Fall Out Boy at the Honda CenterVery few bands have had the longevity of multi-platinum band Fall Out Boy. Since the early 2000s, the band has consistently reinvented their punk-rock sound across their eighth studio album. Their latest project So Much (for) Stardust is filled with addictive anthems, dynamic guitar riffs and euphoric lyrics that redefine their sound. In support of the album the band headed on the road last year for the So Much For (Tour) Dust tour. Due to the huge success the band is back with the encore tour, So Much For (2our) Dust –  a 20+ date run across the US. The band stopped by the Honda Center in Anaheim, CA in March. 4th, joining them this time around was Jimmy Eat World, The Maine, and Daisy Grenade.

The night began with a fun 30-minute performance by punk grunge duo Daisy Grenade. Dani Nigro and Keaton Whittake’s charismatic personas and catchy harmonies won the crowd over. The biggest cheers of the night came when they performed the popular Pierce the Veil cover “King For A Day.” It’s a hard song to sing but the duo gave a memorable rendition. Their style is fresh and youthful, the perfect openers for the night.

Dressed in matching white suits, pop punk band The Maine know how to make an entrance. The band have been busy promoting their ninth self-titled album, The Maine. Their outfits are an homage of the mood and aesthetic of the dance rock project. Frontman John O’Callaghan’s energetic persona had the crowd cheering and dancing along. The band offered the crowd a taste of their diverse catalog with songs including “blame,” “Black Butterflies & Déjà Vu” and “Loved You a Little.” 

Rock bands Jimmy Eat World have been in the music game since the late 90s and are pros at what they do best – perform live. Their music resonated with the crowd as they received one of the biggest applause of the night. The band kicked off their set with the crowd favorites "A Praise Chorus," “Big Casino” and one of their biggest songs to date  “Sweetness.” Frontman Jim Adkins’ powerhouse vocals are a real treat to see live, he has a very distinctive voice that echoes through the entire venue. The band’s hour-long set included fan-favorites “Lucky Denver Mint,” “Pain,” and “The Middle.” 

Before Fall Out Boy made their grand entrance bright red curtains set the theatrical atmosphere as a recording of “The Pink Seashell,” a spoken word piece narrated by Ethan Hawke from So Much (for) Stardust, blasted over the speakers. Their set began with the first single of their new album “Love From the Other Side.” The show featured unique set pieces that set the atmosphere for the night. We were transported from the sea to a mystical forest and later in the night joined by giant doberman puppet. The band is known for their insane use of pyrotechnics and energetic performance. Ahey did not disappoint with awe-dropping moments including Pete Wentz’s iconic flamethrower bass during “Phoenix,” and “My Songs Know What You Did in the Dark (Light Em Up).” Wentz was the biggest hype man of the night, often taking time to chat with the crowd and interacting with them.

The set spanned the band’s extensive career defining discography, keeping old and newer fans happy. Frontman Patrick Stump may say he’s a shy person, but his soulful and versatile vocals made him the center of attention. Towards the middle of the show, he took time to chat with the crowd, revealing he’s currently writing music for television before performing a solo piano medley of “I’ve Got All This Ringing In My Ears and None On My Fingers,” “What a Catch, Donnie” and ending with “Don't Stop Me Now.” Wentz also had some solo time on stage, as he performed a spoken word track, “Baby Annihilation.” Keeping up with the ominous vibes, he held black fabric over his head and disappeared from the stage. Emerging towards the end of the venue in a lifting podium while the band covered Ozzy Osbourne’s “Crazy Train.”

Each night the band calls upon a magic 8 ball to help them with their set list. For this performance, the first song the ball chose was “7 Minutes in Heaven (Atavan Halen)” from the album From Under the Cork Tree. For their next surprise song, the band brought out the band Cobra Starship for a performance of their mega  hit “Good Girls Go Bad.” Marking their first performance since 2014. 

Over the course of two hours, the band had the entire venue dancing along to their immense hit’s including “Sugar, We're Goin Down, “Uma Thurman ""This Ain't a Scene, It's an Arms Race " "Thnks fr th Mmrs.” As is tradition, the band ended their set with the classic “Saturday.”

