On the heels of releasing his latest single, Vintage Culture, the Brazilian sensation invites us into his creative process behind the track Come Come. This club-ready banger, crafted in collaboration with Tube & Berger and Kyle Pearce, marks another milestone in Vintage Culture’s impressive discography. With a series of singles and an eagerly anticipated debut album on the horizon, Vintage Culture takes a moment to reflect on his musical journey.
Hi, how are you and how is the music world treating you?
Great to be here with the Our Culture family. My team and I are currently preparing for a North American tour, so I’m enjoying a few minutes of quiet time with friends, family and of course, Bentin (my Corgi.) Summer is just beginning in Brazil. Here, it’s the calm before the storm.
Can you take us through the creative process behind Come Come? What drove the collaboration with Tube & Berger and Kyle Pearce, and what inspired the track?
I wanted to capture the energy and atmosphere of Ibiza and infuse it into our track Come Come. This song was born from a spirit of creativity and collaboration. I believe we’ve created an innovative sonic landscape.
Tube & Berger are talented producers. I believed blending our sounds would be a musically interesting combination of styles. The collaboration came about very naturally. We are mutual fans of each other’s work. Also, Kyle Pearce is a talented singer with a wide vocal range. I knew that his lyrics would add an essential layer of emotion to the song.
You’ve had a remarkable year with a string of head-turning singles. How does Come Come fit into the broader narrative of your musical journey and upcoming debut album?
Even in my more atmospheric, quiet tracks you’ll find there is an edge to the music. Come Come grabs the audience’s attention with the first Kick drum. We used driving rhythms and solid melodies to create a sense of momentum in the instrumental. This musical momentum is combined with a sense of quiet desperation which is a common thread through my music. Beneath the surface there is always a sense of urgency to my songs.
Kyle Pearce’s lyrics are very strong. Lyrics have always been important to me when working on a top line. For me, the lyrics for a song have to be original and say something in a unique way. These are passionate lyrics with emotional depth. I think they perfectly capture the feeling of wanting something so badly that you’re willing to do anything to achieve it…. something just out of reach.
The production process and creativity surrounding Come Come was refreshing and inspiring. Each artist was very open to new ideas; And these ideas flowed between the artists freely. Even while we were in different cities we sent each other updates and creative ideas. I also experimented with a variety of sounds and musical textures until I found the perfect combination. I’m particularly drawn to the dark overtones of the track. They add a degree of drama and intensity to the song. I believe this compliments the performance of the vocals.
My forthcoming debut album will be a culmination of everything I’ve learned and experienced as an artist and a person who has, for all intents and purposes, grown up in public. I began making music while still in my teens. In a way, the album is about this journey with all its highs and lows. It’s an indescribable feeling to hear the album transform into one cohesive body of work. Curating this sonic experience is a challenge and also very satisfying. Come Come fits perfectly into the narrative of the album. It’s a track that celebrates perseverance within an album whose central theme is about achieving goals, and striving to reach a place of peace in one’s life. We’re all searching for that promised land, too few of us find it.
Your residency at Hï Ibiza and performances at various festivals have been noteworthy this year. How has your live performance experience influenced your approach to producing music?
My residency at Hï Ibiza is one of the highlights of my career and is one of the best experiences of my professional life. This iconic Ibiza landmark allows me to curate a unique experience for my fans each week. I’ve made lifelong friends in Ibiza and the audience shares my passion for music. Ibiza has become my second home.
Do you have a favourite venue you’ve played at?
I’ve played in so many awesome venues around the world this year that it is a challenge to choose just one. In 2023 Hi Ibiza is definitely at the top of my list. This venue has made me feel completely comfortable and at home during my residency in Ibiza. The staff there have become friends. They are one of the most professional, courteous teams I’ve worked with this year. I also miss the people at PrintWorks. That was a classic venue. I’ve had experiences at PrintWorks that I’ll always remember — PrintWorks is another highlight from 2023.
I’ve met so many great people along the way and I am very grateful.
Lastly, where do you see yourself within the electronic music industry, and where do you hope to be in the near future?
What you’ve seen or heard is only a clue to what the future will bring. I’ve only touched the surface of my music production. Each day I’m developing as a songwriter and music producer. The last few years have been a period of immense artistic growth. I’ve certainly entered the next phase of my career. Reaching my goals is a combination of hard work, a loyal team supporting my creative decisions, and relentless efforts. Never giving up is the key to success. My goal is to create a lasting impact. I want to leave a legacy of great music.
