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![]() Thousands of questions, comments and concerns haven't been enough to get him to respond just yet. No matter how outspoken he has been in the past, it doesn't look like Alsina will be providing any further clarification on the noose photo. Explore the latest videos from hashtags: augustalsinaedit. Watch popular content from the following creators: plug.(justmusic44), Babygirl2.0(peytonstanley21), Céline Ira(celineira2), Turquoise(questioner23belle), bestrnbhits(bestrnbhits). Songz wasn't fazed he stated in an interview that Alsina had "a lot going on in his life outside of music" and refused to speak negatively about him. Discover short videos related to August Alsina Feat Rick Ross Benediction on TikTok. He recently called Trey Songzout after a collaborative show between the two fell through. Another person - a producer from TMZ - asked Alsina to reach out and explain the image.Īlthough the New Orleans native is a relatively new name to R&B, he's used to being in the midst of a little controversy now and again. One user by the name of mac_alsina pleaded with the crooner to "answer the phone," claiming that his grandmother was in tears from seeing the photo. Some of his Instagram followers assumed the flick was from the video set, while others thought the picture was distasteful in general. Forever missed #holdyoudownforlife." The picture racked up more than 9,000 comments. ![]() The 21-year-old captioned the disturbing photo, "Rest in peace Aug. Alsina threw the image up on Instagram yesterday (May 21), which appears to be a shot from his new music video for "FML," a track where he touches on suicidal thoughts. August Alsinagot his fans, and maybe even some family members, up in arms over a photo of him hanging from a ceiling with a noose around his neck. ![]() ![]() DamonPS2 has generated significant controversy. This is in stark contrast to one of the only options for PS2 emulation on Android, DamonPS2. Best of all, under the LGPL, the emulator will remain free and open-source. Several titles run at playable speeds on a variety of SoCs (ranging from low-powered to top-of-the-line from Qualcomm, Samsung, and MediaTek). Tahlreth has expressed that future iterations of the emulator will allow for capped framerates and will work to smooth out these bugs.ĪetherSX2 shows a lot of promise. In some rare cases, mid-range handsets can run games smoother and more accurately than flagship devices. Others may experience graphical or audio glitches. The feature currently has a curious side effect: since the framerate of the emulator cannot currently be capped, more powerful phones (e.g., those with the Snapdragon 888 Plus) may run some titles too fast. This can be useful for users with budget- or mid-range handsets that don’t boast the most powerful hardware the feature allows less powerful chipsets to hit higher framerates. One option allows users to change how the emulator receives and processes blocks of data, effectively “underclocking” the PS2 emulation. In his YouTube video, Taki Udon gives an overview of some of the key features of AetherSX2. The open-source nature of AetherSX2 will also allow the community to contribute to the project, hopefully improving the app more quickly than Tahlreth could do alone. This could, in turn, open the floodgates for PS2 emulators on the Android market. Thus, the emulator won’t cost a dime to use, and experienced programmers will eventually be able to easily see and tweak the source code. ![]() Tahlreth is developing AetherSX2 under the LGPL (GNU Lesser General Public License), which means it will be free and open-source. The developer behind AetherSX2, known as Tahlreth, has been fairly forthcoming with information about the software. Currently in a closed Alpha, the emulator has made some waves in the retro community this week, thanks in part to a YouTube video from Taki Udon (a prolific Android emulation console reviewer). However, a new emulator may be the answer to retro gamers’ prayers.ĪetherSX2 is a new PlayStation 2 emulator for Android. The only two options for PS2 emulation both have significant drawbacks. ![]() PC gamers have enjoyed emulators like PCSX2 for years, but the story is quite different on Android. 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Rather, these harms are the result of business decisions and market failures, regulatory gaps and enforcement oversights, which have together produced an environment in which harmful and predatory practices among online services are industry standards. The economic, civil rights, privacy, and consumer protection harms from online services are not the necessary “cost” of flourishing online culture, commerce, and innovation. A persistent lack of transparency has compounded the public’s ability to fully understand-let alone address-many of these challenges. 21 These harms have affected all Americans but have had a disproportionate impact on low-income people, people of color, disabled people, and other systematically targeted communities. 12 Americans face these and other harms from online services, including but not limited to widespread fraud, 13 abuse of small businesses, 14 abuse of market power, 15 faulty algorithms, 16 racist and sexist technological development, 17 cybersecurity challenges, 18 threats to workers’ rights, 19 curtailed innovation, 20 and challenges with online radicalization and misinformation. Exploitation of people’s data has created novel consumer threats around privacy, 10 manipulation of consumer behavior, 11 and discrimination. 