Authorities in Thailand have arrested eight Lao women, seven of whom entered the country illegally to work as prostitutes, and one who worked as their madam, Radio Free Asia has learned. According to the Anti-Trafficking in Person Unit of the Thai Department of Special Investigation, the seven women were aged 21 to 36, and they were arrested at a karaoke bar in Bang Pakong district in the southern province of Chachoengsao. The eighth woman is the wife of the bar’s owner. A police officer in Bang Pakong district confirmed Monday that the seven women, who were arrested on April 4, are still in custody and are awaiting trial and will be deported to Laos later. The sex trade is technically illegal in Thailand, but laws against it are rarely enforced. Authorities do, however, more strictly enforce immigration laws. “Usually, people from Laos, Cambodia and Myanmar are allowed to work in Thailand in only certain types of work like construction, but not in entertainment venues or karaoke bars,” Col. Pattanapong Sripinproh of the Anti-Trafficking in Persons Unit told RFA Lao. “They are not allowed to work as bar girls or drink girls,” he said. “If they do, they’ll be arrested.” Sripinproh explained that police were able to catch the eight women by going undercover and posing as johns. “One of our police officers disguised as a customer at the karaoke bar and agreed to pay 2,000 baht ($54) for sex with one of the women,” he said, explaining that the bar owner and a hotel get their cut of the money and the woman would get about 1,300 baht ($36). Following this lead, the police officers inspected the bar and found that seven women were working illegally. “Based on the law on foreign workers … the violators will be fined up to 10,000 baht (US$272) and/or jailed for two months,” he said, but acknowledged that in most cases there is no fine or jail time. Instead the women are usually deported and blacklisted for two years. He also said that if the husband and wife were found guilty of human trafficking they could face up to 20 years in prison. “But in these cases we found out that those seven women are older than 20 and none of them were forced to prostitution,” said Sripinproh. “So, the husband and wife won’t be charged with human trafficking. But they will be charged with doing illegal business by providing sexual services.” RFA reported in March that four Lao women were arrested in Ban Bueng district in nearby Chonburi province for entering the country illegally and working as prostitutes. They told Thai police that they entered Thailand as tourists, rented rooms in a hotel and then sold sex.
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The legendary guitar known as "Greeny," a 1959 Gibson Les Paul Standard, has earned its place in the annals of rock history through its association with Peter Green, one of the most influential guitarists of his era.
The story of Greeny intertwines with the careers of several notable musicians, each leaving their mark on this iconic instrument. Peter Green, a founding member of Fleetwood Mac, acquired the guitar in 1966. Greeny quickly became his instrument of choice, shaping the distinctive sound of the early Fleetwood Mac albums and contributing to the band's rise to prominence. Green's emotive playing style and soulful tone were amplified through the rich, resonant tones of the Les Paul, making it an integral part of his musical identity. However, Green's tenure with the guitar was relatively short-lived. Following a period of personal turmoil and struggles with mental health, he left Fleetwood Mac in 1970. In the years that followed, Greeny changed hands multiple times, each new owner adding another chapter to its storied history. One of the notable owners of Greeny was Gary Moore, an Irish guitarist renowned for his virtuosic playing across various genres, including blues and hard rock. Moore acquired the guitar in the 1970s and used it extensively throughout his career. His fiery playing style and expressive phrasing breathed new life into Greeny, ensuring its continued relevance in the world of rock music. After Moore, Greeny found its way into the hands of other guitarists, each bringing their own unique flair to its sound. From Scott Gorham of Thin Lizzy to Rick Vito of Fleetwood Mac, the guitar continued to be a sought-after instrument among musicians seeking to channel the spirit of its original owner, Peter Green. In 2014, Greeny found its current custodian in Kirk Hammett, the lead guitarist of Metallica. Hammett, an avid collector of vintage guitars, recognized the historical significance of Greeny and added it to his impressive collection. While primarily known for his work in metal, Hammett's appreciation for blues and classic rock makes him a fitting guardian for this iconic instrument. Today, Greeny remains a symbol of musical heritage and artistic expression. Its journey from the hands of Peter Green to its current owner, Kirk Hammett, serves as a testament to the enduring power of music and the profound impact that a single instrument can have on generations of musicians and fans alike. As long as its strings continue to resonate, Greeny will continue to inspire and captivate audiences around the world, carrying forward the legacy of its legendary owners. In the realm of audio engineering, few tools have stood the test of time quite like the 1176 compressor. Revered for its distinctive sound and versatility, the 1176 has become a staple in recording studios worldwide. Its journey from conception to ubiquity is a testament to the ingenuity of its creators and the enduring demand for quality sound processing equipment.