New Blue Sun, André 3000’s new album of flute-centric instrumentals, is out today. Announced earlier this week, the 87-minute record was co-produced alongside Carlos Niño and features contributions from Nate Mercereau, Surya Botofasina, Deantoni Parks, Diego Gaeta, Matthewdavid, V.C.R, Diego Gaeta, Jesse Peterson, and Mia Doi Todd. The opening track of the album is titled ‘I Swear, I Really Wanted to Make a Rap Album But This Is Literally the Way the Wind Blew Me This Time’. “It’s not like I don’t try or it’s not like I have a lot of these songs just sitting – I have songs but it’s not like rap things that I really feel happy about sharing,” André 3000 told NPR. “And really, that’s the most important part. I have to feel happy about sharing it. That’s why New Blue Sun was something that I realized, whoa, I really want people to hear it. I really want to share it.”
Danny Brown has released his new album, Quaranta. Out now via Warp Records, the follow-up to 2019’s uknowhatimsayin¿ features guest appearances from Bruiser Wolf, Kassa Overall, and MIKE, as well as production from Quelle Chris, Paul White, and SKYWLKR, among others. The 11-track LP was previewed by the singles ‘Tantor’ and ‘Jenn’s Terrific Vacation’. “It’s almost like that was my way of just getting shit out,” the rapper told Rolling Stone about the album. “I was so fucking caught up in ‘Am I going to live tomorrow?’ It was almost like, if I died, this is what I have to say. That’s where I was at with it. This is all my shit.”
Dolly Parton has put out her first-ever rock album, Rockstar. It features nine original tracks and 21 covers, with collaborators that include Paul McCartney and Ringo Starr, Lizzo, Sting, Chris Stapleton, Debbie Harry, Elton John, John Fogerty, Joan Jett, Steven Tyler, Miley Cyrus, Peter Frampton, Brandi Carlile, Kid Rock, and many others. “I’m so excited to finally present my first rock n’ roll album, Rockstar!” Parton said in a statement. “I am very honored and privileged to have worked with some of the greatest iconic singers and musicians of all time, and to be able to sing all the iconic songs throughout the album was a joy beyond measure. I hope everybody enjoys the album as much as I’ve enjoyed putting it together!”
2 Chainz and Lil Wayne have joined forces for a new collaborative album. Out now via Def Jam, Welcome 2 Collegrove follows 2016’s Collegrove and features guest spots from 21 Savage on ‘Big Diamonds’, Usher on ‘Transparency’, Fabolous on ‘PPA’, Benny the Butcher on ‘Oprah and Gayle’, Vory on ‘Godzilla’, Rick Ross on ‘Can’t Believe You’, and Marsha Ambrosius on ‘Moonlight’. “I think me and him just have that chemistry,” 2 Chainz told Apple Music. “We enjoy working with each other a lot, and it’s a lot of respect there. And as I always say, still sharpen still. So, it’s always that little piece of anxiety of knowing that I got to this verse has to be better than the last one. I think it’s healthy. I think competition is healthy in any and everything that we do.”
Daniel Bachman has unveiled a new album, When the Roses Come Again. The guitarist self-recorded the follow-up to Almanac Behind on a laptop in a cabin near Shenandoah National Park. “My intention with this record was to represent the spiritual machinery that moves through all life, samsara, the wheel of life, etc. starting with birth, then death, and ending in rebirth,” Bachman wrote in a statement. “I see this process moving in our garden through the seasons, and through intense personal experiences I’ve had. I see it in the churning of centuries within my own family, and through exploring these intergenerational connections I hope to better understand my own place within these intangible cycles.”
Frost Children – the project of New York-based, Missouri-raised siblings Angel and Lulu Prost – have dropped a new record, Hearth Room. It’s a companion LP to SPEED RUN, which came out in April via True Panther. The duo self-recorded the collection this past spring in a cabin in Pennsylvania’s Poconos Mountains, and it was mixed by Al Carlson (Oneohtrix Point Never, Jessica Pratt, Laurel Halo) in Brooklyn. “When you love the creation you start to fall in love with the grind of working on it, and once it nears the time of giving it to someone else you kinda want to hold on to it, but it stops being yours,” Angel Prost said in press materials.
Pakistani-American singer-songwriter Ali Sethi and experimental producer Nicolás Jaar have teamed up for a new collaborative LP, Intiha. “It felt familiar to me, that sense of adventure you have when you hear his music, like a tale that teases you and plays with your expectations as it unfolds,” Sethi said of Jaar’s work in press materials. “It resembled the leisurely improvised ghazals and qawwalis I grew up hearing in Pakistan.” The album took shape after the musician began creating demos by looping sections of Jaar’s 2020 album Telas, improvising vocalizations and Urdu poems over them. “It was what Telas had been missing,” Jaar remarked.