How Thermal Post-Curing Resin Prints Affects Their StrengthCredit: CNC Kitchen
Resin 3D prints have a reputation for being brittle, but [Stefan] over at [CNC Kitchen] would like to dispel this myth with the thing which we all love: colorful bar graphs backed up by scientifically appropriate experiments. As he rightfully points out, the average resin printer user will just cure a print by putting it in the sunshine or in a curing station that rotates the part in front of some UV lights. This theoretically should cause these photosensitive resins to fully cure, but as the referenced Formlabs documentation and their Form Cure station indicate, there’s definitely a thermal element to it as well.
To test the impact of temperature during the UV curing process, the test parts were put into an oven along with the UV lamp. Following this uncured, ambient cured and parts cured at 40 to 80 ºC were exposed to both tensile strength tests as well as impact strength. The best results came from the Siraya Tech Blu resin cured at 80 ºC, with it even giving FDM-printed parts a run for their money, as the following graphs make clear. This shows the value of thermal post-curing, as it anneals the resin prints. This reduces their impact strength somewhat, but massively improves their tensile strength.

An interesting data point is also that not only does thermal post-curing work during the exposure to the UV source, but also afterwards, even if you lose a few points in the tensile strength test. Although these results are just for this one type of resin, it’s possible that heating the resin prints while UV curing may universally benefit resin prints. This would surely make for a fascinating follow-up study.
Credit: CNC Kitchen
Credit: CNC Kitchen

The women in AI making a differenceAs a part of a multi-part series, TechCrunch is highlighting women innovators — from academics to policymakers —in the field of AI.
© 2024 TechCrunch. All rights reserved. For personal use only.

Ford Patent Wants to Save Internal CombustionThere’s no doubt the venerable internal combustion engine is under fire. A recent patent filing from Ford claims it can dramatically reduce emissions and, if true, the technology might give classic engines a few more years of service life, according to [CarBuzz].
The patent in question centers on improving the evaporative emission system’s performance. The usual evaporative emission system stores fuel fumes in a carbon-filled canister. The canister absorbs fuel vapor when under high pressure. When the engine idles and pressure in the cylinder drops, the canister releases fumes, which are combusted with ordinary fuel/air mixture.

However, these fumes tend to reduce engine performance, which is why you should only use them during idle. If the engine exceeds the canister’s capacity without removing vapor, the residual gasses vent to the atmosphere.
The invention uses a pre-chamber that allows the engine to purge the canister more often and faster. The [Carbuzz] post claims this will improve efficiency, reduce emissions, and reduce carbon deposits on valves.
Of course, there are two big questions: will this be practical at scale production, and how effective will it be? We aren’t sure we could answer either of those questions, especially from arcane patent language.
Engines are an amazing bit of tech and even more complicated now that we care about emissions. The tiny ones are especially awe-inspiring. Then again, if you build your engines with Lego, emissions aren’t really a problem.

Orchestral Tools EQUINOX Bundle & Spring Textures Sale The EQUINOX Bundle comprises five libraries from Orchestral Tools' FABRIK collection, and will be available exclusively as part of their Spring Textures Sale.

Women in AI: Claire Leibowicz, AI and media integrity expert at PAITo give AI-focused women academics and others their well-deserved — and overdue — time in the spotlight, TechCrunch is launching a series of interviews focusing on remarkable women who’ve contributed to the AI revolution. We’ll publish several pieces throughout the year as the AI boom continues, highlighting key work that often goes unrecognized. Read more profiles here. […]
© 2024 TechCrunch. All rights reserved. For personal use only.

A Vanadium Redux Flow Battery You Can BuildVanadium flow batteries are an interesting project, with the materials easily obtainable by the DIY hacker. To that effect [Cayrex2] over on YouTube presents their take on a small, self-contained flow battery created with off the shelf parts and a few 3D prints. The video (embedded below) is part 5 of the series, detailing the final construction, charging and discharging processes. The first four parts of the series are part 1, part 2, part 3, and part 4.
The concept of a flow battery is this: rather than storing energy as a chemical change on the electrodes of a cell or in some localised chemical change in an electrolyte layer, flow batteries store energy due to the chemical change of a pair of electrolytes. These are held externally to the cell and connected with a pair of pumps. The capacity of a flow battery depends not upon the electrodes but instead the volume and concentration of the electrolyte, which means, for stationary installations, to increase storage, you need a bigger pair of tanks. There are even 4 MWh containerised flow batteries installed in various locations where the storage of renewable-derived energy needs a buffer to smooth out the power flow. The neat thing about vanadium flow batteries is centred around the versatility of vanadium itself. It can exist in four stable oxidation states so that a flow battery can utilise it for both sides of the reaction cell.