The genesis of the 1176 compressor can be traced back to the late 1960s when Bill Putnam Sr., founder of Universal Audio, set out to design a revolutionary dynamics processor. Drawing upon his experience as an audio engineer and a deep understanding of signal processing, Putnam and his team embarked on the development of what would become the 1176 Peak Limiter. Introduced in 1967, the 1176 was unlike any compressor that had come before it. Featuring a unique FET (Field-Effect Transistor) design, the 1176 offered faster attack and release times, as well as greater transparency compared to its tube-based counterparts. This innovation made it particularly well-suited for capturing transient-rich sources such as drums and vocals with remarkable precision. The 1176 quickly gained popularity among recording engineers for its ability to add punch and character to recordings while maintaining clarity and fidelity. Its iconic sound became synonymous with countless hit records across various genres, cementing its status as an essential tool in the audio engineer's arsenal. Over the years, the 1176 underwent several revisions and iterations, each aimed at refining its performance and enhancing its sonic capabilities. From the original "Blue Stripe" model to later iterations like the "Blackface" and "Silverface," Universal Audio continued to refine and improve upon the design, ensuring that the 1176 remained relevant in an ever-changing industry. In addition to its hardware incarnations, the 1176 also found new life in the digital domain with the introduction of plug-in emulations. These software versions faithfully replicated the sound and functionality of the original hardware, allowing engineers to harness the power of the 1176 within their digital audio workstations. Despite the passage of time and the emergence of new technologies, the 1176 compressor remains as popular as ever among audio professionals. Its enduring legacy is a testament to its timeless design and its ability to shape the sound of music for generations to come. In conclusion, the history and development of the 1176 compressor represent a fascinating chapter in the evolution of audio technology. From its humble beginnings as a ground-breaking hardware unit to its continued relevance in the digital age, the 1176 has left an indelible mark on the world of recording and sound engineering. As long as there are musicians and recording studios striving for sonic excellence, the 1176 compressor will continue to hold a cherished place in the pantheon of audio processing tools.
In 1982, Sykes joined Thin Lizzy as their lead guitarist, following the departure of legendary guitarist Gary Moore. His arrival injected new life into the band, revitalizing their sound and reigniting their creative spark. Sykes' contributions to Thin Lizzy's album "Thunder and Lightning" are nothing short of monumental, with his electrifying guitar work elevating tracks like "Cold Sweat" and "The Sun Goes Down" to iconic status. Despite his undeniable talent and success with Thin Lizzy, John Sykes' true legacy would be forged with the formation of the band Whitesnake. In 1984, he joined forces with rock icon David Coverdale to create what would become one of the most revered lineups in the history of the band. As the co-writer and lead guitarist on the multi-platinum album "Whitesnake," Sykes played an integral role in shaping the band's sound and delivering timeless hits such as "Still of the Night" and "Is This Love." However, it was his magnum opus, the eponymous 1987 album "Whitesnake," that would catapult Sykes to superstardom. Featuring his masterful guitar work and songwriting prowess, the album became a global sensation, selling over eight million copies in the United States alone and cementing Sykes' status as a guitar virtuoso of unparalleled talent.
