‘Casino’ is perhaps the best casino movie of all time. The film was already released in 1995, so it is now almost 30 years old. Yet we keep talking about it as it is still popular in many countries around the world, such as Kuwait and the whole Middle East. It is a real crime film, with all the ingredients that a crime film should have: flashy editing, an energetic rhythm, excellent decoration and well-known actors.
At The Casino With Robert De Niro
Casino is a movie by Martin Scorsese, who you probably know from ‘Goodfellas’. Like ‘Goodfellas‘, ‘Casino’ is a movie adaptation of a book by Nicholas Pileggi. It’s about the Italian-American mafia. Robert De Niro plays Ace Rothstein, a charismatic mobster. He works for the mafia and controls a few casinos in Las Vegas. Unfortunately, Rothstein is a bit too charismatic. He falls in love with a call girl (Sharon Stone), which is the beginning of his downfall.
Then his former, murderous buddy (played by Joe Pesci) comes into the picture again. This gets Ace Rothstein even further into trouble. The film is not so much a mafia film, but it is a perfect representation of Las Vegas. The story is based on the life of Frank Rosenthal, who ran several casinos in the service of the mafia in the 1970s and 1980s.
Love Gone Wrong
As soon as Ace falls in love with Ginger, he lets his job at the casino grind to a halt. Previously, he earned a lot of money in the casino, which also made the mafia bosses very satisfied with him. But Ginger is a beautiful lady who will do anything in exchange for money. Ginger is also in love, but not with Ace’s personality. No, Ginger is all about money. With the money, Ace manages to persuade Ginger to get married.
Ginger keeps in touch with her ex-pimp, Lester Diamond. Diamond is addicted to drugs and penniless. That’s why Ace tries to keep Ginger away from him, but it doesn’t work. Meanwhile, the casino is financially collapsing. At one point he is officially kicked out of his casino and the end seems near.
Popular Games Featured In The Movie
Of course, Casino also features the well-known, typical Las Vegas games that are popular around the world, especially in Kuwait. You can’t get around Blackjack or Roulette. Blackjack is not only a popular game in the movie Casino but also in all kinds of other movies. The game is also in other blockbusters, such as License to Kill and 21.
These games are still popular. You play them in a physical casino with a croupier, or in real money online casinos in Kuwait through a video connection. In that respect, the time of gangsters running a casino is long behind us. In Kuwait, online gambling is legalized by offshore gaming agencies. Fortunately, certain elements, such as the exciting atmosphere and attractive decoration, are not just something from the movies.
Conclusion
The movie “Casino” touches its viewers sensitively and profoundly. This fantastic movie brilliantly reflects the tension and excitement that come with the world of gambling. This movie has strong performances from its actors. On top of that, the film’s strong storyline, superb visual rendition, and rare directorial potential all combine to give the best, most vivid portrayal of Las Vegas life at its peak. The horrific and decadent events of “Casino” detail gang life and corruption. In a connected frame, the events of the film also reflect the development of the industry and its impact on traditional games such as blackjack and roulette, which are still popular today in both real and online casinos. As for Kuwait, where casino games are very popular. In short, the film provides an insight into the world of casinos and games that resonate with modern Kuwaiti culture.
The National have released a new album, Laugh Track, which they announced at their Homecoming music festival on Friday. It was recorded during the same sessions that yielded April’s First Two Pages of Frankenstein and serves as a companion album. Listen to it below.
Laugh Track features guest appearances from Phoebe Bridgers and Rosanne Cash, as well as the Bon Iver collaboration ‘Weird Goodbyes’, which originally came in April 2022. It also includes the recently released singles ‘Space Invaders’ and ‘Alphabet City’.
Clairo has posted a cover of Mitski’s ‘My Love Mine All Mine’ on Instagram. The track appears on Mitski’s new album The Land Is Inhospitable and So Are We, which came out on Friday, along with a video for ‘My Love Mine All Mine’. “attempting to learn one of the most beautiful songs i’ve heard in a while,” Clairo wrote. Watch it below.
Earlier this year, Clairo joined Phoenix on a new version of their Alpha Zulu song ‘After Midnight’, and beabadoobee on a new version of ‘Glue Song’. She also shared a demo of a new track called ‘For Now’ for charity.
In the digital age, online chat platforms have grown exponentially in popularity, transforming the way individuals from varied backgrounds connect, converse, and create meaningful bonds.
With the meteoric rise of Omegle came a wave of replacement platforms, each seeking to refine and enhance the user experience.