Other albums out today:
Spencer Zahn, Statues II; Blockhead, The Aux; RXKNephew & Harry Fraud, Life After Neph; Mo Troper, Troper Sings Brion; Vince Clarke, Songs of Silence; Teni, Tears of The Sun; halfnoise, City Talk; Smoke Fairies, Carried in Sound; Richard Hronský, CLOSURES; Mom Jeans, Bear Market; Eyvind Kang & Jessika Kenney, Azure; Montañera, A Flor de Piel.
H.E.R. has shared a cover of ‘The Glass’, a track from Foo Fighters’ latest album But Here We Are. Last month, she performed the song with the band on Saturday Night Live, and her new rendition arrives as part of a double A-side vinyl release that features the original on the B-side. Give it a listen below.
In keeping with Phoebe Bridgers’ annual tradition of releasing a holiday charity single, boygenius have shared a cover of the traditional ballad ‘The Parting Glass’ with Irish folk duo Ye Vagabonds. The song was recorded and released in tribute to the late Sinéad O’Connor, who passed away in July at the age of 56. Listen to it below.
Net proceeds from the song will be donated to the Aisling Project, an after-school project working with children and young people growing up in a disadvantaged area in Dublin, Ireland. The charity was chosen by the Sinéad O’Connor Estate.
“We are absolutely thrilled that Boygenius have chosen to give proceeds from the release to Aisling Project,” said Project leader Mícheál Clear. “It’s an absolute privilege to be associated with the stunningly beautiful homage to Sinead O’Connor and we can’t possibly thank Boygenius enough.”
Thy Slaughter, the collaborative project of A. G. Cook and EASYFUN, have announced their debut LP. Soft Rock arrives December 1 via PC Music. It includes the previously released tracks ‘Sentence’ and ‘If I Knew’, and two more songs, ‘Lost Everything’ and ‘Reign’, are out today. ‘Lost Everything’ was co-written with SOPHIE and features vocals from Wolf Alice’s Ellie Rowsell. Charli XCX, Caroline Polachek, and Alaska Reid will also guest on the project. Check out the new songs, along with the album’s cover art (by Timothy Luke) and full tracklist, below.
Soft Rock Cover Artwork:
Soft Rock Tracklist:
1. Sentence
2. Immortal
3. Reign
4. Heavy
5. Bullets
6. If I Knew
7. Flail
8. Lost Everything
9. O Fortuna
10. Shine a Light
11. Don’t Know What You Want
12. Fountain
Searows is the moniker of Kentucky-born, Oregon-raised singer-songwriter Alec Duckart. He wrote, recorded, and produced his 2022 debut album, Guard Dog, alone on GarageBand, but the project led to co-signs from the likes of Ethel Cain and Gracie Abrams, both of whom he’s supported on tour. Last week, Searows released the End of the World EP, which he again produced on his own, via Matt Maltese’s new label Last Recordings on Earth. As the title suggests, and not unlike its full-length predecessor, the collection stares down feelings that could, one way or another, be called catastrophic anxiety; but as he gives them the space to unfold, Duckart’s songs reveal themselves as products of not just constant worry, but change. He names a song ‘Funny’, even though it’s the heaviest, most vulnerable song here, then follows it up with the title track, which actually has quite a bit of warmth and levity to it. “I buried my teeth in everything good/ And it didn’t save me like I thought it would,” Duckart sings on ‘I Can and I Will’, and by the time the thought cycles back, it’s mostly just an echo. There’s a lot more of them to get through, and he can’t wait to dig in.
We caught up with Searows for the latest edition of our Artist Spotlight series to talk about his earliest musical influences, following up his debut album, writing about anxiety, and more.
What are some of the earliest memories that come to mind of connecting with music?
There were definitely a lot of artists that my parents listened to that I love to this day, artists that I feel like have particularly beautiful and emotional voices. Sufjan Stevens, I have been listening to since childhood, and he just has this voice that invokes heavy emotion; Joni Mitchell has a similar feeling. I feel like I always just really liked sad music. I’m trying to think of what I chose to listen to really early on that wasn’t just my parents’ music – I mean, I was really into Owl City. [laughs] There’s a lot really embarrassing music tastes that I had as a kid as well. But I’ve always really resonated with sad music, and not necessarily because I was sad, but it just felt so significant and cool to feel so strongly from just, like, sounds and a song.