Despite his monumental success with Whitesnake, Sykes' career would take an unexpected turn in the years that followed. His departure from the band in 1987 marked the beginning of a tumultuous period characterized by lineup changes, solo projects, and collaborations with various artists. While his subsequent endeavors may not have reached the same heights as his work with Whitesnake, Sykes continued to push the boundaries of his artistry, exploring new musical avenues and leaving an indelible mark on the rock landscape. Today, John Sykes' legacy looms large over the world of rock music, his influence reverberating through the work of countless artists and bands. His mastery of the guitar, coupled with his innate songwriting ability, remains unmatched, serving as a testament to the enduring power of rock 'n' roll. Whether shredding through blistering solos or crafting unforgettable melodies, Sykes' impact on the genre is nothing short of legendary, ensuring that his place in the pantheon of rock gods is secure for generations to come. Brian Wompler has just released the Wampler Ego 76 compressor! This pedal pays homage to the legendary 1176 Peak Limiter, which has shaped music for decades. With its timeless studio sounds, this pedal is a must-have for any musician looking to take their sound to the next level. Wampler Ego 76: The Ego has expanded The 1176 Peak Limiter has been a studio staple since its introduction in 1967. As the first solid-state peak limiter on the market, the original, with its FET-based circuit, gave every signal an unmistakable, “improved” sound, especially when it reached its limits in “British Mode,” where all ratio buttons were pressed. According to the manufacturer, the Ego 76 attempts to reproduce this magic. But with some contemporary improvements. In terms of parameters, you get six dials: Tone (for tone shaping), Attack, Release, Level (for output level), Blend (like a Dry/Wet knob), and Compress (for ratio). How does it compare to Universal Audio’s pedal version? Parallel compression
According to Brian, the Wampler Ego 76 offers more energy and brilliance for your guitar sounds compared to using an actual 1176. The pedal also contains two functions that the original doesn’t offer. For example, there is the Blend control, which allows for plenty of parallel compression shenanigans. Compress the hell out of your guitar tone, then blend it to taste with your dry signal and preserve the attacks! If you compress a guitar signal too much, the high frequencies can sometimes get lost in the heat of the moment. The Tone control can counteract this by adding controlled overtones to the signal. In addition, you get plenty of tone-shaping options through various combinations of Attack and Release, especially with clean tones. White people have been told not to attend two upcoming performances of a play about racism and sexuality in London’s West End. Prime Minister Rishi Sunak’s office has condemned the move as “wrong and divisive.”
Written by Jeremy O Harris, who is black, ‘Slave Play’ opens in London’s Noel Coward Theater in June and runs until September. Two performances of the play – on July 17 and September 17 – are billed as “Black Out” nights, tickets for which will only be sold to “all-black-identifying audiences.” “The idea of a Black Out night is to say this is a night that we are specifically inviting black people to fill up the space, to feel safe with a lot of other black people in a place where they often do not feel safe,” Harris told the BBC on Tuesday. Despite explicitly asking only black people to attend the performances, Harris then claimed that “nobody is saying that by inviting black audiences here [white people] are uninvited.” In an apparent climbdown the following day, Harris wrote on X that black people “can bring their white friends or lovers if they want.” Sunak’s office nevertheless condemned the plan. “Clearly, restricting audiences on the basis of race would be wrong and divisive,” a spokesperson for the prime minister said on Thursday. Asked by the BBC whether the government would consider stripping public funding from theaters that engage in such discrimination, the spokesperson did not offer a definitive yes or no answer. “It’s a statement of principle that clearly the arts should be inclusive,” they said. “And I think that particular taxpayers would particularly expect that to be the case when public funding is involved.” ‘Slave Play’ tells the story of three interracial couples who engage in slave-era sexual fantasies to save their relationships. It debuted on Broadway in 2019 to rave reviews from liberal critics and got 12 Tony Award nominations, but has been savaged by conservatives, with American writer Peachy Keenan calling it the “gayest piece of woke race trash ever conceived.” The Noel Coward Theater is not the first British institution to face backlash for hosting a ‘Black Out’ event. Last summer, London’s Theatre Royal Stratford East was hammered for recommending that white people don’t attend two performances of American playwright Dave Harris’ ‘Tambo & Bones.’ Bedfordshire Police and Crime Commissioner Festus Akinbusoye, the first black man to hold his office, described the event as a “mistake” which “sets a bad precedent.”
