Is this the Holy Grail of solar panel technology?
VICTOR TANGERMANN

​JANUARY 22ND 2021To improve the efficiency of solar panels, scientists have become increasingly intrigued by perovskites, an evasive natural mineral with a unique crystalline structure.
Unfortunately, the mineral has proved to be uncooperative. At room temperature, three of its four possible atomic configurations are unstable and the material quickly reverts to its fourth phase, which renders it useless in the effort to convert sunlight to electricity.
Fortunately, a team of scientists at Stanford University and the Department of Energy may have just found a solution, as outlined in a paper published in the prestigious journal Nature Communications.
Their methodology is surprisingly simple: squeeze the fourth phase of perovskite inside a diamond anvil cell at high temperatures. The resulting atomic structure isn’t just efficient and usable for generating electricity from sunlight, they say, but is also stable at room temperature.
“This is the first study to use pressure to control this stability, and it really opens up a lot of possibilities,” Yu Lin, researcher at the Stanford Institute for Materials and Energy Sciences (SIMES), said in a statement.
“Now that we’ve found this optimal way to prepare the material, there’s potential for scaling it up for industrial production, and for using this same approach to manipulate other perovskite phases,” Lin added.
The “black” phase, the one successfully stabilized by the scientists,of perovskite has intrigued scientists for years since it has been found to be extremely efficient in converting sunlight to electricity, making it the Holy Grail for solar panel technology.
The phase, however, isn’t stable and previous attempts at stabilizing it have fallen short of replicating real-world conditions.
But by squeezing perovskite in this state between two diamond tips, the equivalent of roughly 1,000 to 6,000 times atmospheric pressure, and heating it to 450 degrees Celsius, the researchers found a way to keep the material in its black phase even after pressure and temperatures dropped to normal levels.
One major challenge remains however: scaling up the technology to make it a feasible way to manufacture the next generation of solar panels on an industrial scale.

San Francisco-based technology firm Feed Media Group (FMG) has partnered with Warner Music Group (WMG) to launch Adaptr, a new platform that allows developers to legally integrate music into their apps.
Adaptr provides full licensing for on-demand music, allowing businesses to skip direct licensing negotiations and go straight to market with music from popular artists and songwriters.
For a subscription fee, developers can build a catalog of tracks from Adaptr’s pre-licensed library, which includes music from WMG’s artists and songwriters, BMG Records, Equal Vision Records, Vio Mobile, A-Train Distribution, and more.
Using Adaptr’s APIs and SDKs, developers can integrate that music into their apps.
Launched in 2015, FMG is described as “a technology company dedicated to making it easy for businesses of all kinds to use music to create more engaging experiences for their customers”.
The company is led by veterans from the technology, music licensing and distribution, finance, and marketing sectors including co-founders Jeff Yasuda (CEO), Lauren Pufpaf (COO), and Eric Lambrecht (CTO).




Adaptr’s monthly subscription fees range from $69 per month for the ‘Starter’ tier to $549 for the ‘Teams tier’.
The first one gives you unlimited access to the platform’s full music catalog and 500 Song Streams to be used for one app. The latter gives its users’ access for up to five apps and 5,000 song streams.
According to the app’s FAQs, Adaptr is only available to companies that have ‘raised less than $7.5m in funding and your app is earning less than $4.5m in revenue’.
Adaptr also features tools for curation that enable startups to create custom musical experiences for their audience while ensuring that rightsholders are paid for every stream.
FMG’s platform also includes Feed.fm, which was launched in 2015 to power non-interactive radio for apps and digital technologies in the fitness, retail, healthcare, gaming, connected fitness, and AI sectors.
“ONE OF OUR KEY GOALS AT WMG IS TO MAKE IT FAR EASIER TO LICENSE ALL MUSIC.”
OANA RUXANDRA, WMG
Oana Ruxandra, Chief Digital Officer, WMG, added: “One of our key goals at WMG is to make it far easier to license all music.
“Among other things, reducing frictions around licensing will enable us to accelerate innovation, support the startup community, engender competition, excite our fans with new and evolving ways to interact with music, and deliver additional value for our artists and songwriters.
“We want to drive innovation and spark creativity, and Adaptr will help us do just that.”
“WITH ADAPTR, THERE’S NO NEED FOR DEVELOPERS TO WORRY ABOUT WHETHER THEY SHOULD ASK FOR PERMISSION OR FORGIVENESS.”
JEFF YASUDA, FMG
Jeff Yasuda, Co-Founder and CEO of FMG, said: “With Adaptr, there’s no need for developers to worry about whether they should ask for permission or forgiveness.
“Now they can get the commercial music they want without needing to jump through the complex hoops of music licensing, distribution, and payments — the hurdles that often lead to illegal usage — and just focus on creating. Music Business Worldwide

​January 25, 2021 09:00 ET | Source: One Planet Groupphoto-release


Payam Zamani, CEO, One Planet Media



Jack Lenz, music composer, "Here Comes Love"

WALNUT CREEK, Calif., Jan. 25, 2021 (GLOBE NEWSWIRE) -- One Planet Media, a media production company focused on purpose-driven content, in collaboration with acclaimed composer and music producer Jack Lenz, has released a music video project to help continue the discussion around dismantling systemic racism and addressing internal bias.