Especially since you were drawn to that kind of music from an early age, do you feel like you were able to appreciate the nuances of it in a deeper way growing up, to see something more complicated than the sadness in it?
Yeah, definitely. I feel like “sad” doesn’t even encapsulate what the feeling actually is, for both the listener and the writer a lot of the time. Because I feel like they can write about really anything, any range of feeling, and when you listen to it, you can just feel some heavy feeling that isn’t necessarily sadness, but is just a significant emotion that maybe you weren’t able to feel before. When writing music, even when I’m feeling good, I feel like I seek out the things that make me emotional – not in a sad way, but just in a significant way. I don’t know if that’s a good description.
How did songwriting take on this significance for you?
When I was like 10 or 11 was the first time I wrote a song, and it was entirely making up the most depressing poem I could and making it into a song. I liked sad songs, and I was like, “I want to make one.” [laughs] That was the one time when I was 10, and then I didn’t really write anything else after that. In middle school, I started playing guitar, just learning songs, and then I think I just wanted to make something myself. I wanted to have a song to play that was my song, that fet like it was mine. I feel like I was still sort of trying to, not emulate other artists, but just the feeling of hearing a song and being moved by it – I really admired that and wanted to see if I could do that with my own music.
Do you remember when you first felt that with your own music?
I wrote a lot in high school, and I remember writing a song about just a weird friend situation. It was mostly an angry song, not in the way that it sounded, but just the emotions in it. I feel like it was the first time that I was really writing about something specifically, not just trying to sound poetic, and it was something that I needed to write and get out. I definitely didn’t have practice at that point with translating my thoughts and feelings into a song that doesn’t sound like a weird diary entry – not that that’s bad, but I feel like I’ve gotten better since then.
Was it something you struggled with for a while, toeing the line between something poetic and diaristic?
Yeah, definitely. I wrote a lot of songs that were just words that didn’t really mean anything to me. It just sounded good in the song, like it fit into the song and it sounded poetic. It didn’t have any meaning to me, or at least like not none that I could really identify. And then sometimes I would write other songs that were just very melodramatic, straightforward, exactly what I was feeling, and I struggled to figure out how to put the two together in a way or find a middle ground. I’m still very much learning how to write lyrics that feel true and also said in the way that I want them to be said. I’m glad that I was able to write a lot of songs that were not very good, because I would not be doing what I’m doing if I just gave up after writing shitty songs. Being a teenager is just so weird, and I was so unsure of anything that I did – I’m glad I had an outlet for that and that I’ve been able to practice it for a while.
A lot of your End of the World EP is about growing older, and there’s this part on ‘I have more than enough’ where you seem to be addressing a younger version of yourself, twisting the chorus slightly: “You wouldn’t talk even when somebody was listening/ ‘Cause you didn’t have the words/ Well, I have more than enough for the both of us.” Of course, you’re always trying to articulate what you’re feeling in the moment, but do you feel like that’s helping you unpack the past in some way?
I feel like the things that I first started writing about were things that were currently still happening or that I was still very much in the middle of. There’s obviously a lot of value in what you have to say while you’re in whatever situation, but I feel like when it’s been several years, there’s a whole new clarity to it. This EP in particular has been a lot about writing about the same things that I’ve written about a bunch of times before, but in a more further-back perspective that is more at peace with things rather than just, like, the bleakness of being in a bad feeling or situation.
When it came to anxiety as a recurring theme, was it a challenge to write about it from different angles, or even outside of it?
I think anxiety is one of those things that’s like, I can write about other anxieties I’ve had in the past, but at the same time, it’s still always – I’m a very anxious person and still have so much anxiety that it’s like I’m still writing from the current anxiety, but also get to see how I dealt with old anxiety and kind of having to apply it to that. I feel like writing about old anxiety or past anxiety is how I figure out how to both write about and deal with whatever current anxiety I have.
To reference ‘I have more than enough’, it’s like writing about different feelings but trying not to call them the same name.
I forgot about even that line in that song, but it very much applies to that. It feels like the same feeling sometimes, but we change so much that it’s like you have a new version of each feeling because you’re learning more every time you feel it.
How do you get around the fact that it’s constantly changing when you’re in the process of making a song?
It’s definitely hard sometimes. There have been many times where I write about something and it’s months later that I’m recording it, or sometimes years later that I’m recording it, and I just have to remind myself of where I was at when I wrote it so that I can not be judgmental about how I wrote it. I come back to songs and I’m like, I wouldn’t write that now, or I would do that so differently if I had written that now instead of, like, six months ago. But I feel like the fact that it was true for me then or felt true in the moment is something that I have to listen to. I can’t just write a new song every time I stop connecting to an old song. I mean, I can write a new song, but when you’re making a project or a collection of songs, it’s inevitable that you grow out of ones that were written at the beginning of the project or before it even started. I struggled a lot in this EP to not just start over and write all new songs, but I’m glad I didn’t do that.
