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A live-wire personality and an epic self-promoter, he got a generation of youth in the City of Brotherly Love on its feet with little-known R&B gems.Jerry Blavat, a bookmaker’s son from South Philadelphia who rose from head-turning teenage dancer on a precursor to “American Bandstand” to widespread acclaim as the most influential disc jockey in the Delaware Valley thanks to his third-rail energy, fantastical wordplay and finely honed instincts for the particular rhythms of his native city, died on Jan. 20 in Philadelphia. He was 82.His longtime partner, Keely Stahl, said the cause was myasthenia gravis, an autoimmune neuromuscular disease that weakens the skeletal muscles.With his rat-a-tat patter and crooked Jack-o’-lantern smile, Mr. Blavat (pronounced BLAV-it) displayed otherworldly skills in promoting under-the-radar vinyl — and himself — in a career that began in 1961 with a 10:30 p.m. Thursday slot on tiny WCAM-AM in Camden, N.J., across the Delaware River from Philadelphia.Christening himself the “Geator With the Heater” (“geator” being Blavat-ese for “gator,” an animal as voracious as the disc jockey himself) and the “Boss With the Hot Sauce,” he woofed, howled and rhymed his way to local fame, particularly among a generation of young Philadelphians in the 1960s, whom he affectionately referred to as “yon teens” (“yon” was a twist on “young,” which, in his view, sounded Shakespearean).“It’s hard to explain to an outsider what kind of energy and influence he had,” said the singer, songwriter and syndicated radio host Ben Vaughn, who came of age listening to Mr. Blavat’s show and later became a close friend. “He defined the sound and the sensibility of the city.”Purchasing his on-air time by selling ads himself, Mr. Blavat steered clear of program directors and rigid formats, and as a result he had the freedom to upend the conventions of early-’60s pop radio by spinning little-known singles, some of them several years old and many of them by Black artists who were largely unknown to white audiences.Among the many performers Mr. Blavat presented on his nationally syndicated weekly television show, “The Discophonic Scene,” were the Supremes. Jerry BlavatThroughout the ’60s, Mr. Blavat spun the latest singles by artists like Aretha Franklin, Dionne Warwick and Smokey Robinson. “Whenever we were in Philly and the Geator was playing our music, we always knew we’d have a hit,” Mr. Robinson wrote in a blurb for “You Only Rock Once,” Mr. Blavat’s 2011 memoir. But Mr. Blavat also made it his trademark to unearth underappreciated gems by R&B groups like the Intruders or Brenda & the Tabulations.His unflagging support of Black artists made an impression on many young white Philadelphians, some of whom would become stars themselves.“I tell people everywhere I go that I’m the product of the Philadelphia music scene,” Todd Rundgren said when he inducted the band the Hooters into the Philadelphia Music Alliance Walk of Fame in 2019. “People ask me, what does that mean? I tell them it comes down to one thing: I grew up listening to the Geator. He played the music that would have been called race records at the time, the music that was made south of the Mason-Dixon Line. And that’s why so many white kids in Philly grew up wanting to sing R&B.”For Mr. Blavat, success rested on one set of ears: his own. “If I don’t dig it, it could be my father out there grooving on the record and I won’t play it,” he was quoted as saying in a 1966 profile by the novelist Bruce Jay Friedman in The Saturday Evening Post.He could be stubborn in his refusal to abide by industry trends — for example, he largely ignored the Beatles at the height of Beatlemania. “I sensed that it just didn’t have enough soul for my kids,” he told Mr. Friedman. “The Stones, yes. The Beatles, no. So I’d go up to Fonzo’s restaurant and the upper-class kids would say, ‘How come no Beatles?,’ and I’d say it’s just not my schticklach, not my groove.”Gerald Joseph Blavat was born on July 3, 1940, in South Philadelphia, the youngest of two children of Louis and Lucille (Capuano) Blavat. His father, known on the street as Louis the Gimp, favored sharkskin suits and Stetson hats, had ties to the local Jewish mob and ran an illegal bookmaking operation, according to Mr. Blavat’s memoir. His mother worked in a jewelry store, as well as at Philadelphia’s naval shipyard during World War II.