No matter the chosen platform, mastering the art of self-presentation is crucial. It’s this skill that can distinguish your interactions, making them resonate deeper and stand out in a sea of digital dialogues.
Understanding The Medium
Evolution of Chat Platforms:
The transition from text to video platforms has ushered in a new era of communication. While text platforms remain popular for their ease and anonymity, video platforms provide a multi-dimensional experience, incorporating voice, facial expressions, and body language.
Text-Based Platforms: In a realm where visuals and tone are absent, the weight of your words magnifies. Precision in language becomes vital, ensuring misunderstandings are minimized.
Video-Based Platforms: While these offer a more holistic representation, they come with the responsibility of maintaining a suitable setting, choosing appropriate attire, and being aware of all visual cues you’re sending out.
Adapting to Technological Features:
The tech realm continuously innovates, and chat platforms are no exception. Modern enhancements, while exciting, require careful and authentic usage. It’s worth noting that while technology can enhance interactions, genuine human connection remains irreplaceable.
Crafting Your Digital Persona
Behind every screen lies a real person. The beauty of online platforms is that they offer a canvas to paint a vivid, yet genuine, representation of oneself.
Selectivity is Key:
Showcase Passion: Dive deep into topics that genuinely resonate with you. Authentic enthusiasm is often infectious.
Stay Updated: Delving into trending topics can be a conversation catalyst. However, select topics that align with your interests to maintain authenticity.
Cultivate Listening: Often, the potency of a conversation lies not in speaking, but in active listening. By paying genuine attention, you’re silently signaling your respect and interest.
Mastering First Impressions:
Initial interactions, fleeting as they may be, can significantly influence the trajectory of a conversation.
Open with Positivity: Whether it’s a cheerful hello or an earnest compliment, starting on a positive note often paves the way for fruitful discussions.
Avoid Over-sharing: A mystery can be intriguing. Share pieces of yourself gradually, ensuring the conversation flows organically.
Building Confidence Through Preparedness
While some exude natural confidence, for many, it’s a trait that’s nurtured over time. Preparedness often serves as the bedrock of confidence, ensuring you’re not just participating, but truly engaging.
Tech-Readiness:
Internet Stability: In a world that thrives on speed, a stable internet connection is essential. It not only ensures smooth conversations but also signals respect for your chat partner’s time.
Device Familiarity: Basic know-how of your device can prevent avoidable technical glitches, ensuring conversations remain uninterrupted and fluid.
Safety Protocols: Always prioritize your safety. Being aware of how to report or block individuals ensures you remain in control, even in unpredictable chat situations.
Mental Readiness:
Have a Few Topics in Mind: Think of it as a gentle guide rather than a rigid script. Having a handful of discussion points can steer conversations, especially during lulls.
Self-Care: Mental well-being is paramount. If you’re not in the right frame of mind, it’s entirely acceptable to step back and recharge.
Emotional Resilience and Adaptability:
The online realm is a diverse ecosystem, brimming with a myriad of personalities and perspectives. Navigating these waters requires not only a sturdy ship but also the ability to adjust your sails.
Emotional resilience is about handling chats that may not go as expected with grace, understanding that each interaction is a unique experience. Adaptability, on the other hand, is about being open to new topics, cultures, and viewpoints, ensuring your conversations remain enriching and dynamic.
Conclusion
Venturing into Omegle replacements demands a dance of authenticity, digital savoir-faire, and emotional intelligence. By honing the art of self-presentation, you’re not merely engaging in ephemeral chats; you’re forging connections, one conversation at a time.
And as you embrace these digital dialogues with poise and confidence, you inevitably find these skills echoing in real-life interactions, making every encounter more impactful and memorable.
For those seeking platforms tailored specifically for adults, don’t miss this guide on the best Adult Omegle alternatives.
Call Break is a card game played between four players. The game is popular in Nepal, India, and other South Asian countries. It is a trick-taking card game that lasts for about five rounds. The dealer shuffles the cards and distributes a total of thirteen cards. A total of thirteen tricks are available to players in each round, and players must play the same suit for each deal. Spades are the trump card for this particular card game. The winner is the player with the most number of deals. Due to this card game’s widespread popularity, Call Break is enjoyed across online platforms and applications. In the online realm, the game’s version includes multiplayer, one-on-one battles, tournaments, etc. You can even win cash rewards by winning matches. So, where do you play Call Break online? Here are some popular options.