9 Pervasive, ubiquitous digital surveillance has eroded Americans’ civil liberties. Online service companies have produced substantial wealth, but these gains have failed to reach the American workforce more broadly. Simultaneously, the growth of online services has created new inequalities, acute consumer protection issues, and troubling concentrations of power. They have become an essential part of American lives and livelihoods. 8 Online services have created tremendous benefits and new opportunities for expression. adults worked from home all or most of the time. ![]() 6 During the COVID-19 pandemic, nearly 93 percent of households with school-age children used some form of online “distance learning,” 7 and 71 percent of U.S. ![]() adults use social media, with large proportions using social media every day, 5 and many get their news through digital channels. ![]() gross domestic product (GDP), 3 on par with manufacturing, and nearly 15 percent of U.S. 1 Today, 85 percent of American adults are online every day, with nearly a third online “almost constantly.” 2 This evolution has driven significant economic and social growth: Internet businesses now create 10 percent of U.S. adults said they had never heard of the internet. Online services have evolved from novel communication tools to ubiquitous infrastructure for the United States’ economy, democracy, and society. ![]() ![]() ![]() One of my book’s first examples is a live performance of Kanye West’s “Diamonds from Sierra Leone,” which borrows from the bombastic Shirley Bassey title song to the 1971 Bond film, Diamonds Are Forever. The songwriting practices informing the Bond theme-song pantheon often seemingly follow a stylistic-pastiche model akin to the adage of combining “old, new, borrowed and blue.” Finneas and Eilish are no exception here, acting on pop-production impulses that Simon Reynolds terms “retromania.” With pop music of the 2000s, Reynolds sees “a recombinant approach to music-making” that invokes a “constellation of reference points and allusions.” This produces “music whose primary emotion is towards other music, earlier music.” ![]() Despite its whispered opening, this sonic coming-out-of-the-bedroom is readily heard in her new two-octave vocal range. This theatricality is uncharacteristic of earlier Eilish recordings. The track climaxes at a high and belted “Bond note” (the two-bar, B4-to-A4 moment on the title lyrics at 3:21 ff.). This luxe scoring in the song is new to Eilish’s ouevre and it richly enhances Finneas’s original bedroom pop production via brass-plus-strings Bond bombast. “No Time to Die” involves a late-entry slowburn dramatic orchestral build. I connect much of this music to middlebrow-adjacent, class-aspirational popular culture – with “class” and “classy” understood as glamour-based stylistic adjectives not necessarily aspirational socio-economic high-culture status. The midcentury “spy” soundtrack idiom– is referenced in multiple contexts: from the 1959 pre-Bond Untouchables TV theme by Nelson Riddle to the early 1960s Bond film-score model and easy listening orchestral-pop surf rock to mid-2000s hip-hop sonic and image invocations of the Bond legacy. This pop history is central to my new book, Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music, which explores luxe pop’s historical production practices for invoking sophistication, glamour, and spectacle. The Bond sound emerged from 1950s and early 1960s “traditional pop,” a period I refer to as the “populuxe era” to capture how the typical big-band-plus-strings sound reflects the era’s luxury-leaning mass consumer goods. These songs are routinely built through referential markers that dually point to John Barry’s original sonic formulas for the Bond scores and each generation’s top-tier pop. Generations of luxe-pop history can be traced across the James Bond film song pantheon that has aurally defined the franchise. The timeless allure of bestringed orchestral-pop production – what I call “luxe pop” – still thrives in 2021 as a vital currency for conveying glamour and “class” in popular music. Yet Eilish’s performance of “No Time” signals a new shift to her style through its embrace of both retro feminine glamour and Hollywood-deluxe soundtrack bombast, as delivered in the production work of her brother, Finneas, and the orchestration contributions of Hans Zimmer and Matt Dunkley. Across 2021, the whispered angst of teen bedroom pop has achieved pop dominance. Through basic, affordable equipment, bedroom pop can involve either simplicity or intricate multitrack production, especially layered one-singer vocals with backgrounds. With typically breathy phrasing and closely-miked, minimal-dynamic vocals, this music invokes pop notions of “authenticity” and “natural” intimacy. The End… – Cris Velasco and Sascha DikiciyanĢ0.The Grammy award-winning singer’s music has typically been characterized by the style of contemporary “bedroom pop,” which relies upon DIY, bare-bones production via a laptop-based home studio. Battle Within, Battle Without – Cris Velasco and Sascha Dikiciyanġ0. The Anti-Shepard – Cris Velasco and Sascha Dikiciyanĩ. Piracy! – Cris Velasco and Sascha DikiciyanĨ. Archival Knowledge – Cris Velasco and Sascha Dikiciyanħ. Casino Mystery – Cris Velasco and Sascha DikiciyanĦ. Team Rescue – Cris Velasco and Sascha Dikiciyanĥ. Citadel Underbelly – Cris Velasco and Sascha DikiciyanĤ. Shepard Falls – Cris Velasco and Sascha Dikiciyanģ. I Dream Of Sushi – Cris Velasco and Sascha DikiciyanĢ. Original score composed by Sam Hulick, Cris Velasco, and Sascha Dikiciyan:ġ. ![]() Mass Effect 3: Citadel DLC Game (2013) Soundtrack List – Tracklist – OST – Listen to Original Score, Theme Music from the Game, score list, all songs list – playlist, who sings them, including end credits.