarian

20,084 Aufrufe • vor 17 Tagen

* NEW FROM THE CHIRLA FILES * CHIRLA, the taxpayer-funded nonprofit that has been fomenting opposition to immigration enforcement in Los Angeles, owns a film production company that has produced a full-length feature. CHIRLA’s “beleaguered” Executive Director, Angelica Salas, is credited as the Executive Producer of the movie. Seems strange for a nonprofit, right? Pouring over its publicly available financial records, there appear to be a number of irregularities—though I do not have the expertise to form a definitive opinion about whether there was actual malfeasance. Here are the details. As background to CHIRLA’s film-making enterprise: In 2018, the organization produced a 20-minute short called “America, I Too,” which was shown at some film festivals. According to its website, this was “the second film in the series following the first short, ‘Know Your Rights’ created in 2007.” The video by that name that I found online is ten minutes long and has poor production values. CHIRLA incorporated its film company, called CHIRLA Liberty Film, LLC, in January 2019. It is entirely owned by the nonprofit, and its finances are consolidated in CHIRLA’s financial audits. The audit for the year ending June 30, 2019, lists film production costs in the amount of $242,413 and $28,764 from 2018, noting that they relate to the “various costs associated with the production of a film.” The audit, however, does not mention the existence of the film company. Strangely, CHIRLA’s Form 990 (the tax form filed by nonprofits with the IRS) for 2019 also does not reference either the company or the costs of film production. Every year beginning in 2019, CHIRLA’s audits state: “Upon completion of the film, the Organization will review its total revenue estimates from the film, which may result in a change in the rate of amortization and/or a write-down of the film production costs to fair value.” But confusingly, there are never any revenue estimates provided in any audit. The cost of the film production is simply listed as an asset each year. CHIRLA’s 2020 audit is the first to acknowledge the existence of the film company: “CHIRLA has teamed up with CHIRLA Liberty Films LLC to bring to life a dramatized film series about undocumented immigrants called Know Your Rights.” It’s a strange statement, given that the “Know Your Rights” video was produced in 2007. The 2020 audit lists $124,483 as an additional investment in the production of the unnamed film, and the Form 990 for that year lists a cumulative investment in film production of $366,896. Its financials for 2021 are essentially consistent, showing an additional $419,052 spent on the film, totaling $785,948. CHIRLA’s 2022 audit adds $151,658 in production costs, and the 2023 audit adds another $109,437, for a grand total of $1,047,043. Both audits state that the film still had not been completed as of June 30 of their respective years. But contradictorily, CHIRLA’s feature-length film—titled “America’s Family”—is listed on IMDb with a release date in 2022, and there are websites advertising showings in Los Angeles and Boston in June 2022—prior to June 30. Though CHIRLA’s Form 990s for 2020 and 2021 list a dollar value under “Investment in Liberty Film,” the Form 990s for 2022 and 2023 include no record of the investment in film production or acknowledgment of the wholly owned film company. After the initial showing of “America’s Family” in June 2022, the film had a number of additional showings in late 2023. In late 2024, CHIRLA presented the film for free or low cost at several local community centers in Mexico. It is now available for streaming on Amazon Prime. I know little about the film industry, but my suspicion is that the company may have spent more on these screenings than it earned in revenue. This brings me back to the auditor’s recurring statement: “Upon completion of the film, the Organization will review its total revenue estimates from the film, which may result in a change in the rate of amortization and/or a write-down of the film production costs to fair value.” Again, the audit does not include revenue estimates, so it is difficult to guess what this refers to. The $1 million spent on film production was considered an asset on financials. On what planet would this film break even? And what is the movie like? Judging from the trailer, it’s clichéd propaganda. It presents an idyllic life of a Spanish-speaking “American” family, suddenly torn apart by brutal ICE agents. You can judge its artistic merit for yourself. More important will be the judgment about the legality of CHIRLA’s financial filings.
1:02