MPL
Over 35 lakh people enjoy MPL’s Call Break, with over 3 lakh winners. The platform offers an easy-to-understand Call Break game with exciting gameplay. You can sign up and refer your friends to join to earn a referral bonus. The app works with Android and iOS phones, and the card game can be played for free or cash. You will also find the platform running exciting campaigns and offers occasionally. These allow players bigger winning opportunities. MPL is one of the leading Call Break earning apps where players can compete one-on-one or against multiple players in tournaments to win a jackpot. Players need to be on top of the leaderboard to win a jackpot. Besides Call Break, you can enjoy other card games like Rummy, Poker, etc. If you want to engage in shooting or racing games, the platform doesn’t disappoint with its collection of fun games.
PlayerzPot
PlayerzPot is another exciting gaming application with various games, including the famous Call Break card game. 10+ million users are registered, and the number proves the trustworthiness of the platform. It is exciting to play Call Break on this platform because you win the matches and make money while at it. If you are prepared for a challenge with multiple competitors, install this application on your device. Compete against real-life opponents and walk away with cash prizes.
AIO
AIO has a unique and fun version of Call Break, and Indian card game players seem to have grown to like this version a lot. A platform boasts 24/7 customer support, referral bonuses, and instant withdrawal schemes. Hence, there is no reason why you shouldn’t immediately download this application on your smartphone. The Call Break game on this platform suits everyone; all you must do is place intelligent bids. It is a game that offers players an extra source of income if they win the match. Beginners also have an excellent opportunity to win lucrative prizes from day one.
Call Break Empire
Call Break Empire application follows a simple rule. You must install the application, register, and deposit money to start playing cash games. The winnings can be quickly withdrawn to your wallet, UPI, or bank account. Furthermore, players are given a ₹10 sign-up bonus.
Players can compete against thousands of card game players at a private table and keep winning in real-time. You can even participate in tournaments. The platform’s interface is secure, and you can enjoy instant payout.
Rush by Hike
Rush by Hike provides you with several games on a single platform. Along with other exciting games, you can engage in challenging Call Break matches with real-life opponents and win real cash. This application allows you to play the game without any financial investment and win real cash if you beat your opponents. The app is downloadable on iOS and Android devices. The winnings can be instantly put into your UPI account.
Dangal Games
Dangal Games became famous for their Poker and Rummy games. Within a short time, the app acquired massive popularity, and its user base grew to 10 lakh. They achieved this incredible feat via an easy-to-play ecosystem emphasizing robust AI-based security gateways. People can play Call Break games on this platform and make real money. You can enjoy instant withdrawals and compete against real players.
Get familiar with the rules – You must understand the rules before playing Call Break. Read all the rules relating to game variations, scoring, and cards. Having this knowledge is essential for compelling gameplay.
Lead with low cards – Conserve the high-value cards and lead with low-value cards when the match starts. This will prevent your opponents from easily winning valuable tricks.
Use the trump cards wisely – Trump cards are powerful and must be used strategically. It is best to save your trump cards when they can secure you valuable tricks or break the winning streak of your opponent.
Observe the game – It is essential to closely watch the game and keep track of the cards played. This will give you an idea about the cards that are likely with other players, and you can make informed decisions.
Bid strategically – Bidding is the most critical aspect of the Call Break game. You must assess the strength of your hand before making a big. Underbidding or overbidding leads to penalties.
Take calculated risks – It is essential to carefully evaluate your hand before placing the bid. Assess how many bids you can potentially make according to your cards. Accurately determine the tricks you will secure.
Keep practising – Do not stop even after you have learned the game’s rules and played a few rounds. You will learn something new whenever you play this game because the outcome is always unpredictable. The cards are shuffled and distributed via an algorithm, and nobody knows what combination of hands one will get. Hence, continue playing free practice matches to hone your skills.
So, what are you still waiting for? You know the top Call Break platforms and apps, along with tips and tricks to enhance your winning chances. Get playing!
The National have announced they will be releasing Laugh Track, their second album of 2023, on Sunday (September 18). As Stereogum reports, the band’s Matt Berninger announced the follow-up to April’s First Two Pages of Frankenstein onstage at their Homecoming music festival in Cincinnati on Friday. The LP is set to arrive digitally Sunday night at midnight, with a vinyl release to follow in November.
Drake and SZA have joined forces for a new song, ‘Slime You Out’. Drake worked on the track, which marks his first collaboration with SZA, with producers Bnyx, Noah “40” Shebib, Dalton Tennant, and Noel Cadastre. Listen to it below.