The reaction plates in the cell’s heart are printed with an ‘ABS-like’ resin for this build. They comprise a flat plate with through-holes for clamping, a central opening to house the charge collector electrodes, protection layers, and the ion exchange membrane. Pipes on the edges lead to tiny holes at either end of the flow region, on the inner edge, to enable electrolytes to flow to and from the external reservoir. Resin printing was chosen due to its strength and, most importantly, the surface smoothness, which will help to prevent leaks. The electrodes are copper sheets, with a protective layer of conductive HDPE and a second layer of graphite felt. The last layer allows electrons to be conducted to the HDPE and copper electrode whilst allowing a lateral electrolyte flow from the reservoir. A Nafion-based ion exchange membrane in the centre prevents mixing positive and negative electrolyte solutions. However, initial testing with baking paper also works for a while. Each half of the battery is filled with vanadium pentoxide and sulphuric acid.
The theoretical cell voltage is centred on 1.5 volts, but a fair current must be available even for such a small electrode area. Watching the two halves of the cell change the electrolyte state visibly during the charging process was fun. Vanadium does produce some spectacular colours in its various oxidation states! If you want to play along at home, the STL files for the 3D-printed parts can be found on the Cayrex2 Patreon site.

Rosie the Robot Runs for RealOn the recent 256th episode of the Hackaday podcast, [Kristina] mentioned her favorite fictional robot was Rosie from The Jetsons. [Robert Zollna] must agree since he built a reimagined Rosie and it even caught the notice of mainstream outlet People magazine.
We didn’t find much information outside of the TikTok video (see below; you can use the Guest button if you don’t have an account). However, there were a few clever ideas here. First, the robot mechanism is actually Rosie’s vacuum cleaner. Like a tail wagging a dog, an off-the-shelf floor vac tows the robot body.
Rosie herself is clearly an office chair base with an artistic body. The head rotates, and the mouth appears to open and close, so there’s apparently a little more electronics inside, but that’s nothing you couldn’t throw together with some RC servos and an ESP32.
Some videos cover the build so you might be able to glean more details, but the bite-sized videos aren’t very descriptive even though they are fun to watch. If you thought folks documenting their projects on YouTube was bad, you’re really gonna love the TikTok generation.
We like the look of Rosie, but as a practical matter, we need our robot vac to be smaller, not larger. However, using these off-the-shelf robots as a quick start for a robotics project is reasonable. Especially if you can pick up one cheap. Not that that’s a new idea. They even make stripped-down units with the intent that you don’t want to use them as cleaners.

@ziggy_nonskid
#eufy #robitina #robot #rosietherobot #3dprinting #engineering #fyp #cute #robotics #robitina #realrosietherobot
♬ original sound – ziggy_nonskid

Getting It Done: The Week in DIY & Indie MusicLast week, our tips and advice for independent, do-it-yourselfers covered how to file taxes for self-employed musicians, Pandora AMP updates, a beginner’s guide to royalties, and more.
The post Getting It Done: The Week in DIY & Indie Music appeared first on Hypebot.

REWIND: The new music industry’s week in reviewIt was a busy week by any definition, and the music industry was no exception, with WMG making a $1.8B bid to buy Believe, Live Nation announcing continued artists subsidies,. Continue reading
The post REWIND: The new music industry’s week in review appeared first on Hypebot.

IK Multimedia add Hamburg Grand S274 to Pianoverse The latest addition to Pianoverse captures the sound of a Steinway & Sons D-274, expanding the collection to a total of six pianos.

Kubernik: Best Of Bruce Springsteen Tour, New Memoir

Solo Bruce Springsteen stage photo by Henry Diltz, Courtesy of Gary Strobl at the Diltz Archives

Rare Born to Run autographed LP cover, courtesy of the Harvey Kubernik Archives

Sony Music will celebrate the music of Bruce Springsteen next month with a collection of original songs spanning his 50-year recording career, from 1973's Greeting from Asbury Park, NJ to 2020's Letter To You. Best Of Bruce Springsteen will be available on April 19, and issued in physical formats as an 18-track set across 2 LPs or 1 CD - and digitally as an expanded 31-song package.