“My mother taught me love,” Mr. Blavat told The Philadelphia Inquirer in 2011. “My father taught me the streets, the nightclubs, how to hustle.”An avid dancer from an early age, he used that hustle to talk his way onto “Bandstand,” a local television show featuring teenagers dancing to the latest hits, at age 13, a year shy of the minimum age requirement. (The show, hosted by Bob Horn, later evolved into Dick Clark’s “American Bandstand.”) With his flashy moves and electric personality, he was soon a neighborhood celebrity. His musical ambitions, however, lay far beyond the dance floor.Mr. Blavat at an in-store appearance promoting “The Discophonic Scene.” He didn’t just present acts on that show; he was out on the floor, showing off his moves.Jerry BlavatChasing any opportunity, he did stints as a road manager for Danny & the Juniors, the Philadelphia doo-wop group best known for the No. 1 hit “At the Hop,” while still in high school, and as the comedian Don Rickles’s valet. When he was 20, he used his outsize salesmanship to scrounge up enough sponsors to buy his first $120 hour of airtime on WCAM.Despite the limited reach of the station’s signal, word spread quickly. “Kids would park on the Philadelphia side of the Delaware River, as close to the transmitter as they could, so they could listen to the Geator,” Mr. Vaughn said. “There was a whole scene going — dancing, heavy petting, everything you could think of. Just classic teenage rock ’n’ roll passion.”Before long, Mr. Blavat was hosting record hops drawing up to 2,000 teenagers in ballrooms around the city. In the mid-1960s, he produced and hosted a nationally syndicated weekly television show, “The Discophonic Scene,” similar to “American Bandstand” but with Mr. Blavat actually out on the floor, showing off his moves, and with the artists performing live and not lip-syncing.As the decades rolled by, Mr. Blavat remained a cherished and ubiquitous figure on the Philadelphia cultural scene, hosting radio shows on WXPN and other stations in the region as well as an annual celebrity-dotted revue at the Kimmel Center for the Performing Arts, the city’s marquee performance hall.His reputation would not remain entirely unsullied. His friendships with Philadelphia organized crime bosses like Angelo Bruno and Nicodemo Scarfo brought various allegations of mob-related activity over the years.In 1992, the New Jersey State Commission of Investigation called Mr. Blavat to testify in a hearing about mob influence in the state’s liquor business, including allegations that Mr. Blavat had paid a “street tax” to Mr. Scarfo to keep union organizers away from Mr. Blavat’s popular Memories in Margate disco on the Jersey Shore, and that he had served as a front for a yacht purchase by Mr. Scarfo.Mr. Blavat at a parade in Philadelphia on Thanksgiving Day 2021.Gilbert Carrasquillo/GC Images, via Getty ImagesMr. Blavat cited the Fifth Amendment, and in later interviews described his relationship with local crime figures as merely personal. “I’m a performer,” he said about his mob associations in a 1995 television interview. “I’m friends with everyone.”Such controversies did little to slow his momentum. Ms. Stahl said he continued to spin his oldies on local stations seven nights a week, and to drive all over the region to perform at record hops for his old fans, and in many cases, their grandchildren.In addition to Ms. Stahl, Mr. Blavat is survived by his sister, Roberta Lawit; his daughters, Kathi Furia, Stacy Braglia, Deserie Downey and Geraldine Blavat; five grandchildren; and five great-grandchildren.Despite achieving nationwide exposure in the 1960s with “The Discophonic Scene” and appearances on “The Monkees” and “The Mike Douglas Show,” Mr. Blavat was never interested in making the compromises it would take to abandon his roots in Philadelphia, Mr. Vaughn said.“He had offers to go national,” he said, “but they told him that they needed him to be less Geator, because what he does doesn’t make sense outside of Philadelphia. Everything he says rhymes, and he makes up words that don’t even exist. In Philly, we didn’t even question it.”“To his credit,” he added, “he passed on every one, because he didn’t want to lose us.” More
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Prior to this, Quavo seemingly dissed the ‘Icy Girl’ raptress in a snippet of an unreleased track in which the Migos rapper appeared to talk about the Bentley that he gave to Saweetie back in December 2020.
Apr 17, 2021
AceShowbiz –
Saweetie seemingly is clapping back at ex-boyfriend Quavo. The 27-year-old musician appeared to diss the Migos rapper in a new track which was included in her new EP “Pretty Summer Playlist: Season 1”. Titled “See Saw”, the song features Saweetie rapping about a man who hurts her.“How you figure, ain’t the woman that you thought/ You was humpin’ thots, f**kin’ narcissist you just mad you got caught,” she spits her fiery bars. Meanwhile, Sacramento-based songstress Kendra Jae joins her in the hot new song, taking the vocals on the tune.