“There were important conversations and calls for institutional changes happening in the late spring and summer after the public outrage over the killings of Ahmaud Arbery, George Floyd, and Breonna Taylor,” said One Planet Media founder and CEO Payam Zamani. “The increase in COVID-19 cases and the presidential election caused the topics of racial inequalities and systemic racism to be less front and center. We’d like to do our part ensuring that this collective effort will remain a focus in 2021 and until our oneness as a people is achieved and celebrated.”

The song “Here Comes Love” was written and composed by Lenz in 2017 for a civil rights documentary. The music video uses documentary footage from 2020 marches and demonstrations across the U.S. The song is sung by the late Amoy Brown and Mark Masri.

“The lyrics were inspired by a poem Baháʼu'lláh, the founder of the Baha’i Faith, loved. We have also incorporated the names of courageous people throughout the Civil Rights era to modern-day whose lives and deaths have prompted us to reflect on ourselves and how we see race and inequality,” said Lenz. “It all starts with us. The hope coming from 2020 was how many different races and nationalities came together to march and promote changing our current system of justice, our institutions, and change within our own hearts.”

Several prominent scholars, artists, business leaders, and others will join the social media campaign around the music video to increase awareness and promote the discussion of racism and racial bias.

“There’s this mythology that when slavery ended, the playing field got leveled,” said Dr. Joy DeGruy, educator and author of Post Traumatic Slave Syndrome. “The reality is that after hundreds of years of trauma in slavery, what came next was more trauma. We’ve never had a collective moment in history to heal and to acknowledge the injuries. We need real-life conversations on racism and trauma, we need to reach out to friends and family, and we need to touch people in the best way we can.”

The music video runs 5:47 and can be found on One Planet Media’s website oneplanet.media and One Planet Media YouTube channel.

“Racism is a profound deviation from the standard of true morality… The change required is not merely social and economic but above all moral and spiritual.” - July 2020, the Universal House of Justice

About One Planet Media:
One Planet Media is a production company that creates purpose-driven content. We believe that media has the power to positively change hearts and promote a spiritual transformation by educating and inspiring people.

One Planet Media produces its own original content as well as partners to co-produce film, TV, and digital content. Projects must be designed to have a positive impact and contribute to making the world a better place.

One Planet Media is a One Planet Group company. www.oneplanet.media and www.oneplanetgroup.com

​SEOUL -- Two Kakao subsidiaries will be combined to become a total entertainment company targeting the global market. The merge would create synergy by joining intellectual properties to create new content aimed at attracting global Hallyu (Korean cultural wave) fans.

Kakao Page, the digital content-making wing of Kakao, services webtoons, also known as webcomics, and web-based novels worldwide. Kakao webtoons are especially popular in Asia. Kakao M is an entertainment company with music labels that have popular artists such as female singer-actress IU and boy band MOXSTA X.

The integration of Kakao Page and Kakao M would require approval at a shareholders' meetings on January 26. "The strategic decision was made to take the upper hand by gaining competitiveness in the global entertainment industry where information technology and retail giants are competing fiercely," Kakao said in a statement. The merged entity will be named Kakao Entertainment.

"We will lead the new entertainment industry by merging the business know-how, capabilities, and value chains of the two companies," said Kakao Page which is armed with some 8,500 original content. 

In 2019, Kakao M and Kakao Page have collaborated to create a drama series "Touch Your Heart," based on a webtoon of the same title. The drama starred actress Yoo In-na and actor Lee Dong-wook who garnered global attention for their roles in the 2016 K-drama series "Guardian: The Lonely and Great God," also known as "Goblin."