īelow you can view the complete Mass Effect 3: Citadel DLC Soundtrack List, score album tracklist: ![]() ![]() Re-compute from the zone top - Uses the time-depth curve for the original well for the section above the top of the zone and recalculates a new time-depth relationship within and below the zone by using the new sonic log. This method uses the original time-depth curve to predict the times for the pseudo wells. Shift - Preserves correlations between the log and seismic. Replace values outside the zone: The samples below the zone will be overwritten when the zone becomes thicker than the original log.ħ Advanced Tab: Depth-time curve options: Wedge Model: Shift values outside the zone: The log values will be preserved below and above the zone of interest, so the log curves are shifted up or down. The Fix Zone Bottom of the zone is fixed but only in the Depth domain. Zone Options: The Fix Zone Top is kept level and the bottom changes. ![]() The Increment - Defines increments between the start and end parameter values. The Zone of Interest can be formed using tops or by depths from the surface.Ħ To set the parameters Start Value will start your wedge at the stated value and the End Value will end your wedge model at the stated value. Select the P-wave, S-wave, and Density The reservoir Interval is the zone of interest for the reservoir. This will open the parameters to generate a wedge model.ĥ Select the Well to you would like to wedge. With the left mouse button double click the Wedge Modeling option. The wedge model feature can be generated by opening the AVO Modeling option in the processes tab. Initiate the wedge model process as indicated. (a) The wedge (b) seismic section across a linear wedge that has lower acoustic impedance than the surrounding sediments for a minimum-phase wavelet (c) amplitude versus thickness graph. ![]() The magnitude of the increase and how many amplitude maxima there are depend on the shape of the embedded wavelet. When the wedge is a quarter-wavelength (1/4) thick, the second half-cycle of the reflection from the top interferes constructively with the first half-cycle from the bottom, resulting in an increase in amplitude. The tuning effect illustrated for a wedge the material above and below it is the same, but the wedge has different acoustic impedance. This process requires a well, a wavelet, and a zone for creating the wedge.ģ Tuning makes two reflected signals appear as either one signal or even as no signal, this thickness therefore represents the minimum bed resolution that the wavelet can identify. In this document describes the process of creating a wedge model and viewing the tuning analysis chart. Changes in bed thickness are introduced into the model along with changes in acoustic properties determined through rock physics modeling. Wedge Modeling is used to understand vertical (thin bed) resolution limited by seismic. It creates seismograms but lets you alter a petro-physical or fluid parameter to see the predicted changes. Wedge Modeling is part of the AVO modeling suite of tools. Is crossplot cutoffs help to generate 3D lithofacies cubes, which is used to extract facies geobodies.1 Wedge Modeling HRS-9 Hampson-Russell SoftwareĢ Wedge Modeling is part of the AVO modeling suite of tools Integration between Inversion results and Ip vs. Is crossplot, clear separation occurs in the P-impedance so post stack inversion is enough to be applied. Spectral decomposition unravels the seismic signal into its constituent frequencies.Ī crossplot between P-wave Impedance (Ip) and S-wave Impedance (Is) derived from well logs (P-wave velocity, S-wave velocity and density) can be used to discriminate between gas-bearing sand, water-bearing sand, and shale. Spectral decomposition of a seismic signal aims to characterize the time-dependent frequency response of subsurface rocks and reservoirs for imaging and mapping of bed thickness and geologic discontinuities. ![]() ![]() Seismic data, being non-stationary in nature, have varying frequency content in time. A detailed study for channel connectivity and lithological discrimination was established to delineate the gas charged geobody. The main challenge of seismic reservoir characterization is to discriminate between Gas sand, Water sand and Shale, and extracting the gas-charged geobody from the seismic data. Solar gas discovery is one of the Turbidities Slope channels within the shallow Pliocene level that was proved by Solar-1 well. Nile delta province is rapidly emerging as a major gas province commercial gas accumulations have been proved in shallow Pliocene channels of El-Wastani Formation. ![]() ![]() ![]() Then type in a desired output location in the "Output" box. Do not forget to click "OK" to confirm your settings. To cut down file size, you may set down video bit rate, the lower bit rate you set the smaller file size you get. 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In honor of his new role as a father, Chris Brown revealed to fans that he would be dedicating his long-awaited album to daughter Royalty, even going so far as to name the album after Royalty and pose with his daughter for a sweet, black-and-white photo that now serves as Royalty's cover art, Us Weekly reports. While some fans took to Twitter to gush over Chris Brown's new single and express their excitement for his upcoming album given the success of previous tracks like "Zero" and "Liquor," other fans were quick to express their confusion regarding Chris Brown's decision to make "Sex You Back To Sleep" a featured track on Royalty.Ĭhris Brown made headlines earlier this year after it was revealed that Brown fathered a child with model Nia Guzman, ultimately calling an end to his longtime relationship with Karrueche Tran. 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