Prior to this, Quavo was accused of dissing the “Icy Girl” raptress in a snippet of an unreleased track. In the audio, which surfaced online earlier this month, the Athens-born artist rhymed, “Skrtttt Skrtttt takin back dat Bentley/ F**d dem h**s now I gotta act stingy/ new Huncho & Petro otw.” Fans believed that he was likely referring to the Bentley that he gave his then-girlfriend as a gift in December 2020.
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After the pair called it quits in February, words were Quavo took back the lavish car. “Quavo’s no dummy – the Bentley wasn’t in her name,” a source told MTO News at the time. “He’s not being petty or anything, but she’s on Twitter talking s**t. So he took back the car… He got that s**t.” However, the reports were later debunked as TMZ claimed that the 29-year-old emcee neither leased the car in his name nor ended the lease early.
While it did seem messy, the uglier part of their breakup was when a video surfaced online in March, featuring the then-couple having a physical altercation in an elevator. The “Best Friend” raptress seemingly lashed out at the “Congratulations” spitter as they grappled over a Call of Duty case.
Of the footage, Saweetie said that “this unfortunate incident happened a year ago.” She continued, “While we have reconciled since then and moved past this particular disagreement, there were simply too many other hurdles to overcome in our relationship and we have both since moved on. I kindly ask that everyone respect my privacy during this time.”
Quavo also released his own statement in which he denied physically abused the raptress. “We had an unfortunate situation almost a year ago that we both learned and moved on from,” he told TMZ. “I haven’t physically abused Saweetie and have real gratitude for what we did share overall.”
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An 18-year-old said the singer Kris Wu enticed young women like herself with career promises, then pressured them into having sex. He has denied the accusations.Several major luxury brands have severed ties with Kris Wu, a Chinese Canadian singer with a huge following, after an 18-year-old accused him of targeting and pressuring her and other young women for sex.The accusations, which Mr. Wu denied in multiple statements, have triggered widespread public outrage and thrown his career into tumult. At least 11 companies including Louis Vuitton, Bulgari, Porsche and L’Oréal suspended or terminated contracts with Mr. Wu this week, after his accuser spoke out during an interview with an online Chinese news outlet on Sunday.Mr. Wu, 30, rose to fame as a member of the K-pop band EXO before embarking on a solo career as a model, actor and singer, drawing more than 50 million fans online as well as lucrative endorsement deals. Known in China as Wu Yifan, he is one of the country’s most popular celebrities to face #MeToo accusations.Mr. Wu’s accuser is Du Meizhu, a university student in Beijing who said she first met him when she was 17. She said she had been invited to Mr. Wu’s home by his agent with the suggestion that he could help her acting career, according to her social media posts and the interview with Netease, an online portal. Once there, she was pressured to drink cocktails until she lost consciousness, she said, and later found herself in his bed.Ms. Du said she believed that this was a tactic he used to draw other young women. She accused Mr. Wu of regarding women as though they were all concubines in a harem. “You look at a lot of pictures of girls at drinking parties and select them like merchandise,” she wrote in one social media post, addressing him directly.Mr. Wu has denied the accusations, through his lawyer, Zhai Jiayu, and public statements. On Monday, Mr. Wu said that he had only met Ms. Du once in December of last year.“I declare that there has never been any ‘selecting a concubine’!” he wrote on the social media platform Weibo, referring to Ms. Du’s harem comment. He denied having ever seduced, drugged or raped anyone. “If there was such behavior, please don’t worry, I will go to jail by myself!”His lawyer has vowed to file a lawsuit against Ms. Du and report her to the police for defamation. Ms. Du has also said that she reported her accusations to the police.Ms. Du and Mr. Wu did not respond to emailed requests to comment.Ms. Du’s account has been met with an outpouring of support, a sign of the growing strength of the country’s small Me Too movement. One of her posts on Weibo has been liked by more than 10 million users. Hashtags such as #girlshelpgirls and others calling for Mr. Wu to quit show business have been viewed by millions.Ms. Du’s supporters flooded the social media pages of several brands with threats of boycotts if they did not terminate their endorsement deals with Mr. Wu. One by one, the brands moved to distance themselves from him.