* NEW FROM THE CHIRLA FILES * CHIRLA, the taxpayer-funded nonprofit that has been fomenting opposition to immigration enforcement in Los Angeles, owns a film production company that has produced a full-length feature. CHIRLA’s “beleaguered” Executive Director, Angelica Salas, is credited as the Executive Producer of the movie. Seems strange for a nonprofit, right? Pouring over its publicly available financial records, there appear to be a number of irregularities—though I do not have the expertise to form a definitive opinion about whether there was actual malfeasance. Here are the details. As background to CHIRLA’s film-making enterprise: In 2018, the organization produced a 20-minute short called “America, I Too,” which was shown at some film festivals. According to its website, this was “the second film in the series following the first short, ‘Know Your Rights’ created in 2007.” The video by that name that I found online is ten minutes long and has poor production values. CHIRLA incorporated its film company, called CHIRLA Liberty Film, LLC, in January 2019. It is entirely owned by the nonprofit, and its finances are consolidated in CHIRLA’s financial audits. The audit for the year ending June 30, 2019, lists film production costs in the amount of $242,413 and $28,764 from 2018, noting that they relate to the “various costs associated with the production of a film.” The audit, however, does not mention the existence of the film company. Strangely, CHIRLA’s Form 990 (the tax form filed by nonprofits with the IRS) for 2019 also does not reference either the company or the costs of film production. Every year beginning in 2019, CHIRLA’s audits state: “Upon completion of the film, the Organization will review its total revenue estimates from the film, which may result in a change in the rate of amortization and/or a write-down of the film production costs to fair value.” But confusingly, there are never any revenue estimates provided in any audit. The cost of the film production is simply listed as an asset each year. CHIRLA’s 2020 audit is the first to acknowledge the existence of the film company: “CHIRLA has teamed up with CHIRLA Liberty Films LLC to bring to life a dramatized film series about undocumented immigrants called Know Your Rights.” It’s a strange statement, given that the “Know Your Rights” video was produced in 2007. The 2020 audit lists $124,483 as an additional investment in the production of the unnamed film, and the Form 990 for that year lists a cumulative investment in film production of $366,896. Its financials for 2021 are essentially consistent, showing an additional $419,052 spent on the film, totaling $785,948. CHIRLA’s 2022 audit adds $151,658 in production costs, and the 2023 audit adds another $109,437, for a grand total of $1,047,043. Both audits state that the film still had not been completed as of June 30 of their respective years. But contradictorily, CHIRLA’s feature-length film—titled “America’s Family”—is listed on IMDb with a release date in 2022, and there are websites advertising showings in Los Angeles and Boston in June 2022—prior to June 30. Though CHIRLA’s Form 990s for 2020 and 2021 list a dollar value under “Investment in Liberty Film,” the Form 990s for 2022 and 2023 include no record of the investment in film production or acknowledgment of the wholly owned film company. After the initial showing of “America’s Family” in June 2022, the film had a number of additional showings in late 2023. In late 2024, CHIRLA presented the film for free or low cost at several local community centers in Mexico. It is now available for streaming on Amazon Prime. I know little about the film industry, but my suspicion is that the company may have spent more on these screenings than it earned in revenue. This brings me back to the auditor’s recurring statement: “Upon completion of the film, the Organization will review its total revenue estimates from the film, which may result in a change in the rate of amortization and/or a write-down of the film production costs to fair value.” Again, the audit does not include revenue estimates, so it is difficult to guess what this refers to. The $1 million spent on film production was considered an asset on financials. On what planet would this film break even? And what is the movie like? Judging from the trailer, it’s clichéd propaganda. It presents an idyllic life of a Spanish-speaking “American” family, suddenly torn apart by brutal ICE agents. You can judge its artistic merit for yourself. More important will be the judgment about the legality of CHIRLA’s financial filings.