When it came to following up your debut album, were there things that you had in mind that you wanted to work on?
When I released my first album, even by the time I finished it, I had learned so much while making it that I already felt like I could write, record, and produce in a way that I was happier with than what my album was. I was very nervous releasing it because I just felt like I could do better than that. I’m very happy with how it sounds because it’s where I was at when I made it, but I feel like I was really ready to make something else and apply everything that I learned about producing and recording music to this EP. And I wanted to write about things in this different way; I feel like a lot of the songs were very bleak, and they ended on a very pessimistic tone – that I do still enjoy writing about, because I love just bleak, depressing songs sometimes [laughs] – but I feel like it was more reflective of where I am now to write about the other side of the hopelessness.
You really draw out the first and last songs, ‘Older’ and ‘I Can and I Will’. Both songs need that space, but their approaches are quite different. The first is moving through time with what seems like a whole cast of characters, while the closer zeroes in on just you and your thoughts in a way that’s very direct. Did you have a sense, especially when you started ‘I Can and I Will’, of the place it would reach emotionally?
The first idea of the song came from second half of that song, where it kind of shifts a little bit, and I didn’t know where it would go at all. And then I added the first half of the song, which was initially completely different. That song had quite a journey to sound like how it sounds now. Parts of it were very stream-of-consciousness type writing that I had to put together in a song, and then I was like, Oh my god, this is seven minutes long. I think it was originally a little bit longer than that – I did cut some things, so this is the shortest version that I was willing to do. I’m a fan of long songs, so I didn’t feel like I had to make it shorter. I made a demo of it without any drums, and then I got the drums recorded. And while I was recording them, I was like, I like how this sounds, but it completely changes the feeling of the song from what it was initially in the demo. So I went back and re-recorded and rewrote a bunch of it. A whole evolution happened. There’s also so many drawn-out moments, in a lot of my songs but specifically in that song, that definitely make the song longer. But I feel like it needed space in the middle where you just have to stop for a second.
What do you feel like you’ve learned from making this EP that you want to keep working on going forward?
It’s both similar and different to how it felt with Guard Dog,because I feel like I’m a lot happier with this EP while it’s coming out. I feel good about it – which, for Guard Dog, it was a little bit more complicated. But at the same time, I feel like I learned so much about how I make music and how I want to make music in the future. I feel like I learned a lot about what I am capable of doing in terms of recording and producing, and I’m very much ready to make something new and then learn more from that. I’m eager for the next thing.
I really enjoyed having more instruments than just guitar in this EP, but I was still very limited to the time that I had and the resources and what I’m able to do. This was my first time putting other instruments in my songs, and I really like how they turned out, but I had so many more ideas that I wanted to do. There’s some strings in it, but I would have put more in the whole thing if I could have. I love horns and banjo – I feel like those are both instruments that can be too much, but in the right song they can be perfect. I also really enjoyed having drums. I just want to see how many more things I can put in songs, but at the same time, I also think I will never not write very stripped-back acoustic guitar songs.
This interview has been edited and condensed for clarity and length.
Soccer is the most loved sport in the world, touching everything from our screens to our conversations. It’s not just about the game; it’s a part of our stories. As we dive into this article, we’ll explore five soccer movies every fan should watch. These films take us on a journey, showing the highs, lows, and pure magic of the most beautiful game in the world.
“Goal! The Dream Begins” (2005)
“Goal!” tells the story of Santiago Munez, a young Mexican-American passionate about soccer. To escape his circumstances, Munez pursues his dream of playing football professionally. The film captures the essence of determination, resilience, and the pursuit of success.
Beyond the on-field action, it also depicts the personal struggles on the path to stardom. This makes it a must-watch for any soccer enthusiast.
“Bend It Like Beckham” (2002)
“Bend It Like Beckham” is a delightful blend of comedy, culture, and soccer. It tells the story of Jess, a British-Indian girl with exceptional soccer skills. The film explores her journey to reconcile her passion for the game with cultural expectations. As she challenges societal norms, the film shows that soccer is a universal language.
The film celebrates friendship, family dynamics, and the love of soccer, making it a captivating watch for fans of all ages.