“This incident shows that nowadays people will no longer swallow insults and humiliation and be afraid of slut shaming,” said Feng Yuan, a feminist scholar and activist. “People increasingly want to speak up and make themselves heard.”#MeToo activism can be challenging in China, where the ruling Communist Party imposes strict constraints on dissent and public debate. Some women who have come forward with accounts of abuse have faced a public and legal backlash. The authorities often discourage women from reporting rape and other sex crimes.Mr. Wu walking the runway during a Louis Vuitton show in Shanghai last year. Several major luxury brands suspended or terminated contracts with him this week.Lintao Zhang/Getty ImagesIt was unclear how the authorities were planning to respond to the allegations against Mr. Wu, but at least three groups affiliated with the government put out statements calling for an investigation.“Everyone is equal before the law, and celebrities with huge followings are no exception,” China Women’s News, the newspaper of a state-run women’s group, wrote on its social media page. “Believe that the law will not wrong a good person, nor will it let a wicked one go.”Ms. Du first started speaking out on July 8, when she released screenshots of conversations between her and Mr. Wu, as well as people she said worked for him. She accused them of enticing young women by dangling opportunities in show business.In one screenshot, dated July of last year, a person reaching out to Ms. Du on Weibo asked her if she would be interested in working in the movie industry. The person then added her contact on WeChat, a chat app, and asked if she had just completed her college entrance examination, saying that he worked for Mr. Wu’s studio and they were looking for new talent.Ms. Du said she felt helpless when she learned that Mr. Wu specifically targeted young women like her. “Indeed, we are all softhearted when we see your innocent expression, but that does not mean that we want to become playthings whom you can deceive!” she wrote in a post on Weibo.She said soon after that, another associate of Mr. Wu’s contacted her on WeChat to offer what she considered hush money to take down the post. When she demanded a public apology from Mr. Wu, the associate said they were considering legal action against her, according to screenshots of the chat she posted online. She said that 500,000 yuan, or nearly $80,000, was later transferred to her bank account, though she had not given her consent.A store displaying an advertisement featuring Mr. Wu. His accuser, Du Meizhu, has been a target of cyberbullying since going public.Tingshu Wang/ReutersIn the Netease interview on Sunday, Ms. Du said that she had started to return the money in batches and that she was gearing up for a legal fight.In detailing her first encounter with Mr. Wu, Ms. Du said that she had been told that she would be going to discuss potential jobs. She said that she tried to leave, but that his staff took away her phone and warned that if Mr. Wu did not have a good time, it could be detrimental to her future as an actor.Pressured into drinking heavily, she said, she ended up sleeping with Mr. Wu. They dated until March, according to her account of the events, when he stopped responding to her calls and messages.Since then, she said, she had heard from seven other women who had been similarly treated. She said she wanted to fight for their interests as well. She did not identify the other people, and the accusations could not be immediately corroborated.Since going public, Ms. Du said she has been a target of cyberbullying and death threats, and that she had been diagnosed with depression. Mr. Wu’s international fan club said in a post on Weibo: “It’s a pity to see a groundless internet drama turn into an evil carnival that violates the truth and laws.”But several other people on social media this week posted messages of support, including screenshots of chats that they said indicated Mr. Wu or his staff inappropriately targeted young women.“Girls, please protect yourself,” Zhang Dansan, a former member of a girl band, wrote on Weibo on Monday, after sharing screenshots of conversations that she said showed how Mr. Wu had asked her if she was a virgin. “I want to be loved too, but don’t be fooled.” More
One of the most explosive details in Britney Spears’s testimony on Wednesday came when she said that the people who control her affairs had refused to allow her to get her IUD removed so that she could try to have a third child.“I want to be able to get married and have a baby,” Ms. Spears said. “I was told right now in the conservatorship I am not able to get married or have a baby.”She told the court that she wanted to remove the birth control device “so I could start trying to have another baby, but this so-called team won’t let me go to the doctor to take it out because they don’t want me to have children, any more children.”Ms. Spears has two teenage sons with her ex-husband Kevin Federline. Her current boyfriend, Sam Asghari, had spoken publicly in opposition to Ms. Spears’s arrangement even when she remained relatively silent. Before the hearing on Wednesday, he posted a photo to Instagram of him wearing a shirt with the phrase #FreeBritney.Alexis McGill Johnson, president and chief executive of the Planned Parenthood Federation of America, weighed in on Twitter, calling Ms. Spears’s account “reproductive coercion.” More