Laura Powell

23,203 Aufrufe • vor 1 Jahr

1999 Trek OCLV 5500 56cm US Postal Team Replica | NOS Dura-Ace 7700 | Rolf Vector Pro | Tour de France The Bike: This bicycle is a faithful tribute to Trek's legendary 1999 OCLV 5500, one of the most influential racing bicycles ever produced. Finished in the iconic US Postal Service team colours unique to the 1999 season, it celebrates a machine that helped define a new era of carbon fibre performance. Built as a collector's piece with meticulous attention to period detail, it is equally suited to display or to be enjoyed on the road. The History: The 1999 Trek 5500 OCLV US Postal is one of the most significant racing bicycles of the modern era. Developed by Trek using its pioneering OCLV (Optimum Compaction, Low Void) carbon fibre technology, it became the first production full-carbon bicycle to be ridden to overall victory in the 1999 Tour de France. The 5500 demonstrated that carbon fibre had reached the highest level of professional racing and established Trek as one of the world's leading performance bicycle manufacturers.
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1999 Trek OCLV 5500 56cm US Postal Team Replica | NOS Dura-Ace 7700 | Rolf Vector Pro | Tour de France The Bike: This bicycle is a faithful tribute to Trek's legendary 1999 OCLV 5500, one of the most influential racing bicycles ever produced. Finished in the iconic US Postal Service team colours unique to the 1999 season, it celebrates a machine that helped define a new era of carbon fibre performance. Built as a collector's piece with meticulous attention to period detail, it is equally suited to display or to be enjoyed on the road. The History: The 1999 Trek 5500 OCLV US Postal is one of the most significant racing bicycles of the modern era. Developed by Trek using its pioneering OCLV (Optimum Compaction, Low Void) carbon fibre technology, it became the first production full-carbon bicycle to be ridden to overall victory in the 1999 Tour de France. The 5500 demonstrated that carbon fibre had reached the highest level of professional racing and established Trek as one of the world's leading performance bicycle manufacturers.

ClassicAndVintageCycles.Com

38,937 Aufrufe • vor 21 Tagen

"Looks like it got a little hot out there, sir!" Wing Commander (1990) is often considered one of the earliest "AAA" games, even though the term itself didn’t exist yet. Chris Roberts’ game reportedly cost about five times more to develop than a typical hit title of its era, making it by far the most expensive game at the time, and raising eyebrows everywhere. It featured very advanced graphics, digitized speech, a cinematic story campaign with branching paths, countless cutscenes, and a “Star Wars in space” feel that made it stand out massively. At times, it genuinely felt like you were starring in an interactive movie rather than "just" playing a game. Its success raised the bar for the entire industry. Publishers were now forced to invest far more in production quality, bigger budgets, and marketing. Wing Commander sold millions of copies, and helped establish the space sim genre. The game not only paved the way for even larger budgets in its own sequels, but it also pressured other developers and publishers to keep up. Whether this was ultimately good for the industry could still debated today. On one hand, it started an era of cinematic, high-production games. On the other, it made it significantly harder for small teams and low-budget titles to compete, effectively throttling the kind of creativity that had been a hallmark of 1980s game development. With the birth of Wing Commander, the industry had entered a whole new territory.
2:42

"Looks like it got a little hot out there, sir!" Wing Commander (1990) is often considered one of the earliest "AAA" games, even though the term itself didn’t exist yet. Chris Roberts’ game reportedly cost about five times more to develop than a typical hit title of its era, making it by far the most expensive game at the time, and raising eyebrows everywhere. It featured very advanced graphics, digitized speech, a cinematic story campaign with branching paths, countless cutscenes, and a “Star Wars in space” feel that made it stand out massively. At times, it genuinely felt like you were starring in an interactive movie rather than "just" playing a game. Its success raised the bar for the entire industry. Publishers were now forced to invest far more in production quality, bigger budgets, and marketing. Wing Commander sold millions of copies, and helped establish the space sim genre. The game not only paved the way for even larger budgets in its own sequels, but it also pressured other developers and publishers to keep up. Whether this was ultimately good for the industry could still debated today. On one hand, it started an era of cinematic, high-production games. On the other, it made it significantly harder for small teams and low-budget titles to compete, effectively throttling the kind of creativity that had been a hallmark of 1980s game development. With the birth of Wing Commander, the industry had entered a whole new territory.