In 2020, on 21 Savage and Metro Boomin’s track ‘Mr. Right Now’, Drake rapped, “Said she wanna fuck to some SZA, wait/ ‘Cause I used to date SZA back in ’08.” Following its release, SZA clarified on Twitter that this happened in 2009, writing: “I just didn’t want anybody thinking anything underage or creepy was happening . Completely innocent . Lifetimes ago .”
Drake’s new album, For All The Dogs, drops on September 22. SZA just shared an acoustic version of her song ‘Snooze’ featuring Justin Bieber.
The Land Is Inhospitable and So Are We reads as a dramatic title, but stress the second to last word and you hear the beginning of a question. The songs on Mitski’s seventh album sound like that, too: bold yet tentative, elegant yet knotty, drawing you in with their organic beauty until you realize you’re stranded in the dark alongside her, wondering what awaits us. The follow-up to 2022’s Laurel Hell is both her warmest and most challenging effort to date – not even handing out the questions to you, let alone any answers, but moving with multitudes – and so the first to be able to vividly capture the ostensible contradictions and chilling intricacies that have long been a mark of her songwriting. Think of ‘Heat Lightning’, an unconventional highlight off her previous record whose fluttering dissonance was resolved by an acceptance of futility, hopeful only in the act of surrender: “And there’s nothing I can do/ Not much I can change/ So I give it up to you/ I hope that’s okay.” On the new album, Mitski is equally attuned to, and devastated by, life’s inevitables, but she adjusts her gaze, no longer content to resign. It blows you away so naturally.
While inhabiting a similarly disquieting and liminal space as ‘Heat Lightning’, everything breathes so differently on The Land Is Inhospitable and So Are We. All sorts of things buzzing with aliveness keep her up and out through the night on ‘Buffalo Replaced’, where she finds hope – a kind, at least – “And though she’s blind with no name/ She shits where she’s supposed to, feeds herself while I’m away,” she somehow can’t do without it. On the astounding ‘The Deal’, Mitski describes a midnight walk alone that has her begging to bargain away her soul, and when she sings, “Then of course, nothing replied/ Nothing speaks to you in the night,” it sounds like capital-N nothing, personified. The music, intimate and quietly cinematic, softens as she makes her way home, until a bird reminds her of the sacrifice she almost made, what the darkness looks like without song: “Your pain is eased but you’ll never be free.” The instrumental elements that swelled carefully before dissipating then rumble back into thundering noise, with Ross McReynolds’ drums pummeling jaggedly forth; and while the singer sounds like she’s escaped the storm, she’s still haunted and weighed down by it.
Though the songs don’t quite explode or follow conventional paths the way some of her older material did, this is the least detached Mitski has sounded. Even the most dissociative songs sound incredibly alive; she frames her narratives through different angles, zooming out more than ever, but you always hear her up close. On several tracks, she complements her spare, country-leaning guitars with a 17-person choir and orchestral arrangements that evoke and cut through the unique logic of her lyricism in complex and sometimes surprising ways. ‘Bug Like an Angel’ introduces the atmosphere of the record as one of stark minimalism, with the narrator slipping into the haze of addiction: “Sometimes a drink feels like family,” she sings, and the choir suddenly twists the tenderness of the final word into something pungent and emotionally indecipherable; it’s all about punctuation. On the staggering ‘I’m Your Man’, Mitski constructs a chorus out of snarling dogs, chirping insects, and croaking frogs – real-world sounds that make the human voices sound otherworldly, ballooning like the end of a doomed and tangled relationship.
The Land Is Inhospitable and So Are We may not have infectious pop songs to counteract its more punishing moments, as Laurel Hell did, but it holds space for ones that are sweetly sentimental. The orchestral elegance of some tracks has a menacing edge, but on ‘Heaven’ it allows Mitski to lean into the softness of a love that’s full and wonderfully domestic. Her oohs mirror the bending willow and dancing storm she observes while tucked in the thought of her lover, a freedom miraculously removed from the dangers of ‘The Deal’. As a preview of the album, the track was paired with ‘Star’, in which another love is long gone but, in its own way, cosmically transcendent: “We just see it shining/ We’ve traveled very far.”