Immersive audio formats, while newer for pop, have been used by composers for decades. But not all works call for spatial treatment.Recent developments in spatial audio — albums old and new being mixed for immersive formats — have made news in the world of pop.Given the right production process (in the studio) and tech setup (at home), headphone sounds no longer need feel so statically pressed to each ear; instead, they can seem to whiz around your head or beckon from the nape of your neck.Or simply breathe anew. Whether you’re focusing on a stray slide-guitar accent in the Dolby Atmos mix of Taylor Swift’s “Mine (Taylor’s Version)” or appreciating the serrated details of brass-arrangement filigree in Frank Zappa’s vintage “Big Swifty,” the idea is to bring the souped-up, three-dimensional feel of large-speaker arrays into your ears.But classical music was there decades ago. Deutsche Grammophon and the Philips label both experimented with “Quadraphonic” — or four-channel releases — in the 1970s. More recently, binaural recordings and mixes, designed to simulate that 3-D feel, have been a delight. Now, though, these and other spatial-production practices are enjoying deeper corporate investment, including head-tracking technology as a feature of Apple’s newest Beats headphones. (When you move your head while wearing these — with the tracking option enabled — sound-points seem to stay fixed in your 360-degree field, even if you swerve about.)Head-tracking seemed largely pointless to me — even distracting — until I tried it with the new archival recording “Evenings at the Village Gate,” featuring John Coltrane and Eric Dolphy.Hearing Dolphy’s bass clarinet in front of my face — in a way that remained stable, even when I shook my head in wonder at his playing — allowed me the fleeting sensation that I was sharing space with the legend. A neat trick, though not one more important than Dolphy or Coltrane’s playing on its own terms.Around the time that recording was made, classical composers were bringing spatialized concepts into their creative practice. Even before the comparatively meek technology of two-channel stereo sound was standard in every home, Karlheinz Stockhausen and others were using more complex mixes for works involving electronics or taped elements.There’s a reason Stockhausen is one of the cultural worthies on the cover of the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band”: The composer’s works, like “Gesang der Jünglinge,” from 1956, employed a five-speaker mix (including one on the ceiling). That made a lasting impression on Paul McCartney, who once described “Gesang” as his favorite “plick-plop” piece by Stockhausen.Now, more traditional corners of the classical music world are getting in on spatial audio as well.Esa-Pekka Salonen rehearsing with the San Francisco Symphony, which has released spatial audio recordings.Ulysses Ortega for The New York TimesLeading conductors in the orchestral world — including Riccardo Muti and Esa-Pekka Salonen — have personally approved spatial audio mixes of their recent recordings, which have been released on Apple Music and its stand-alone classical streaming app. And, as with other genres, Apple has gathered playlists of spatialized remixes.The regular players in classical music’s immersive cohort have meanwhile continued to ply their trade: Members of SWR Experimentalstudio came to the Time Spans Festival in New York this month, bringing surround-sound works by the Italian modernist Luigi Nono. And the American composer-saxophonist Anthony Braxton brought a new surround-sound concept, “Thunder Music,” to the Darmstadt Summer Course in Germany.Those live performances were terrific. It’s a different story on recordings: After listening to a variety of Dolby Atmos mixes recently, I sensed that classical music’s more mainstream slate of spatial offerings remains a work in progress.Somewhere in between was the Sonic Sphere, a realization of a spatial audio concept by Stockhausen, at the Shed in New York this summer. Its 124-speaker setup encircled about 200 listeners at a time. In early July, I heard a new mix of Steve Reich’s “Music for 18 Musicians” that suffered from muddy bass frequencies. This, unfortunately, also robbed the work of its chiseled, Minimalist grace; instead of following the bass clarinet lines, you just guessed that they were there. A sense of drama had been frittered away.Similarly, some selections you can find in Apple Music’s “Classical in Spatial Audio” playlists seem poorly selected for the format. A recording of a profound solo work like Bach’s “The Well-Tempered Clavier” isn’t exactly crying out for the spatial