Both the European Commission and the UK government yesterday unveiled proposals for new laws that will regulate online platforms. Although copyright protection is not core to these proposals, the music industry hopes that – as lawmakers seek to combat illegal content online – any new rules will also include additional measures to stop copyright infringing material from being posted and shared.
The responsibilities of large internet companies that allow third parties to post and share content have become a big talking point in political circles in recent years. Much of the conversation to date has focused on the distribution of extremist, violent and abusive content, as well as misinformation and disinformation. Although all of that is often grouped together under the banner “illegal content”, which obviously covers a wider range of material.
The general consensus is that large internet firms are not currently doing enough to block and remove this kind of content and that new laws are required to increase the legal obligations of said firms in this domain, so to force them to act.
The tech sector, while insisting it takes all of these things very seriously indeed, obviously would prefer not to face new legal obligations, and to that end generally urges politicians to be cautious when writing any new laws, talking quite a lot about the “unintended consequences” of any proposed new rules.
As is always the case when internet regulation is discussed, the tech sector is often supported in opposing at least some of the proposed new regulations by free speech advocates, some of whom are raising legitimate concerns regarding the impact new internet laws may have on freedom of expression.
In the EU, the proposals for new internet laws come in the form of the Digital Services Act – which looks at the obligations of large internet businesses when it comes to policing content on their networks – and the Digital Markets Act – which seeks to stop the largest internet businesses unfairly exploiting their market dominance. The proposals will likely ultimately result in new EU-wide regulations and amendments to the EU E-Commerce Directive.
Unveiling the proposals yesterday, European Commissioner Margrethe Vestager said: “The two proposals serve one purpose: to make sure that we, as users, have access to a wide choice of safe products and services online. And that businesses operating in Europe can freely and fairly compete online just as they do offline. This is one world. We should be able to do our shopping in a safe manner and trust the news we read. Because what is illegal offline is equally illegal online”.
Fellow Commissioner Thierry Breton added: “Many online platforms have come to play a central role in the lives of our citizens and businesses, and even our society and democracy at large. With today’s proposals, we are organizing our digital space for the next decades. With harmonized rules, ex ante obligations, better oversight, speedy enforcement, and deterrent sanctions, we will ensure that anyone offering and using digital services in Europe benefits from security, trust, innovation and business opportunities”.
In the UK, ministers have published a formal response to a white paper the government published last year all about ‘online harms’. That response sets out how a new ‘duty of care’ obligation applied to internet platforms might work, and what new responsibilities that might hand to said platforms.
Launching the British proposals, the UK’s Secretary Of State For Digital, Culture, Media and Sport, Oliver Dowden, said: “I’m unashamedly pro-tech but that can’t mean a tech free-for-all. Today Britain is setting the global standard for safety online with the most comprehensive approach yet to online regulation”.
“We are entering a new age of accountability for tech to protect children and vulnerable users, to restore trust in this industry, and to enshrine in law safeguards for free speech”, he added. “This proportionate new framework will ensure we don’t put unnecessary burdens on small businesses but give large digital businesses robust rules of the road to follow so we can seize the brilliance of modern technology to improve our lives”.
It remains to be seen to what extent these legal reforms in the EU and UK help copyright industries like the music business. While the pesky copyright safe harbor, which reduces the copyright liabilities of digital platforms, is being reformed in Europe via last year’s European Copyright Directive, that doesn’t apply in the UK, and it doesn’t deal with all of the music industry’s safe harbor concerns even in the EU.
The copyright directive does increase the liabilities of safe harbor dwelling user-upload platforms, which is one of the music industry’s big safe harbor gripes.
However, music companies would also like to increase the minimum requirements of the takedown systems that all safe harbor dwelling internet companies must operate, ie the systems via which copyright owners can demand that infringing content be removed. The key ask there is for a takedown-and-stay-down obligation, so once a copyright owner has removed some infringing content once, the platform must stop it from being re-uploaded again and again.
Beyond any further safe harbor reform, the music industry could also benefit from the EU proposals to put new transparency obligations onto digital platforms, and any measures that reduce the domination of the biggest tech players. European digital music companies like Spotify, Deezer and SoundCloud will also welcome moves to constrain American tech giants Apple, Amazon, Google and Facebook.
To that end, reps for the music industry yesterday welcomed the new proposals, particularly the EU ones. Though they stressed that, from a copyright owner perspective, what has been proposed is a good starting point, but there is much more to be done.
Helen Smith from IMPALA, the pan-European trade group for the independent music community, said yesterday: “If we strike the right balance, both pieces of legislation represent opportunities to secure a more inclusive and competitive online ecosystem, where all actors can operate on a level playing field”.
“From what we have seen so far”, she added, “there is still a way to go for the legislation to achieve its purpose. At the same time, we fully support the aim of achieving a more accountable digital environment and welcome the recognition that some operators are quasi-public services with responsibilities that need to go beyond what is normally required of businesses in Europe”.,
“As a starting point, any new competition tool needs to prevent the high levels of concentration and companies with entrenched market power for indispensable trading. Cultural goods are unique and not substitutable, and the impact of market power is particularly serious in such markets. We have been calling out the inadequacy of the current competition framework for a number of years now”.
Smith concluded: “We want to see effective responsibility of all platforms, building on the EU’s work under the previous legislature with the copyright directive and platform to business regulation. A safer and more accountable internet is in the interest of everyone, citizens and businesses alike. We look forward to working with member states and the European Parliament to ensure that the voice of independent music companies is heard in this debate and that together we can achieve the digital framework which Europe deserves”.
Speaking for the music publishing sector, Director General at the International Confederation Of Music Publishers, John Phelan, said: “For too long there have been two rulebooks for the same game. We firmly support the EU’s goal of ‘what is illegal offline, must be illegal online’. However, work remains to realize this maxim. The DSA imposes a ream of welcome responsibilities on online services. It also extends some concerning paths to liability exemptions”.
He added: “The DSA is propelled by the political goal of ‘preventing harmful behavior before it takes place’. Detecting and preventing illegal digital music can be easy thanks to existing technologies, but it is often problematic in practice as many services believe they are beyond laws. As things stand, the DSA lets some services off the hook. Some amendments to the final law will be needed so that Europe’s digital music industry will not be devalued nor creators continue to be ripped off by certain platforms”.