    The compilation will span early-career favorites like "Growin' Up" and "Rosalita (Come Out Tonight)," staples of Springsteen's live shows from "Dancing In The Dark" to "The Rising," "Born To Run," and "Hungry Heart," as well as recent releases "Hello Sunshine" and "Letter To You."

   Best Of Bruce Springsteen arrives with an album cover shot by Eric Meola during the Born To Run sessions, as well as new liner notes by Erik Flannigan.

    Before the release of Best Of Bruce Springsteen, he'll return to the road with The E Street Band later this month, beginning on March 19 in Phoenix, Arizona for a series of 51 shows across North America and Europe. Continuing their first run together since 2016-2017, Springsteen and The E Street Band's recent tour stops have been hailed as "one of the greatest shows ever" by The Daily Telegraph and "the greatest show on earth" by Billboard.

   For over a half a century, Bruce Springsteen and the E Street Band have exemplified the crowd-pleasing, soul-shaking, energy-exploding excitement of rock and roll onstage.

        It was on the initial suggestion of legendary A&R man and record producer, John Henry Hammond II of Columbia Records to label head Clive Davis who signed Bruce Springsteen to the company on January 9, 1972, the same night I witnessed the Rolling Stones at the Hollywood Palladium.

         In very late April and early May of 1973, Columbia Records President Clive Davis hosted a week of label acts in downtown Los Angeles at The Ahmanson Theater billed as A Week to Remember. Judy Paynter, Director of Press Information at Columbia Records in their Sunset Blvd. office in Hollywood invited me.

    I saw Johnny Cash, Miles Davis, the Mahavishnu Orchestra, Charlie Rich, Earth, Wind & Fire, and Billy Paul. Richard Pryor was an emcee one night.

     On May 1, 1973 at the venue, Davis showcased Bruce Springsteen alongside Dr. Hook & The Medicine Show and New Riders of the Purple Sage. Springsteen’s played tunes from his just issued January 5th ’73 debut LP Greetings From Asbury Park, N.J.: “Spirit in the Night, “Wild Billy’s Circus Story, “Does This Bus Stop at 82nd Street,” and something called “Thundercrack.” I think he did an encore of “Twist and Shout.” 

    I’d just interviewed a couple of disco acts, and man, did I need a shot of rock ‘n’ roll which Bruce and his band supplied.  

I next saw Springsteen at Doug Weston’s Troubadour club in West Hollywood in 1973. Maybe in February. Perhaps on my birthday, February 26th. Photographer Richard Creamer was with me. A short set. Maybe before or after the Ahmanson appearance. One thing was evident: Bruce meant every word that came out of his mouth.       

I have a memory of a March 1973 Springsteen booking at the Santa Monica Civic Auditorium show where Bruce and the group opened for Dr. John and blew the headliner off the stage. What I do remember from that night was holding hands with the girl I was with during “Lost in the Flood.” The run up to that achievement took an entire college semester but was well worth it…   

    I was in San Francisco the last week of 1973 and bumped into photographer Henry Diltz in North Beach. I first met Henry in 1967 when he was the official photographer for the second season of The Monkees television series filmed on the Columbia lot at Gower Gulch. My mother Hilda worked as a secretary and stenographer there for Raybert Productions and helped typed some of the scripts. Henry had been hired to shoot the July 27, 1973 Columbia and Epic Records Convention at the Fairmount Hotel and snapped pictures of   newcomer, Bruce Springsteen, who performed for the label employees.      

The most inspirational Springsteen recital I caught in the seventies was probably November 1st 1975 on the campus of U.C. Santa Barbara inside the Robertson Gymnasium. It was seismic. “Saint in the City” stuck in my head the entire 90-minute road trip back to Los Angeles.

Afterwards, I went to one of my favorite spots on La Cienega Blvd. called Ollie Hammond’s Steak House for a hamburger. They had 24-hour service. I look at the next table and there was Bruce. He was staying down the street with the band at the Sunset Marquis. I had a copy of the first pressing of Born to Run at my crib nearby with the different lettering front cover. He later autographed it for me.

   Next time Steve, Bruce and the E Street Band were in town in 1976, they packed the Santa Monica Civic Auditorium for two nights on September 29th-30th. I slept outside the box office for ducats. I had to see both shows and only had a press ticket for one of them. I met two new friends at 5:00 am, David Leaf and Michael Hacker. I still talk to them. 