treatment. But when it receives one — as in an otherwise pleasant recording by Fazil Say — it merely sounds like it’s had its reverb levels jacked to the sky. It’s more distracting than moving. Such extraneous mixes are also a poor advertisement for what Dolby Atmos can provide when applied to the right repertoire.For a contrast, look to the opening work on the Chicago Symphony Orchestra’s recent album “Contemporary American Composers,” Jessie Montgomery’s “Hymn for Everyone.” That track is plenty inviting in its regular stereo mix; even as its singable opening motif is passed between sections, taking on new timbral colors, it never loses its openhearted sense of invitation. In the Dolby Atmos mix on Apple Music, that enveloping effect deepens. The spaces among bowed strings, brasses and percussion are wider. A centrally mixed pizzicato line takes on an even more dramatic, bridging role.The orchestra’s audio engineer, Charlie Post, said in an interview that “contemporary music seems to lend itself particularly well for this.” And he related how, since joining the Chicago Symphony in 2014, he’s been “future-proofing” sessions by recording with more microphones than are strictly necessary for radio broadcast or archival purposes. Now, when a format like Dolby Atmos comes into play, the ensemble is ready with a robust audio-capture program — think of it as a highly detailed orchestral data set — from each performance.After working with the producer David Frost and the spatial-mixing expert Silas Brown, Post is then required to get the sign-off from Riccardo Muti, the Chicago Symphony’s music director. Post recalled that when the conductor, wearing Sennheiser headphones, heard a binaural rendering of the 2018 album “Italian Masterworks,” he counted himself impressed — and gave the ensemble’s spatial-audio team his blessing to do more in this realm.“He thought it was more wide and pleasing to him,” Post said. “So that was a great thumbs-up to get.”At the San Francisco Symphony, Salonen has been equally enthusiastic — and even more hands on — with engineers as he plots coming performances and releases.“We have a very, very good team, so they don’t need any kind of mothering,” he said in a video interview. “But I’m just fascinated by the process myself, because it’s a new kind of mixing. When you position sound objects in 360 space, it becomes like a superfun computer game — very entertaining. And there are some musical artistic gains which are not gimmicky. It doesn’t have to be technology for the sake of technology; there can be an expressive purpose.”That much is clear in Salonen’s recent San Francisco recordings of music by Gyorgy Ligeti, several of which now exist as Dolby Atmos-enabled singles. (A take on Ligeti’s “Lux Aeterna,” which Stanley Kubrick famously used in “2001: A Space Odyssey,” is also available on YouTube in a binaural, headphone-optimized version.)In Ligeti’s “Ramifications” — a piece that requires different orchestral groups to play in microtonally different tunings — the Dolby Atmos mix brings across the peculiar differences. Eerie, branching strings are easier to locate and appreciate, smeared across a wide soundstage; the chattering climax has fresh force.Salonen, who has been interested in blending technology with the traditional orchestra, both as a conductor and as a composer, thought about which Dolby Atmos recordings he would like to see. Thinking about Stockhausen’s “Gesang der Jünglinge,” he said, “I would buy that!”Karlheinz Stockhausen, a pioneer of spatial audio in composition, conducting in 1984.Agence France-Presse, via Getty ImagesIn an email, Kathinka Pasveer, Stockhausen’s longtime companion and collaborator, said that there were no plans to remix the Stockhausen Verlag catalog. The market, she added, is currently too small.Apple’s market share could change that. But for now, there are other distributors of cutting-edge spatial audio compositions.The composer Natasha Barrett’s recent album “Leap Seconds” — perhaps the most vivid spatial-audio work I’ve encountered in the past decade — comes with a headphones-only binaural mix when bought from the Sargasso label. And the British label All That Dust has been releasing binaural mixes of albums on its Bandcamp page.This year, the best spatial audio purchase I’ve made was an All That Dust download of Stockhausen’s “Kontakte” for piano, percussion and electronic sounds. That may not be as newsworthy as the latest buzzy technology, but neither is it as expensive.The week I visited the Shed, tickets for the Reich show started at $46, for a concert that amounted to an hourlong playback session. But my “Kontakte” recording was something of a corrective: just 5 pounds ($6.37). With that binaural release and ones like it, you don’t need to be hustled into hyped equipment from Apple. Anyone with solid over-ear headphones — as with the Sennheiser line that Muti used in Chicago — can experience this magic. More
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