credits: https://completemusicupdate.com/​

Hollywood is slowly getting back to work as feature films, Netflix shows and network programs resume production. The industry has introduced enhanced safety protocols and drastic new measures designed by guilds and unions, along with epidemiologists, to keep incidences of Covid-19 down on sets.
It remains to be seen how sustainable and realistic the steps are over the long term. During the first wave of the pandemic, the industry was caught off guard — and got pummeled. The hope is that with stricter measures, Hollywood will be able to weather future waves.
However, actors are still testing positive, some workers are still unable to return to work because of safety concerns, studios are still having to push movie releases or debut feature films on streaming platforms, and movie theaters are struggling to survive.
HBO announced Wednesday that its tentpole feature "Wonder Woman 1984" will be released simultaneously on HBO Max and in theaters on Dec. 25. With half of theaters out of operation and many people still hesitant to go to the movies, the studio said it couldn't risk a large-scale release for a $200 million film — even though that means the movie won't return big box office numbers.

That change is the latest attempt to regain some sense of normalcy in an industry that finds itself once more in a vulnerable position. The threat of further halts looms large, jeopardizing both the financial success of content scheduled to launch in 2021 and the future of popular content that has already been greenlighted but isn't yet shot, let alone wrapped.
"The production shutdown that happened as a result of people not understanding how to keep people safe during production has had a tremendous negative impact on businesses and the livelihoods of our members and workers all over the industry," said David White, national executive director of the Screen Actors Guild-American Federation of Television and Radio Artists, or SAG-AFTRA.
"The pandemic has led to a great deal of collaboration," White said. "All of us on all sides of the fence needed to figure out how to work together in order to recover and figure out how to get people back to work."
White said figures outside Hollywood also provided key insights. For example, producer Tyler Perry created an isolated bubble at his studios in Atlanta and was able to resume production with a set of very strict quarantine and testing protocols.
The guidelines SAG-AFTRA established are centered on repetitive testing, which is covered by employers. That's especially important because a single test captures only a brief moment of a person's Covid-19 status. The plan also uses zones to limit how many people enter certain areas and come into contact with one another.