Take a step back, and the aloneness of The Land Is Inhospitable and So Are We, adorned as it may be, can feel overwhelming. ‘I Don’t Like My Mind’ offers a familiar portrait of toiling through solitude that calls back to Mitski’s 2021 single ‘Working for the Knife’ (“So yeah, I blast my music loud/ And I work myself to the bone”); faced with grief on the heartbreaking ‘The Frost’, she describes herself as “witness-less.” It’s not the desolate landscape that causes such pain, but the absence of something once present, or the presence of something unshared. You can hear, in a song as unexpectedly imposing as ‘When Memories Snow’, that there’s nothing more frightening than a memory, a part of you being shoved away for eternity. But just like Mitski’s music can make a beautiful thing – hope, nature, family – sound oddly cruel, it can also make a lonely thing burn brightly and beautifully. And so are we alone, really, when we let ourselves remember and be remembered like that? Are we in the dark when we let ourselves be seen so nakedly, out of love when we have it for ourselves? Are we not, while down here on earth, owed a place? And so, as Mitski sings finally on ‘Star’, “Isn’t that worth holding on?”
Deeper is a Chicago four-piece whose origins date back to 2014, when vocalist/guitarist Nic Gohl, guitarist Mike Clawson, drummer Shiraz Bhatti, and bassist Drew McBride decided to continue using the name following the dissolution of a previous iteration of the band. After landing a deal with Fire Talk Records, Deeper released their self-titled debut LP in 2018. They were in the midst of writing and recording its follow-up, 2020’s Auto-Pain, when Clawson decided to leave the band, and they finished the album as a trio, with McBride moving to guitar and Kevin Fairbairn joining as their new bassist. While on tour in Europe, the band received the tragic news that Clawson had died by suicide. As they continued to grapple with the loss of their friend and evaluate the future of their sound, they made their third album and Sub Pop debut, the recently released Careful!. While the dark anxiety that pervaded Auto-Pain also twists its claws into Careful!, the restless paranoia of the group’s post-punk roots has now taken on a different dimension. Insistent grooves and wiry guitars are still foundational elements, but Deeper tangle them and branch out in ways both menacing and vibrant – there’s always threats looming on the horizon, but the space they’re creating starts to resemble a kind of peace.
We caught up with Deeper for the latest edition of our Artist Spotlight series to talk about the journey from Auto-Pain to Careful!, the band’s sonic evolution, their friendship, and more.
For obvious reasons, a lot of the focus when it came to releasing and promoting Auto-Pain was on mental health, and I admired the way you talked about it in interviews. Did it ever feel like too vulnerable or revealing of a process to go through?
Drew McBride: I think it’s actually something that’s really hard for other people to want to read about, so it made it kind of weird to constantly be talking about these painful elements and continue coming back to them.
Nic Gohl: It was something that got more intense as the record came out. I kind of had a few moments where I really didn’t think that that was something I wanted to talk about anymore. But it’s really hard, when you talk about something as hard as mental health and suicide. It’s never going to be very helpful for the solitude in your brain, but I feel like you need to talk about that kind of stuff or else it gets put in a closet.
DM: I think being able to champion the record as a memory to Mike was ultimately something that was good, though. It also would have been weird to not acknowledge it.
Shiraz Bhatti: The hardest part is that we were going through our own healing process as we were talking about mental health and suicide. Like, the first interview we had about it was a couple of months after Mike passed away, and it was really tough on us. But looking back, I’m not mad that we were talking about it. It was something that definitely needed to be done, especially with people reading about our take on it during the pandemic.
It took a while for you to be able to properly perform the songs on Auto-Pain after they were released. What was that stage of the process like? Was there a different kind of catharsis?
NG: The hardest song for me to play was always ‘Lake Song’, and that one was the most pointed. It was about Mike, but it wasn’t about Mike passing away. It just had to do a lot with our friendship. We were already playing that song before the pandemic hit while we were on the road, and I remember that feeling really uncomfortable. My lyrics don’t really tell you exactly what they’re trying to say upfront, and that one to me just felt like the most vulnerable at the time. But when we actually started playing Auto-Pain in full months later, that one became one of my favorites because it just kind of felt like a release. I had some different experiences during the pandemic that really made me able to forgive and be okay with what happened, if there’s a way to say that without feeling weird saying that. The songs, I feel like for all of us, when we finally started being able to play them in front of people, and people had been able to listen to Auto-Pain, it revitalized us and made us think that we’re actually doing something that mattered a little bit more than they felt like before. That definitely made it a lot easier.
Did the journey you went through with Auto-Pain bring a different kind of awareness going into Careful!, lyrically and conceptually? There’s even references to the previous record, so I’m curious if you were more conscious about the threads between them.