If you’re looking for a new guitar, the Chapman ML1 Pro Modern is a great contender for anyone who wants a guitar with great specs without spending ridiculous amounts of money.
Chapman Guitars offer a Standard line made in Indonesia and a Pro line built in South Korea. In this review, we’ll be taking a look at a guitar from their Pro line – the ML1 Modern. I’ll kick off with a bit of background on Chapman, then I’ll cover specs, my thoughts on the guitar, etc. If you somehow missed all of the buzz surrounding Chapman Guitars in recent years, let me bring you up to speed: Chapman Guitars was founded in 2009 by Rob Chapman – one of the first guitarists to make a name for himself on YouTube. What started as a small limited run of guitars has grown into a guitar company that pushes the envelope year after year. Chapman Guitars stand out amongst guitar brands partly due to the collaborative nature of their guitar design process. Instead of just guessing the spec and designs people want on guitars, they allow people to vote for their favourite configurations on a regular basis. Quite a nice idea. Now, let’s take a closer look at the ML1 Pro. As I mentioned earlier, the Pro line of guitars from Chapman are made in South Korea by WMI who happen to make some of the best guitars in the world. This is why other brands such as PRS, Schecter and ESP LTD have used this exact factory for their higher end import models. The quality is exceptional. Before we dive into the spec, it is worth noting that the current ML1 Pro may vary slightly in specification. In the case of this particular iteration, we’ve got a maple through-neck with a satin finish, ebony fingerboard, a volute headstock joint for extra stability and 24 jumbo stainless steel frets with rolled edges. With exceptional upper fret access.
There’s also a dual action truss rod and glow in the dark side-dots. The neck carve is stated to be a C shape. It’s fairly thin but not quite as thin as an Ibanez wizard neck.The body features a beautiful flamed maple carved top in satin with a mahogany body. There are a few comfort cuts on the body and there’s a spoon cut that allows for great upper fret access. A string-through hardtail bridge, locking tuners, 5 way selector switch and a pair of Chapman humbuckers round out the package. Later versions of this model come with Seymour Duncan pickups.
This guitar is quite a looker and the same can be said for a lot of the Chapman lineup. The build quality is excellent and the playability is right up there with guitars that cost 3x the price. While the guitar has a modern feel and will appeal to those who are more into heavy rock & metal, it is still an extremely flexible guitar. And it is great to see a hard case included – something not too many brands offer at this price point. The lack of traditional fret markers may not be to everyone’s liking. This is something to consider if you plan to record instructional videos or teach with this guitar.
What about tones? The ML1 Pro offers plenty of sustain and resonance thanks to the through-neck design. The ebony fretboard provides a good balance of warmth and brightness. It’s a nice ‘middle of the road’ option between the tonal characteristics of rosewood and maple. Positions 2 and 4 of the selector switch offer coil-split sounds so there are plenty of tones to be had. The pickups in this model offer plenty of clarity. They’re fairly hot in terms of output. When cranking the gain, these pickups remain tight and controlled. Rob has mentioned in various videos that part of the approach to their guitar building process is on making sure that all of the parts you can’t easily swap out – neck, fretboard, frets, body, etc – is as good as possible. Some may take this to mean that the parts you can change – pickups, tuners, electronics, etc. – are of lower quality. But in the case of this guitar, that definitely is not the case. I’ve had the guitar in my collection for a few years now and there have been no issues. The electrics have been spot on and the pickups sound great. It is worth noting that the newer version of this guitar comes loaded with Seymour Duncan pickups rather than the Chapman branded ones.