“The Damned United” (2009)
“The Damned United” tells the story of Brian Clough’s tumultuous tenure as the manager of Leeds United in the 1970s.
The film offers a unique insight into the high-stakes world of football management. It captures the pressures, politics, and personalities that shape the beautiful game beyond the pitch. Michael Sheen’s performance as Clough adds depth to this tale of ambition and rivalry. It also gives fans of the game to take a peek at the complexities of soccer at the managerial level.
“Victory” (1981)
“Victory” combines the prowess of Sylvester Stallone with the legendary skills of Pelé in a World War II setting. The film follows a group of Allied POWs who, under the guise of a soccer match, attempt a daring escape from their German captors.
The blend of sportsmanship and suspense creates a narrative of the sport’s power to unite.
“The Class of ’92” (2013)
The only documentary on our list takes players behind the scenes of Manchester United’s youth academy. It tells the story of six young players: Beckham, Giggs, Scholes, Butt, and the Neville brothers. Most of these names may sound familiar to those who frequent soccer betting sites – they became football legends.
“The Class of ’92” gives a unique perspective on the academy that produced some of the game’s most iconic figures. It’s a testament to teamwork, mentorship, and the enduring legacy of a remarkable group of players.
Soccer’s influence extends far beyond the stadiums. Each of these films captures a unique facet of the sport, from the struggles of aspiring players to unity, even in times of adversity. Soccer isn’t just a game; it’s a narrative, a cultural force that shapes real and fictional stories.
If you’re a fan of the most beautiful game in the world, these movies are worth a watch. They will make you love soccer even more – and perhaps discover more about what goes on behind the scenes.
By keeping track of the number of high-value cards and low-value cards that you deal during a game, card counting makes it easier for players to judge whether their bets offer them an advantage over the dealer.
There is a diverse selection of equipment available. The one that is most convincing asserts that high cards have more significance for the players than low cards have for the dealer. If there are still a significant number of high cards in the deck, the player has a greater advantage and a better possibility of coming out on top.
In Bitcoin blackjack, high cards are helpful to the player for a number of reasons; one of these reasons is that they allow the player to feel secure in the knowledge that they have a chance to win.
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The goal is to maximize your winnings while minimizing your losses in monetary terms. When playing online card games like blackjack, this isn’t always possible, but you can get a head start on your gaming career by finding the best blackjack bonuses if you choose the bonus path.
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How to Play Blackjack in Online Casinos
Blackjack is a game that you can play in online casinos, and doing so may be an exciting and fun experience. The following is a list of suggestions and things that you can do to get started:
Recognize The Rules And Regulations
When playing blackjack, the goal is to achieve a total score that is either exactly 21 or as near to 21 as is possible while also aiming to outscore the dealer. There is a numerical value associated with each card, with ten assigned to all face cards. One or eleven points correspond to the value of an ace.
Get Familiar With The Basic Strategies
The majority of people have the misconception that blackjack is a “solved” game, which means that for each possible move you can make during a hand, there is a proven answer.
Choose A Reputable Online Casino To Play At
You can do this by browsing for websites that have licenses from reputable organizations and adhere to the regulations set forth by such organizations. Read the reviews and ratings written by other gamblers to establish the legitimacy of the casino.
Perform Drills Using Free Practice Games
You can get a feel for blackjack and improve your skills before wagering any real money on the game by playing free versions of blackjack that a majority of online casinos provide.
Create A Spending Plan
Set a spending limit for yourself before you start playing, and stick to it. Be sure that you can afford to lose any money that you bet before you do so.
Choose the best betting strategy for your situation:
There are a variety of different betting techniques for blackjack, one of which is the Martingale system. We ask that you consider your options and stick to the one that works best for you.
Consider Taking Part In Games That Have A Live Dealer
Live dealer games provide a more immersive experience than traditional casino games because they allow players to interact with seasoned dealers in real time. When playing blackjack at online casinos, increasing your odds of having a successful and enjoyable experience by paying attention to these guidelines and methods can help you increase your chances of having both.
What are the Basic Rules of Online Blackjack?
The following stages will guide you through a straightforward introduction to the principles of online blackjack:
Recognize the reason for it: The objective of beating the dealer is to have a hand value that is closer to 21, without going above 21. The dealer must keep drawing cards until the value of their hand equals or exceeds seventeen.
Betting: The player will place their wager before dealing the cards as part of the betting process.
Dealing cards: When its time to deal the cards, each player gets two cards from the dealer while the dealer only gets one card.
The turn of the player: The turn of the player comes up next. The player’s options are available on the screen. They have the option to “hit,” which means to draw extra cards, or “stand,” which means to keep the cards they already have. This continues until the player either stands up of their own accord or hits 21 times or more.