NG: Definitely lyrically, I was trying to build off of everything from the past two records. I mean, it references even stuff from the first album, like ‘Message Erased’ and ‘Trust’. I thought it was fun in a creative way, but it also felt right when writing those lyrics – that was one of the first passes I put through, and all those just kind of came together. I feel like that’s a thing that happens a lot with our songs; there’s a lot of words and phrases that come back, like using the term “pressure” a lot in different songs. That might just be me being lazy and not trying to figure out different words, but I’ll take the “it was a thought-out process.” [laughs] Whatever you guys wanna think.
Another word that obviously comes up on a few different tracks is “careful.” How did you decide that should be the title of the record?
NG: It just kept on coming up. The way I like to write lyrics is, I’ll have the bed of music, and I’ll just kind of do it off the top of my head, let whatever comes out come out. And then I’ll listen back to the recording and start picking from that and seeing what I liked and what I didn’t like. “Careful” just kept popping up, probably because it felt good to say, but it made a lot of sense, too, for where we were. I think subconsciously I was just kind of telling myself, “Be careful.” Things felt really dire at that time, so it just felt like the perfect word to say to everybody. It sounds kind of silly, but you just start to hear it more in your day-to-day as well. People were always telling each other, “Be careful,” so it felt like it was kind of following all of us.
Kevin Fairbairn: I don’t know if it’s happened to you guys, but if you say it in real life, people notice. They’re like, “Oh, that’s funny.” That’s gonna follow us for a couple of years now [laughs]. I can’t tell my friend “Careful” ever without him giving me a nod.
NG: But even that’s kind of a nudge to Auto-Pain. I feel like this record is challenging, in a way – there’s a lot of different kinds of sounds that we explore, but the overall music isn’t coming from a dark place like I feel Auto-Pain. It was coming from a place of, “We need to start taking care of ourselves and becoming our next chapter.” I feel like that’s kind of the idea of the record, is to find some sort of home in yourself and be healthy.
I wanted to single out the track ‘Everynight’ specifically because it seems to capture this push-and-pull between hope and wariness that comes with trying to get better. Was it challenging to balance those conflicting impulses?
DM: I think you need them. ‘Everynight’ was probably the most collaborative song on the record, and for style of music that we’re making, I think if you only had the first part of the song but you didn’t have the back half, I don’t know if that would necessarily jump out to me as a Deeper song. I feel like the back half is a nice counterweight and brings the tone into something that makes sense in the context of our songs.
NG: We do that a lot, where we have a song, and then a drone or shred moment. The end is just basically us letting ourselves have fun with it, and the beginning is the more constructed part. I feel like, naturally, that’s how we usually write a Deeper song. We wrote that in the practice space where we usually would write older songs before the pandemic.
Nic, I read in an interview that one of the reasons you gravitated to more abstract writing was because Mike told you you were writing too many love songs.
NG: Mike told me that I needed to stop talking about my now wife – so, you know, whatever, it worked out. I was singing a lot of love songs that were really pointed and obvious, and he told me that it felt a little lame to be singing about love all the time. He’s like, “You gotta hide it a little bit, make it a little more abstract.” And I was like, “That’s kind of a fun challenge.” Through that, I kind of found out how to write lyrics in a cool way.
And for that reason, it feels pretty bold to end the record with a straightforward love song in ‘Pressure’. Was it an easy decision?
NG: When I wrote the song, I didn’t really think of it as a Deeper song, necessarily. During the pandemic, I had rekindled an old friendship with a friend and who was in the original Deeper before Deeper was a band, it was a dream-pop thing. He’s a great engineer, and me and him just demoed out a few songs that I was messing around with, and that was like one of them. I was like, “This is a great song, I don’t know where it works,” and it just found its way on there. I’ve gone back and forth on whether or not I think it’s a good decision to have it on a record, but I’m glad right now it’s on the record. [laughs] It’s hard to sing about that kind of shit, especially when you’re – I don’t want to say masculine, but a lot of our stuff’s fairly aggressive, especially live. To go full in on a pretty song, that’s the harder shit for me to do.
DM: What drew me to ‘Pressure’ was, I immediately thought the lyrics and the really simple structure of it were like really compelling. We have so many songs where the guitars are constantly going back and forth, the bass is moving, the drums are doing stuff, and I felt like having a song that really leaned into the sparseness was really special.
NG: I think that was the one moment of the pandemic where I was like, “Thank God I have Natalie,” so it was the easiest one for me to write.
SB: It just feels like a riding-into-the-sunset song naturally, so having it close out the album feels really great looking back.
DM: Something that I was excited about was this idea of having the odyssey of ‘devil-loc’ into this zen of ‘Pressure’. I thought that was a cool way to do it.