"If you're in Zone A, the zone with our performers, you're being tested a minimum of three times a week," White said, citing one example. "The only people able to enter that zone are people being tested at this level."
Other unions, like the International Alliance of Theatrical Stage Employees, have adopted these same protocols to protect their members. A member of that union, who works in the costume department on big-budget films and asked to remain anonymous for fear of retribution, outlined some of the safety measures and said there was a lot of back and forth about who would foot the bill for tests.
"The union was really strict about the fact that we wouldn't go back to work without testing," the union member said. "There's a 'Covid safety officer' at every site where we're working, and all they do is handle Covid-19 questions and concerns. There's regular testing. You have to take a safety course, and you can't take off your mask inside the building for any reason whatsoever, not even to drink water or coffee."
The member said the protocols have created what feels like a safe environment but questioned their long-term applicability.
Already, unique challenges have arisen, especially when Los Angeles experienced extreme heat or poor air quality from fires. Staying hydrated has also become an issue, because a water break requires a trip outside, which is time-consuming. In addition, because people have to eat outside and away from others, workers have to camp out in their cars and run their air conditioners to eat lunch when the air quality is bad or it's very hot, which is expensive.
Recommend The protocols have also meant production has slowed, which is counter to much of how the industry operates, the union member said.
"You can't take off your mask inside the building for any reason whatsoever, not even to drink water or coffee."
"So much of film is rushed and short-notice, where you're calling someone in for last-minute day work," the member said. "The process has been slowed down by necessity. You can't call someone and be like 'we need you to come in tomorrow and get this done,' because they need to be tested and take a safety course, which has impacted our workflow and pace greatly."
The union member also said women and older workers are being adversely affected, because the protocols don't really account for child care needs or the increased vulnerabilities and concerns of older people, who are at greater risk for adverse effects from the virus.
Small businesses are also taking a harder hit from Covid-19, even as Hollywood resumes production, White said. He pointed to catering companies, which traditionally are structured around providing huge spreads of meals at communal stations where food is shared. With the coronavirus, there has been a shift toward separate meals.
"That may be a permanent shift in the way we think about feeding individuals in close quarters, because the pandemic has gone on for so long that there's been a mindset shift," White said. "Once companies make the investment to provide food like that and once people become accustomed to that, companies that aren't equipped to manage that may not come back."
Ultimately, however, White is hopeful that Hollywood and its various components will prove resilient and innovative. He is particularly optimistic given that the Covid-19 recommendations put out by the different guilds and unions are designed to be scaled and adjusted to accommodate different sizes of productions.
Still, some are erring on the side of caution and opting to pursue smaller projects that are set on somewhat isolated locations and have fewer cast and crew members.
That's what Will Packer Productions, which produced "Straight Outta Compton," "Ride Along" and "Girls Trip," is doing. It has identified a few projects, including a small horror film set in New Orleans and an Idris Elba survival thriller, "Beast," that fit the bill.

Only seven people are in the horror film, 90 percent of the movie takes place in one home, and only three locations are used. The shoot should last only about 25 days, and while there are some stunts, there isn't a lot of close in-person contact.
"There are films on our slate that we have examined and taken a hard look at and decided we just can't film it in this climate right now," said James Lopez, president of Will Packer Productions. "We had a musical with a large cast, a lot of singing and dancing, a lot of close contact. When the pandemic hit, that was the very first one we looked at and came to the realization that it's going to be difficult to film until there's a vaccine."
Much still relies on the spread and containment of the virus. As winter approaches, forcing people indoors, and infection rates increase, even careful restarts could be in jeopardy, which could have ripple effects from workers and production companies to studios — and moviegoers.

​Credits: https://www.nbcnews.com/

​Armed with our top 10 turkey tips, you'll come out looking like a pro on Thanksgiving Day. Whether you're hosting your first Thanksgiving dinner or your fiftieth, these indispensable tips will help you turn out a terrific turkey.

1. Choose the right type of turkey for you.
Heritage? Organic? Fresh? Frozen? There are lots of choices out there. A heritage turkey is right for you if you want to try an old-fashioned breed of turkey, often leggier and leaner and more flavorful, and don't mind paying a little extra for it. If organics are important, you may already have your eye on a turkey raised according to organic standards, and fed organic feed. If you'd prefer a traditional fresh or frozen bird, pick the healthiest-looking one in the weight range you need, and make sure it looks well fed for its size. And, remember, fresh may not necessarily be better than frozen; frozen turkeys are snap-frozen just after butchering.

2. Figure on 1 to 1 1/2 pounds of turkey per person.
To buy the right size turkey for your party, simply tally up the turkey-eating guests. Add a few pounds on for bones and you've got your turkey weight. For example, 8 people will require a 12 to 14-pound turkey.

3. Cook the turkey on a rack of vegetables.
Create a natural roasting rack for your turkey by layering carrots, onions and celery on the bottom of the roasting pan. Lifting the turkey off the base of the pan helps to increase hot air circulation around the whole bird so that it will get crispy all over. And the vegetables add great flavor to the gravy.

4. Brining keeps it moist.
Brining is an easy, sure-fire way to a moist and flavorful turkey. A typical brining solution contains water, salt, sugar and a variety of spices and aromatics. Just be sure to follow a trusted recipe so you get the right proportion of each.

5. Keep the stuffing on the side.
Chances are the Thanksgivings of your childhood featured a stuffing cooked right in the cavity of the turkey. Go ahead and use your family recipe, but we suggest you cook the stuffing in a separate pan. Cooking the stuffing in the turkey can provide fertile ground for the growth of harmful bacteria. In addition, a stuffed turkey will take longer to cook, which could result in drier white meat. Instead, loosely fill the turkey with aromatics such as onions and herbs, and cook the stuffing separately.