Dealer’s turn: When it is the dealer’s turn, they should hit after displaying their hole card if the value of their hand is 16 or lower. They continue to draw cards until their hand value is at least 17, at which point they win.
Both winners and losers: In the event that the dealer goes “bust” or that the player’s hand value is higher than the dealer’s, the player is the winner. In the event that the dealer has a better hand value than the player does and does not bust, the player loses their wager.
Amounts received: Blackjacks, often known as hands with a value of 21, pay 3:2; normal wins pay only 1:1.
Side bets: Certain versions of online blackjack let players to place extra wagers on insurance or perfect pairs. We call these games “side bets.”
The fundamental tactic is: Your odds of winning at blackjack will improve if you make decisions based on a set of recommendations that work . By gaining an understanding of these essential criteria and adhering to a proper betting strategy, you can boost your chances of winning when playing online blackjack.
Conclusion
Mastering online blackjack involves more than counting cards; it also involves making smart decisions, comprehending rules to one’s advantage, and capitalizing on bonuses. This is something that land-based casinos frown on, but the digital sphere presents opportunity for those who are astute. The ongoing dynamic that involves the interplay of skill, chance, and virtual cards, which shapes the pursuit of victory over the house, continues to change.
Are you interested in learning about the latest sustainability initiatives in the apparel industry? In recent years, the fashion industry has been under scrutiny for its negative impact on the environment. However, many brands are now taking steps towards more sustainable practices. These initiatives are reshaping the industry from using recycled materials to reducing waste.
As a consumer, you have the power to support sustainable fashion. By choosing to shop from brands that prioritise sustainability, you can positively impact the environment. This article will explore some of the best sustainability initiatives in the apparel industry. We will also provide a guide to the best Apple Pay casinos and discuss the connection between the two. So, whether you’re a fashion enthusiast or a casino lover, keep reading to learn more.
Fashion Forward: Sustainability in the Apparel Industry
As consumers become more conscious of their environmental impact, the fashion industry is taking steps to become more sustainable. From eco-friendly materials to ethical manufacturing practices, the industry embraces sustainability initiatives, reshaping how we think about fashion.
Eco-Friendly Materials
The shift towards eco-friendly materials is one of the most significant changes in the fashion industry. Designers use natural fibres such as organic cotton, bamboo, and hemp, grown without harmful pesticides and chemicals. These materials are biodegradable, which breaks down naturally and doesn’t contribute to landfill waste.
Another eco-friendly material that is gaining popularity is recycled fabric. This involves taking old clothes and fabric scraps and turning them into new clothing. This reduces waste and the need for new resources to be used in the production of clothing.
Ethical Manufacturing Practices
Another critical aspect of sustainability in the fashion industry is ethical manufacturing practices. This involves ensuring that the people who make our clothes are treated fairly and paid a living wage. Many brands now work with factories that provide workers with safe working conditions and fair wages.
Some brands are even going a step further and creating their factories, where they have complete control over the production process. This allows them to ensure that their workers are treated fairly and that their products are made in an environmentally friendly way.
Zero Waste Design
Finally, zero-waste design is another important sustainability initiative in the fashion industry. This involves designing clothing to minimise waste throughout the production process. This can include using computer-aided design to ensure every piece of fabric is used or creating patterns that allow for minimal waste.
Some brands are even taking this a step further by creating clothing that can be easily disassembled and recycled at the end of its life. This ensures that the clothing doesn’t end up in landfill and can be used to create new products.
Overall, sustainability initiatives in the fashion industry are reshaping the way we think about fashion. From eco-friendly materials to ethical manufacturing practices and zero-waste design, the industry is becoming more environmentally friendly and socially responsible.
The Rise of Apple Pay Casinos
If you’re a fan of online gambling, you’ve probably heard of Apple Pay casinos. These are online casinos that accept Apple Pay as a payment method. Apple Pay is a mobile payment and digital wallet service that allows users to make payments using their Apple devices.
Security Features
One of the main benefits of using Apple Pay at online casinos is its security features. When you use Apple Pay, your card details are not stored on the device or Apple’s servers. Instead, a unique Device Account Number is assigned, encrypted, and securely stored in the Secure Element on your device. This means that your card details are never shared with the merchant, reducing the risk of fraud.
Furthermore, Apple Pay uses Touch ID or Face ID to authenticate transactions, adding an extra layer of security. This means that only you can authorise payments using your device.