    On October 5th, I schlepped up to the Santa Barbara Bowl with a high school pal, Robert Sherman, for another Bruce-induced musical booster shot. I managed to buy some orchestra pit seats and a local surfer girl in Isla Vista also turned us on to McConnell’s Ice Cream.      After these power-packed dates, I interviewed E Street Band guitarist and record producer Steven Van Zandt for the November 6, 1976 issue of Melody Maker.   

Steve Van Zandt: Miami, Bruce, and Roots

     Steve smiles when asked about the outstanding version of 'It's My Life', the Animals classic which has been worked up into a 20-minute mini-drama in Bruce's act.

    "That was at a soundcheck," he remembers. "When we do a soundcheck we jam and mess around on songs by the Four Tops, Marvin Gaye and the sixties English things. 'It's My Life' started there. Bein' the brilliant cat he is, Bruce put that rap in which was so revealing.

   "Once somebody sees the band, they can't possibly not like it. There's a difference between recording and the live situation. The albums give you a chance to know the songs and lyrics, and then that's expanded playing live.

    "It gives you a broader sense of who he is," he argues. "It would be kinda boring to see an identical record.

    "Bruce is the best possible boss," he says, munching over a kosher dill. "He's hip enough to let everybody do their own thing, to express in other ways. All that does is make your gig better. When you go back to playing in the band it's like comin' home to foundation and security.

    "We look like we have fun on stage 'cause we do. Ninety-nine out of 100 shows I enjoy as much as the audience. I think it shows up there.

   "People aren't spectators, they're friends. The people stay with us. We have a real loyal following. In anybody else's case two years between albums would have been a disaster because Bruce Springsteen isn't a household word.

    "The people we play to don't like us – they love us. It comes from playing clubs and small theatres two years longer than the business would have suggested.

    "Small places have created this thing other bands seem to miss when they go for the bread and the 50,000-seaters. That's cool. It doesn't matter to me."

   The E Street Band are one of the few groups around today carrying on traditional rock and roll. "I don't wake up in the morning feeling I'm carrying on a tradition," Van Zandt suggests.

    "We're a roots rock group. We're conscious of it. I'm doing things not innovative, but we're always modernizing the situation as much as possible. That's one of the reasons we use Jimmy Iovine as engineer. He's the best. A contemporary cat. We get a balance between us. If I had it my way we'd do the records in mono," he laughs.

   "I think it's a prerequisite that it's derivative. It's obvious where it comes from. I just worry it will be considered a throwback or an oldie. These words scare me.

    "I go home and someone puts on the new Peter Frampton album, and I then put Sam & Dave's Greatest Hits on the turntable and I feel it was released yesterday. In Bruce's case, he's cool. He's innovative, and creative, and lyrically beyond any problems.

   "Every night I hear him change the rap between songs. That's gotta happen. We're not robots or actors. Why write a song or play one if it doesn't change or no-one is getting off? That's why I never understood the top 40 trip.”

     In my 2004 book, This Is Rebel Music, Van Zandt explained the bond Bruce Springsteen and the E Street Band have with their devoted audience. 

    “I know it sounds a bit silly but I do believe rock ‘n’ roll can change the world. It’s about bands, and that for me suggests brotherhood, family, friendship, and community.

     “I don’t mean to be blasphemes but I look at rock and roll as a religion. For me it is that kind of thing. People become part of this religion regardless of their age, or what a certain common ground with this type or that I can’t explain but I know exists.

    “Because that’s what we do, that’s the job description with a performing artist; you have to be that thing that helps to heal in times of suffering. Sometimes it’s there to celebrate…but you are sort of the ‘voice of the community’, or the sounding board or whatever. In a funny way, I think that rock ‘n’ roll became the church of the community. I know it has been for me…”

    During 1977 I interviewed saxophonist Clarence Clemons, “the Big Man” in the E Street Band for the now defunct Melody Maker in Culver City. Clemons was cast in the Metro-Goldwyn-Mayer studio musical drama, New York, New York, directed by Martin Scorsese. Clarence portrayed Cecil Powell. The movie starred Liza Minnelli as Francine Evans and Robert De Niro as Jimmy Doyle. Dick Miller had a part as a club owner. I’m in a crowd scene, and my soon to be friend, Harry E. Northup, played Alabama. Harry had pivotal roles in previous Scorsese movies Mean Streets and Taxi Driver.