6. To tie or not to tie.
To help ensure that poultry cooks evenly, many professional cooks like to truss their birds, which is just a fancy term for tying them up. While it's not a necessary step in cooking a terrific turkey, it can be fun to show off your culinary skills at home. Simply tuck the wings of the turkey under the body and tie the legs together with kitchen string to create a tight package.

7. Rub the turkey with butter or oil.
Before putting it in the oven, make sure the skin of the turkey is as dry as possible, and then rub it all over with butter or oil. For even moister meat, place pats of butter under the skin.

8. Skip the basting.
Basting means more oven door opening, resulting in temperature fluctuations that can dry out your bird. Instead, keep your turkey moist by brining it or by rubbing it all over with butter or oil.

9. Invest in a good meat thermometer.
Check for doneness by inserting an instant-read thermometer in the thickest part of the turkey around the thigh, avoiding the bone. At 165 degrees F, it's done. The turkey will continue to cook as it rests, so the temperature should rise another 10 degrees or so out of the oven.

10. Give it a rest.
To lock in juices, tent your turkey with foil and let it rest for at least 15 to 20 minutes before carving. Be sure you don't cover the turkey too tightly as you don't want the bird to steam under the foil.

Browse our best turkey recipes to find the perfect bird for your Thanksgiving feast.
credits: https://www.foodnetwork.com/​

Subscribe to #MaadHouse for your chance to receive money towards your thanksgiving dinner From, Maad House. We're thankful for everybody choosing Maad House for their source of entertainment.
Those selected will be contacted 11/20-11/22. Happy Holidays and continue to stay safe.

Jayson Tatum was five years old when Carmelo Anthony entered the NBA, so he literally grew up watching the All-Star forward.
Tatum always has admired Anthony's game, so after 'Melo made NBA history in the Portland Trail Blazers' 124-121 win over the Philadelphia 76ers on Sunday, the Boston Celtics forward had to show him love.
Here's Tatum's Twitter shout-out of Anthony after the 36-year-old moved to 15th on the NBA's all-time scoring list:
Anthony ironically passed Celtics legend Paul Pierce, who racked up 24,021 of his 26,397 career points in Boston.

Tatum called Anthony one of his "top three favorite players" after the Celtics and Blazers met earlier this season, so it's no wonder he was so excited to see the 36-year-old make history (even if it was at Pierce's expense).
Anthony respects Tatum's game, too: He admitted earlier this season he "loves" watching Tatum play and said the 22-year-old is "like a little brother to me."
Tatum might eye Pierce and Anthony on the all-time scoring list one day if he continues to play at a high level.

​A tall awning supported by pillars provides shade to the drive-up area and gives the home a feeling of grandeur. A large, circular planter creates a roundabout for cars to abide by as they enter and exit. (PHOTO ABOVE)

​Shaquille O’Neal is known for his large stature, imposing basketball skills, and massive car collection. But there’s one other larger-than-life aspect of Shaq’s legacy: his Florida megamansion. The staggering estate includes 31,000 square feet of living space sitting on three acres. It includes a 1,170 square foot great room, a 6,000 square foot indoor basketball court, a 15-feet-deep pool, a 17-car garage, and so much more. Read on to see all that Shaq’s jaw-dropping mansion has to offer.
Pulling Up To The Massive EstateThe gated entrance and massive driveway make it clear right from the start that this is no ordinary house. The vibrant blue roof makes the expansive property standout among lush trees, but it also blends well with the surrounding water.

Main Stage Feature - Cruzer Ur Ameshi
Cruzer Urameshi is an upcoming music producer. Cruzer was Born in Columbus, Georgia. Cruzer grew up around music and became really fond of producing at the age of 16. Already at 23 Years of age Cruzer already produced for dozens of artists as well as a few big named artists such as Shoreline Mafia, HotBoy Turk, Lil Davy, ChecktheStar, Oppo ,& his group BLVCKTRIVD. Cruzer is currently out in the Pacific Northwest and has been on a strong run. Cruzer became a heavy influencer within the music culture including the producer community. He has had such an impact that a lot of people have begun to call him a “Super Producer” in the making. Cruzer has a lot of projects already on all major platforms.