NG: Also, with the title and just the vibe of the record, taking care of yourself, it felt right to end it with a positive, like, “Maybe something good’s gonna come out of this.” But I feel like the next record, we’re gonna be old and pissed off, so it’s gonna be back to angry post-punk music or something.
No, like, “aging gracefully”? No “maturing”?
NG: [laughs] Nah. No acoustics on the next record. I’m trying to hold on to my fucking youth, man. I gotta play loud fucking noise rock on the next one.
On Careful!, you also embrace the sort of electronic experimentation you were hinting at with Auto-Pain, and ‘Fame’ is probably the most striking example of that. What excited you about going further in this direction?
NG: ‘Fame’ is one of those songs that we all just felt really good about. My favorite kind of music is almost mantra-based music and things that are in loops, because to me it just gets embedded in your brain. ‘Airplane Air’ is a good example of that, and I feel like ‘Airplane Air’ and ‘Fame’ were the two statements of the record. To me, it feels more experimental than playing a post-punk all-over-the-place thing – the idea of making a beautiful atmosphere and derangedness around it, that’s the kind of music and art I feel like we all kind of want to make as Deeper going forward. I think there’s going to be a lot more songs that are based in that direction, so it feels like that’s the future of our band.
KF: I think when you’re making your third record as a band and you’ve made a couple of dozen songs, you either go into the path of you’re just gonna recreate the same things you did, or you gotta go into new territory. As Nick said, I think ‘Fame’ and ‘Airplane Air’ were the two things early on making the record where it was like, “This is somewhere we should be taking things.”
DM: For us being a “post-punk band” – I definitely see why people think that we’re a post-punk band, but also, we’re just a band, and we don’t want to be just limited to one idea of a sound. To the points that the guys made, it’s ‘Airplane Air’ and ‘Fame’, but also ‘Tele’ and ‘Pressure’ start to branch us out from just being a post-punk band. You still have some of those touch points like ‘Sub’ and ‘Glare’ that are anchored in that sound, but it starts to dip our toes into other areas that show there’s not only diversity on this record, but there will be more diversity moving forward, which is the most exciting thing.
NG: We’re trying to score a movie on the next record, so you know, just put that in there. Anybody got films that they want us to write for, we got you.
KF: We’re trying to put Yo La Tengo out of a job.
Could you each share one thing that inspires you about being in Deeper?
SB: I’m really inspired by the guys and how we feel comfortable putting out whatever and not feeling pigeonholed or backed in the corner of, “Deeper is post-punk, and they sound esoteric, and I want only esoteric songs.” I’m really thankful for these guys to push that thinking forward. Otherwise we might just keep making the same songs over and over again, if we just listened to what people are saying.
NG: I recently played in a wedding band, and love those guys, but that experience was the first time I really played with other players, like actually trying to learn songs. I was talking to Shiraz about this, I was like, “Man, I haven’t played with another drummer in years.” It made me so thankful that I have these guys to be able to make music with, because that’s the hardest part about starting a band, trying to find the people that are willing to ride and die with you. We’ve gone through a lot of shit together, and I feel like if there was any other person in this band, I don’t know if that would necessarily work. That’s definitely been the thing that throughout, especially the past five years of our evolution, has really mattered, and has gotten us to a point where I feel totally comfortable going out on the road for about two months with these guys. Because I know that we’re going to be able to keep our shit together and finish the tour, and that’s not an easy thing to do, especially with us all getting older.
DM: We’ve done a lot of tours with other bands now, and there are definitely some bands that when we meet up it’s like, “Oh, cool, your band is on the same wavelength as us.” Like our friends in Wombo, when we’re on the road, it’s a similar dynamic that just works. But sometimes we’re on the road with bands, and you can just see, when they’re not on stage, it’s like they’re kind of all just doing their own thing. It feels very genuine, being on tour, and it doesn’t feel like a burden or like it’s some slog that we have to push through. It’s fun and exciting and really fulfilling.
KF: For me, all four of us are interested in creating music together, but we’re also equally interested in creating sound together.You can play songs on Auto-Pain or Careful! a thousand times and they can kind of sound the same, but I think over time, we always try to evolve little things that we do in songs, either to perfect them or to make things work in different places with other songs in a set, or having moments where we’re droning and finding new things in the middle of the set. After you’ve been making music and touring together for a long time, you need that next level to be like, this old song can be something new couple of years down the road. It’s hard to get four people to have that same mindset, but we’re definitely always thinking of how to make things sound better or to make a new sound – not just write songs and finish them. I think that propels all of us.