Ease of Use
Another advantage of using Apple Pay at online casinos is its ease of use. To make a payment, you must select Apple Pay as your payment method, authenticate the transaction using Touch ID or Face ID, and confirm the payment amount. The payment is then processed instantly, and the funds are added to your account.
Using Apple Pay is also convenient because you don’t need to enter your card details every time you pay. Once you’ve added your card to Apple Pay, you can use it to make payments at any merchant that accepts Apple Pay.
In conclusion, Apple Pay casinos offer a secure and convenient way to make payments at online casinos. With its advanced security features and ease of use, it’s no wonder that more and more online casinos are starting to accept Apple Pay as a payment method.
Connecting Sustainable Fashion and Apple Pay Casinos
Regarding sustainability, the fashion industry has been making strides in recent years. From eco-friendly materials to ethical labour practices, there is a growing awareness of fashion’s impact on the environment and society. Similarly, the rise of digital payment methods such as Apple Pay has changed how we shop and pay for goods and services. But how do these two seemingly unrelated industries intersect?
Consumer Consciousness
One essential connection between sustainable fashion and Apple Pay casinos is the growing consumer consciousness around ethical and sustainable practices. As more people become aware of the impact of their purchasing decisions, they seek brands and businesses that align with their values. This has led to a rise in demand for sustainable fashion and eco-friendly products and a preference for digital payment methods that offer convenience and security.
Digitalisation and Sustainability
Another important link between sustainable fashion and Apple Pay casinos is the role of digitalisation in promoting sustainability. By moving away from traditional payment methods such as cash and paper receipts, digital payment methods like Apple Pay can reduce waste and encourage a more eco-friendly shopping experience. Similarly, digitalisation has allowed for greater transparency and traceability in the fashion industry, making it easier for consumers to make informed decisions about the products they buy.
In conclusion, while sustainable fashion and Apple Pay casinos seem disparate industries, they are both part of a more significant trend towards more ethical and sustainable practices. These industries can work together to create a more sustainable future by embracing digitalisation and consumer consciousness.
Long Beach, California-based singer-songwriter Emily Yacina has returned with a new song, ‘Nothing Lasts’. It’s one-half of a 7″ that’s set to arrive on January 26. Both tracks were co-produced by Rostam Batmanglij and mark the first music released by another artist on his own label, Matsor Projects. Listen to ‘Nothing Lasts’, which also features Danielle Haim on drums, below.
“‘Nothing Lasts’ was written after I read Octavia Butler’s Parable of the Sower, inspired by Butler’s idea of God being change,” Yacina explained in a statement. “The song started out as a demo written and produced by me, and then brought it to Rostam. Together, we built the song up to its fullest potential; adding live drums by Danielle Haim, piano by Elise Goldberg, and upright bass by Gabe Noel.”
Speaking about the release, Rostam reflected:
The Matsor Projects label started as a means to releasing my own projects as well as projects I was involved with. It’s had various names over the years, one of them being NXTLVLSHT— I secured nxtlvlsht.com in 2007 and somehow still keep it alive to this day. The name NXTLVLSHT feels silly to my 39-year-old self, but it makes sense that 23-year-old Rostam was obsessed by the idea that the music I produced would, always be, in some way, “next-level”.
Kris Chen was our American A+R for the first three Vampire Weekend records and the ‘Discovery’ LP; ‘Half-Light’, and ‘Changephobia’. He has always believed in the projects we have done together, even before they were fully formed; and I’m happy to have him as my co-pilot on the label.
I met Emily Yacina through my partner, a mutual friend passed him a demo of a song; I instantly loved it, and wanted to help Emily realize her vision for the production.
Emily and I produced two songs together. “Nothing Lasts” is the second song we did actually. The first was “Trick of the Light” which is coming out next year. They are both coming out together on a vinyl 7-inch early in the new the year. This is the first release for Matsor Projects from an artist that’s not Rostam or Discovery. I’m excited about what the label might one day become but happy to let things happen organically, something which I’ve learned over the years, is how the most “next-level” things seem to come about.
New Blue Sun
Danny Brown has released his new album, 
Dolly Parton has put out her first-ever rock album, 
2 Chainz and Lil Wayne have joined forces for a new collaborative album. Out now via 
Daniel Bachman has unveiled a new album, 
Frost Children – the project of New York-based, Missouri-raised siblings Angel and Lulu Prost – have dropped a new record, Hearth Room. It’s a companion LP to SPEED RUN, which came out in April via 
Pakistani-American singer-songwriter Ali Sethi and experimental producer Nicolás Jaar have teamed up for a new collaborative LP, 