Cruzer's most recent project is 1000 Days Later with his team BLVCKTRIVD that Cruzer executive produced. The project has been a real success. Cruzer is also working on his next solo project called Cruzer 64. The reasoning behind the name is that Cruzer came into the music game making an impact that will be remembered years to come as the Nintendo 64 video game console is to the video game world also among pop culture today as one of the greatest video games that are still enjoyable to this day. Cruzer and his fans believe that his productions are timeless and will be enjoyable in 10 years as it is now comparable to the Nintendo 64 today. Cruzer knows his journey has been a great ride and he has learned a lot so far. Cruzer feels that this is only the beginning of it and there’s so much more success to come to him, his audience, team, and fans.

Twitter :  https://twitter.com/Cruzer3x  
Instagram : https://www.instagram.com/Cruzer3x/
BeatStore : https://traktrain.com/cruzer96
FaceBook : https://www.facebook.com/Cruzer3x

Younger People Attend More Concerts Younger people are much more likely to attend concerts, so record labels aren't as dependent on record sales to make money from artists that are popular with younger audiences. They can make money from artists in many different ways. Younger people are more likely to purchase merchandise like posters, t-shirts, books and other products.

​

Risks for the Music Industry Many record labels have done away with artist development departments as they have focused more on creating acts aimed at tweens and teens. There is a concern that newer artists won't have the longevity that many earlier acts like The Beatles, The Rolling Stones, Michael Jackson and Madonna have had. If record companies don't invest more in developing their acts and ensuring they stay for the long haul, there might not be a big catalog market in the future to keep the music industry afloat.
A group like One Direction may never get to create their own Hey Jude (assuming that they have that creative ability in them) if they can't grow up with their fans. As people get older they want quality. Labels need to ensure that artists grow and mature with their audiences by moving them away from bubble gum mainstream music to more meaningful songs. The Beatles quickly moved from mainstream songs like Love Me Do to more grown up songs like Eleanor Rigby. If artists don't do that, they will likely fade away as their fans grow and mature. Considering the demographics that actually buy music, artist development needs to once again become a priority.


article: Spinditty

​DJ Chubby Chub Exclusive with Justice Lane.

Justice lane - For everybody listening, we have DJ Chubby Chub on the line with us right now! We know you been in the game for awhile now, so when was the moment you decided you wanted to be a DJ?

DJ Chubby chub - It was very odd, around the time I started dj-ing when I lived in The Bronx, I didn’t really know I wanted to be a DJ, I just loved music. I would have to say when I was outside in a park and I seen a DJ from the area and he was entertaining the crowd, and that made me think, “I need to be apart of this.”

Justice lane - Wow! And how long ago was that?

DJ Chubby chub - I’d say about 20, 25 years ago

Justice lane - So today, why do you think a lot of DJ’s have moved away from co-signing artists or breaking new music?

DJ Chubby chub - I don’t think a lot of DJ’s have moved away from it, I just think a lot of DJ’s haven’t found the right people that they wanna co-sign.

Justice lane - With that being said, you’re 50 Cent’s official tour DJ - How did you link up with 50?

DJ Chubby chub - Well there was an audition and I went and that’s how I got it (laughs) you know I already had a release with him, and I was breaking his music in Boston and on the radio, I was one of the first people that was doing that before a lot of people were. I was just playing mixtape cuts.

Justice lane - I know you’ve seen the music industry music style change and from a DJ perspective, what do you think about it, and being in the game for 20 years, how do you feel about it?

DJ Chubby chub - I mean, hip hop is different, it’s definitely different from nineties hip-hop, it’s a different lifestyle. Back then it was different for every other reason, it was more lyrical and more being a teacher to the rap game, now it’s more “this is a lifestyle” and it’s more having fun and partying and people are dancing, you know you can't really take away from what used to be and what is now.


Justice lane - Thank you joining me, I hope everybody’s listening, especially with the knowledge that you have. What would you tell other DJ’s looking to come up to be successful to where you are today?



DJ Chubby chub - The best thing is being yourself and always knowing that you’re happy with you and what you present and what you’re going to give the world and what you offer is what stands by what you create.

Justice lane - Do you have any advice for artists about how they would go about having a DJ like yourself breaking their record and getting their music to someone like you?

DJ Chubby chub - Don’t stop - keep sending your music out to every DJ, every DJ has his own ear and eventually someone is gonna say “you have what it takes” and if you don’t and they don’t get right back to you, don’t stop, keep going. A lot of people give up, they think cuz they make one record that’s what they have is that one record, it’s not true. You gotta keep coming up with different songs, you gotta come up with creative thoughts about what you want people to hear about and who you are as an artist.

Justice lane - Very True. I see that one of your mentors has been (coming up with DJ Clark Kent??) do you have any other DJ’s or inspirational people that when you first started you looked up to or wanted to work with?