DM: The older you get, and I know we’re not old, but the more conscious you have to be about wanting to play music. To a certain extent, it’s easy to be like 23 and have a band and be like, “Yeah, I just wanna like play music with my friends.” You don’t have a whole life that you’re constantly having reconcile, like, “No, this is worth my time, I wanna be doing this.” As you get older it has to be a conscious decision, so it’s almost even more meaningful because there is a trade-off to what we’re doing versus being 23 and having nothing else on our plates. It makes us not only respect each other’s time, but value each other as people.
This interview has been edited and condensed for clarity and length.
The field of broadcasting has experienced progress over time. From the days of telegraphs and radio waves to the age of digital streaming, broadcasting technologies have evolved significantly. This article explores the history and growth of broadcasting technologies, emphasizing how these advancements have transformed the media landscape. Click for refurbished sonde transmitters to discover the latest innovations in broadcasting equipment.
Origins and Development
The roots of broadcasting can be traced back to the century when Guglielmo Marconi pioneered wireless telegraphy. This breakthrough allowed Morse code messages to be transmitted over distances, marking the inception of communication. Subsequent innovations paved the way for broadcasting, enabling audio or video content transmission to an audience.
The Era of Radio Broadcasting
During the century, radio broadcasting emerged as a dominant medium for mass communication. This period witnessed advancements such as vacuum tubes replacing spark gap transmitters. Vacuum tubes brought about amplification and modulation capabilities, resulting in quality audio transmission, thus paving the way for the development of the radio broadcast equipment we know today.
Transistors and Portable Radios
By the 1950s, transistors had replaced vacuum tubes, leading to smaller and more portable radios. This advancement brought about access to information and entertainment, granting people the ability to listen to their favorite programs wherever they went. The compact nature of these radios, in contrast to the models before them, completely transformed the broadcasting industry.
Television Broadcasting
Television broadcasting gained popularity during the middle of the century, providing a medium for transmitting content. The transition from analog to digital was a breakthrough in this field. Analog television signals were prone to degradation and interference, whereas digital signals offered picture and sound quality.
Satellite Broadcasting
The emergence of satellite technology again revolutionized broadcasting. Satellite broadcasting made it possible to transmit signals across distances, facilitating communication. The innovation opened up opportunities for news coverage, sports broadcasting, and entertainment content.
Digital Revolution
The digital revolution had an impact on broadcasting equipment technologies. Digital broadcasting presented advantages over analog systems, including signal quality, greater transmission capacity, and interactive features. Digital television enabled definition (HD) and ultra-high definition (UHD) broadcasts enhance viewer’s visual experiences.
Streaming and Online Broadcasting
The rise of the internet and broadband connectivity gave birth to streaming and online broadcasting platforms. The advancements in technology have revolutionized the way people consume content. Now, viewers can enjoy their shows and videos using fiber internet with YouTube TV whenever and wherever they want. Thanks to platforms like Netflix, Amazon Prime Video, and YouTube, these services have gained popularity. Although, it has posed a challenge to traditional broadcast models.
Notable Developments in Broadcasting Equipment
1. IP Based Broadcasting
Internet Protocol (IP) networks for broadcasting have brought about content distribution. With IP-based systems, broadcasters can transmit audio and video content over data networks, resulting in cost savings and increased flexibility.
2. High-Efficiency Video Coding (HEVC)
HEVC (also known as H.265) was developed to meet the growing need for high-quality video content. This compression technology allows broadcasters to transmit UHD and 4K content efficiently.
3. IPTV
IPTV stands for Internet Protocol Television. It has emerged as an alternative to broadcast television. IPTV uses technology that delivers live TV programs and enables viewers to access television and other video content through an internet connection. This way, it offers an interactive viewing experience.
4. Augmented Reality
Augmented Reality is an interactive experience that can combine computer-generated content with the real world. Broadcasting has embraced virtual and augmented reality technologies to enhance immersion and engagement. These advancements have transformed the broadcasting landscape. Thanks to the availability of headsets, people can now enjoy events with a sense of being in person. This breakthrough opens up opportunities for sports, concerts, and educational programs.
Conclusion
The world of media consumption has transformed thanks to the advancements in broadcasting equipment technology. From the days of radio broadcasts to the era of streaming and virtual reality, these innovations have truly revolutionized the industry. As we look forward to the future, it is thrilling to imagine how broadcasting will continue to shape our media landscape.