exQUIZitely 🕹️

23,279 Aufrufe • vor 2 Monaten

The Convair 880, a remarkable yet underappreciated jet airliner in aviation history, completed its final flight in 1991, nearly two decades after its commercial retirement in 1973. Manufactured by Convair, a division of General Dynamics based in the United States, this sleek aircraft was designed to compete with industry giants like the Boeing 707 and Douglas DC-8. Introduced in 1959, the Convair 880 was celebrated for its impressive cruising speed of approximately 615 mph (990 km/h), making it one of the fastest commercial jetliners of its era, capable of rivaling or even surpassing the Boeing 707 in speed. Powered by four General Electric CJ805-3 turbojet engines, it was engineered for efficiency and performance, with a range of about 3,000 miles (4,800 km) and a capacity to carry up to 110 passengers in a typical configuration. Despite its technological achievements, the Convair 880 faced significant challenges. High operating costs, driven by its fuel-hungry engines, and fierce competition from more economical and versatile rivals limited its market success. Production ceased in 1962 after a brief six-year run, with only 65 units built—a stark contrast to the hundreds of Boeing 707s and DC-8s produced. The aircraft primarily served major U.S. carriers like TWA, Delta, and United, but its high costs led to its gradual phase-out by the early 1970s. The final flight in 1991, departing from the Mojave Air and Space Port in California, marked the end of the Convair 880’s operational life, as it was retired to storage or scrapped. Today, the Convair 880 is a rare relic of aviation’s jet age, with only a handful of airframes preserved. Notable examples include one displayed at the Delta Flight Museum in Atlanta and another in private hands, occasionally used for film productions or as a static display. Its sleek, narrow-body design and historical significance as a symbol of the early jet era make the Convair 880 a cherished piece of aviation heritage, though its limited production and short service life render it a largely forgotten gem in the shadow of its more successful competitors.
1:02

The Convair 880, a remarkable yet underappreciated jet airliner in aviation history, completed its final flight in 1991, nearly two decades after its commercial retirement in 1973. Manufactured by Convair, a division of General Dynamics based in the United States, this sleek aircraft was designed to compete with industry giants like the Boeing 707 and Douglas DC-8. Introduced in 1959, the Convair 880 was celebrated for its impressive cruising speed of approximately 615 mph (990 km/h), making it one of the fastest commercial jetliners of its era, capable of rivaling or even surpassing the Boeing 707 in speed. Powered by four General Electric CJ805-3 turbojet engines, it was engineered for efficiency and performance, with a range of about 3,000 miles (4,800 km) and a capacity to carry up to 110 passengers in a typical configuration. Despite its technological achievements, the Convair 880 faced significant challenges. High operating costs, driven by its fuel-hungry engines, and fierce competition from more economical and versatile rivals limited its market success. Production ceased in 1962 after a brief six-year run, with only 65 units built—a stark contrast to the hundreds of Boeing 707s and DC-8s produced. The aircraft primarily served major U.S. carriers like TWA, Delta, and United, but its high costs led to its gradual phase-out by the early 1970s. The final flight in 1991, departing from the Mojave Air and Space Port in California, marked the end of the Convair 880’s operational life, as it was retired to storage or scrapped. Today, the Convair 880 is a rare relic of aviation’s jet age, with only a handful of airframes preserved. Notable examples include one displayed at the Delta Flight Museum in Atlanta and another in private hands, occasionally used for film productions or as a static display. Its sleek, narrow-body design and historical significance as a symbol of the early jet era make the Convair 880 a cherished piece of aviation heritage, though its limited production and short service life render it a largely forgotten gem in the shadow of its more successful competitors.

aircraftmaintenancengineer

14,567 Aufrufe • vor 1 Jahr