       In 1978 I was appointed West Coast Director of A&R for MCA Records. In my tenure, I worked on the Denny Bruce-produced John Hiatt album Slug Line, and secured some musicians for his touring band. I helped oversee MCA’s acquisition of ABC Records.

     I also suggested and lobbied hard for the pairing of engineer-turned record producer Jimmy Iovine with Tom Petty and the Heartbreakers to team for Damn the Torpedoes. In 2014, Tom penned the forward to my book Turn Up the Radio! Pop, Rock and Roll in Los Angeles 1956-1972. 

     I initiated the Del Shannon album Drop Down and Get Me which Petty produced. This decade Bruce filmed an interview for a Shannon documentary I’m helping produce and write.

    In spring of 1978 I flew to Philadelphia to report on a Bruce Springsteen tour for the June 10, 1978 issue of Melody Maker.

 

Bruce Springsteen: Reborn and Running Again

  EVEN BEFORE the two brilliant concerts at the Spectrum earlier in the week, Bruce Springsteen could have been the Mayor of Philadelphia if he had ever decided to campaign.

      Another impressive addition to the Springsteen sound is organist Danny Federici. His playing reminds me of Stevie Winwood and it's logical to find out from bassist Garry Tallent that before Federici joined the band, they used to do a live rendition of “Gimme Some Lovin',” the Spencer Davis song.

     Danny does very few solos in the show, but is a functional player who offers well-defined passages and, like the rest of the band, doesn't fall into the trap of egotism. This is team work on display. Danny was also quite pleased by the Philadelphia fan reaction "Bruce has always been popular here, even before I joined the band. He dedicated 'For You' to the audience tonight. They have been with him from the start."

    My brother Kenneth and I caught a stellar Springsteen concert on June 29, 1978 in San Jose at The Center for the Performing Arts. Bruce’s road manager put me on the guest list. Backstage, Ken and Bruce shared a bottle of Canada Dry Ginger Ale and discussed David Sancious’ remarkable musical abilities for 15 minutes.       

    What followed were two early July 1978 Springsteen and Co. Southern California appearances at the Inglewood Forum and Roxy Theater, the second which was broadcast live on KMET-FM.  “Prove It All Night” further spotlighted Bruce’s lead guitar prowess, while the churchy “Adam Raised the Cain” underscored a biblical expedition I hadn’t realized on Darkness on the Edge of Town.       

    Bruce had cited guitarist Michael Bloomfield as an influence to me in a conversation one night at The Starwood club where we saw the Ramones, but Steven was the big Bloomfield fan.     “I’ve played Dylan’s songs with Bruce and in top 40 bands earlier,” enthused Van Zandt. “I talk a lot about Bloomfield. Oh my God…One of the greats. The single most unsung guitar hero. Really, right there alongside the holy trinity of (Eric) Clapton, (Jeff) Beck and (Jimmy) Page. Probably next in line as far as influence and importance would be Mike Bloomfield in our early youth growing up. Extremely important.”

    On November 1, 1978 I sat with Ian Hunter the bandleader of Mott the Hoople at a Springsteen concert held in New Jersey at Princeton University’s Jadwin Gymnasium.  I interviewed Ian in 2000, asking about Springsteen and the E Street Band.

     “I liked the band,” offered Hunter. “I wasn’t too sure about Springsteen because - it wasn’t his fault, but clean rock ‘n’ roll came in about that time, and he seemed to be the cigarette.  (Laughs.)  I was very angry, and I don’t know why, because I saw him again in June 2000 at Madison Square Garden, and I said to him afterwards, ‘Some people are rock ‘n’ roll, a lot of people run around it, but I said I saw a forest tonight.’  I mean, they were great!  The first five songs were mind-blowing.

    “That’s what I said to him.  He’s for real.  And also, he tries to change people, he tries to make people better, ya know.  That whole kinda quasi-evangelist thing that he does.  He’s trying to get a point across there.  And it’s funny, but he’s trying to get the point across.  And I think he’s a man of the people.  I think he’s genuine.  The feeling with him I get is genuine.  And of course, that band on them middle speeds, there's nobody better.  That band is the finest band there is.