DJ Chubby chub - When I grew up, there was DJ’s like Grandmaster Flash, everybody wanted to be Flash, everybody wanted to be like Kid Capri, everybody wanted to have their own style, and I was surrounded with a lot of Dj’s like SNS , Craig G, (Dower?) , doing what they were doing and we was doing all together at the same time was mixtapes, but as far as a lot of DJ’s , I look up to a lot of DJ’s because every DJ has their own niche and their own gift of what they brought to the table as being a DJ. Not everybody is going to say they played off records, not everybody is gonna say they had turntables, but every DJ has their own gift they just gotta know what to give to people, you can't play for yourself you gotta play for the people. And me personally, I play for women, you need to play for women more than anything (Laughs)

Justice lane - Well thank you, thank you (Laughs)

Justice lane - Before I let you go, please tell us all where we can find you on social media for you and 50’s movement?

DJ Chubby chub - All social media @djchubbychub holla at me!

Justice lane - Any shoutouts you would like to give?

DJ Chubby chub - I would like to give a shout out to you Justice, thanks for having me on the show, and shout out to everybody that’s tuned in and rocking out, we appreciate you and make sure everyday counts!

Justice lane - Thank you! Yes and everybody tuned in, make sure to check out DJ Chubby Chub and his movement!! I support you and 50 and the movement with it. feel free to come back so we can keep the fans updated. Thank you again for joining me!!

DJ Chubby chub - You’re welcome, thank you for having me!

​The Vehicle Assembly Building, or VAB, at NASA’s Kennedy Space Center in Florida, is the only facility where assembly of a rocket occurred that carried humans beyond low-Earth orbit and on to the Moon. For 30 years, it also served as the final assembly point for space shuttles to external fuel tanks and solid rocket boosters.
The iconic facility serves as the central hub of NASA’s premier multi-user spaceport, capable of hosting several different kinds of rockets and spacecraft at the same time. Whether the rockets and spacecraft are going into Earth orbit or being sent into deep space, the VAB will have the infrastructure to prepare them for their missions.
The VAB was constructed for the assembly of the Apollo/Saturn V moon rocket, the largest rocket made by humans at the time. The last structural beam was positioned in the VAB in 1965. The interior construction, including the construction of the extensible work platforms, was completed in 1966. The building is located 3.5 miles from Launch Pad 39A and 4.2 miles from Launch Pad 39B.
The tallest portion of the VAB is called the high bay. There are four high bays, two on the east side, and two on the west side of the building. Each has a 456-foot-high door, enabling rockets to be stacked vertically and then rolled out to the launch pad.
Combining established capabilities with modern needs is the primary goal as the world’s most famous landmark of space exploration is being upgraded to support NASA’s 21st century launch complex.
Fun Facts

• One of the largest buildings in the world by area, the VAB covers eight acres, is 525 feet tall and 518 feet wide.
• The VAB high bay doors are the largest in the world at 456 feet high and take about 45 minutes to completely open or close.
• The building is home to the largest American flag, a 209-foot-tall, 110-foot-wide star spangled banner painted on the side of the VAB.
• It is made up of 65,000 cubic yards of concrete and its frame is constructed from 98,590 tons of steel. It stands atop a support base of 4,225 steel pilings driven 164 feet into bedrock.

pictures credits: iFM Magazine (Justice Lane)
article credits: https://www.nasa.gov/content/vehicle-assembly-building

The Orrin G. Hatch-Bob Goodlatte Music Modernization Act (Music Modernization Act) is the most significant piece of copyright legislation in decades and updates our current laws to reflect modern consumer preferences and technological developments in the music marketplace. The law is organized into three key titles, outlined below: Title I--Music Licensing Modernization Act; Title II--Classics Protection and Access Act; and Title III--Allocation for Music Producers Act. The Copyright Office has been active in executing its duties under the MMA, including:
On July 8, 2019, the U.S. Copyright Office named Mechanical Licensing Collective, Inc. as the designated Mechanical Licensing Collective (MLC) under Title I of the MMA.
On September 24, 2019, the Office issued a notice of inquiry regarding implementation regulations for the new blanket section 115 “mechanical” license. Following this notice, the Office plans to publish multiple notices of proposed rulemaking, each focusing on one or more of the regulatory categories discussed in the initial notice.
On December 6, 2019, the Office held an all-day educational symposium to kick off a public study to determine the best practices that the MLC may implement to effectively identify copyright owners and unclaimed royalties of musical works while encouraging copyright owners to claim royalties and ultimately reduce the occurrence of unclaimed royalties, as directed by the MMA.

Credits: https://www.copyright.gov/