   “There’s an element of corn there, but people love corn,” emphasized Hunter. “And he knows that.  I know that too.  Some of the things he does wouldn’t be classed as cool, but then cool is a very overrated thing.  There’s a lot of cool people about that I think are absolute idiots.”      And then there was Bruce Springsteen and the E Street Band unhinged for two nights in mid-December 1978 at the Winterland Ballroom in San Francisco promoted by Bill Graham.  Kenneth and I drove up there in Bruce Gary’s van, who was enjoying long-deserved record business success as the drummer of the Knack. Bruce had jammed with the Knack at The Troubadour.

I was introduced to Bruce’s mother, Adele.  I believe his father Douglas was in attendance. Bruce’s sister Pam was there. Go take a listen to the KSAN-FM radio broadcast of that monumental event that’s been in circulation for decades.

    Nothing else needs to be written about that weekend I witnessed. 

    Since then, over the last few decades, Bruce Springsteen and The E Street Band always seem to arrive in my Southern California hometown at the right time in my life when I really need to see and hear them.  

In November 2006, Harvey Kubernik was invited to address audiotape preservation and archiving at special hearings called by The Library of Congress held in Hollywood, California. Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon and 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972.  He has also written titles on Leonard Cohen and Neil Young.

    Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In2021 they wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble.

   Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters.

His writings are in several book anthologies, including, The Rolling Stone Book Of The Beats and Drinking With Bukowski. Harvey wrote the liner notes to the CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

On October 16, 2023, ACC ART BOOKS LTD published THE ROLLING STONES: ICONS. 312 pages. $75.00. Introduction is penned by Kubernik.   

OpenAI announces new board members, reinstates CEO Sam AltmanSam Altman, the CEO of OpenAI, has a seat at the table — or board, rather — once again. OpenAI today announced that Altman will be rejoining the company’s board of directors several months after losing his seat and being forced out as OpenAI’s CEO. Joining alongside him are three members, former CEO of the […]
© 2024 TechCrunch. All rights reserved. For personal use only.

Believe and TuneCore Celebrate International Women's Day with Study: BE THE CHANGE: Gender Equity in MusicIn honor of International Women’s Day, Believe, one of the world’s leading digital music companies, and TuneCore, the leading development partner for self-releasing artists, have officially released the results of the fourth annual study, BE THE CHANGE: Gender Equity in Music. 

For this year’s study, leading market intelligence and consulting firm MIDiA Research surveyed more than 4,100 members of the music industry—with a predominant focus on creators—in an effort to better understand their struggles and provide tangible strategies to help them overcome their challenges. Of the thousands of respondents surveyed, more than 35% self-identified as female or gender expansive, with over 75% responding from outside of the United States, providing a truly global snapshot of the music industry. 

With a foreword written by Academy Award and Grammy Award winning singer/songwriter Melissa Etheridge, the 2024 BE THE CHANGE: Gender Equity in Music study yields insights into the prevalence of and sentiment surrounding issues in the music industry including gender-based discrimination, sexual assault and harassment, income disparity, industry departure, and more.

The full study is available for download now HERE.

tunecore.com/be-the-change

Ferrules and 3D Prints Revive Classic MicrophoneContrary to what our readers may think, we Hackaday writers aren’t exactly hacking layabouts. True, we spend a great deal of time combing through a vast corpus of material to bring you the best from all quadrants of the hacking galaxy, but we do manage to find a few minutes here and there to dip into the shop for a quick hack or two.
Our own [Jenny List] proves that with this quick and easy vintage microphone revival. The mic in question is a Shure Unidyne III, a cardioid pattern dynamic microphone that has been made in the millions since the 1950s. She’s got a couple of these old classics that have been sidelined thanks to their obsolete Amphenol MC3M connectors. The connectors look a little like the now-standard XLR balanced connector, but the pin spacing and pattern are just a touch different.
Luckily, the female sockets in the connector are just the right size to accept one of the crimp-on ferrules [Jenny] had on hand with a snug grip. These were crimped to a length of Cat 5 cable (don’t judge) to complete the wiring, but that left things looking a bit ratty. Some quick OpenSCAD work and a little PLA resulted in a two-piece shell that provides strain relief and protection for the field-expedient connections. It’s not [Roger Daltry] secure, mind you, but as you can see in the video below the break it’s not bad — nothing a few dozen yards of gaffer’s tape couldn’t fix. Come to it, looks like The Who were using the same microphones. Small world.