While the ML1 Pro Modern will appeal best to rock and metal players, traditional variations of this line are available. As you might expect, these come with a more traditional styling and configuration. This includes S-style and T-style variations – both with carved tops. For those who want to go even lower, baritone and 7-string variations are available. If you’re on a tighter budget, consider the ML1 Standard line as an alternative. These are built in Indonesia and come in at a more affordable price point. The Standard line loses the locking tuners and have a few other changes but they offer excellent value for money.
In the realm of rock music, certain instruments become as legendary as the musicians who wield them. Among these, the Dragon Telecaster stands out as an emblem of innovation, creativity, and the iconic sound of Led Zeppelin. Forever associated with guitar virtuoso Jimmy Page, this instrument has a rich history that intertwines with the evolution of rock music itself. From its humble beginnings to its status as a symbol of rock 'n' roll mythology, the story of the Dragon Telecaster is a testament to the enduring legacy of one of the genre's most iconic figures. The Birth of a Legend: The story of the Dragon Telecaster begins in the early 1950s with the creation of the Fender Telecaster, a revolutionary instrument that would go on to shape the sound of popular music. With its solid body, bolt-on neck, and distinctive twangy tone, the Telecaster quickly became a favorite among guitarists seeking versatility and reliability on stage and in the studio. However, it wasn't until the hands of Jimmy Page that the Telecaster would undergo a transformation that would elevate it to legendary status. Jimmy Page and Led Zeppelin: Jimmy Page's association with the Telecaster began in the mid-1960s when he was a session musician in London, recording with a variety of artists in the burgeoning British rock scene. However, it was his role as the guitarist for The Yardbirds that would truly catapult him to fame and set the stage for his legendary partnership with the Telecaster. When The Yardbirds disbanded in 1968, Page formed Led Zeppelin, a band that would come to define the sound and spirit of hard rock and heavy metal. The Transformation: As Page's musical vision evolved, so too did his approach to the guitar. Seeking to push the boundaries of sound and performance, he embarked on a quest to customize his instruments to better suit his artistic sensibilities. It was during this time that he acquired a 1959 Fender Telecaster, which he promptly set about modifying to fit his unique style. Inspired by the psychedelic artwork of the era, Page enlisted the help of artist Zacron to paint a intricate dragon design on the body of the guitar, thus giving birth to the legendary Dragon Telecaster. The Legacy:
From its debut on Led Zeppelin's iconic 1971 album "Led Zeppelin IV" to its appearances on stage during the band's legendary live performances, the Dragon Telecaster quickly became synonymous with Page's virtuosic playing and the raw energy of Zeppelin's music. Its distinctive sound, combined with its eye-catching design, captured the imagination of a generation of guitarists and music fans, cementing its status as one of the most iconic instruments in rock history. The Dragon Telecaster stands as a testament to the power of creativity, innovation, and artistic expression in the world of music. From its humble origins as a stock Fender Telecaster to its transformation into a symbol of rock 'n' roll mythology, this legendary instrument embodies the spirit of Jimmy Page and the timeless appeal of Led Zeppelin's music. As long as there are guitarists seeking to push the boundaries of what is possible, the legacy of the Dragon Telecaster will continue to inspire and captivate audiences for generations to come. LA's Minarik Guitars is no stranger to producing out-there designs – like the Inferno, which resembles actual fire – but it's latest electric guitar might just be the craziest-looking we've ever seen.
Partnering with Heavy Metal Entertainment and Incendium, the company has created a limited-edition custom model celebrating the 40th anniversary of animated sci-fi cult film, Heavy Metal. Visually, the guitar sports airbrushed artwork depicting Taarna – one of the films characters – atop a dragon as seen on the movie's cover, alongside other futuristic elements. The fretboard dons Taarna's lightning-channeling sword as a single inlay, while the back of the body pays homage to the film's B-17 segment, with an all-metal aesthetic complete with bullet holes and missile artwork. Construction-wise, the guitar's body is made of Honduran mahogany, while its neck and fingerboard are built using three-piece hard maple and ebony, respectively. As Minarik explains, Its headstock plate – which features Heavy Metal's blood red logo – incorporates “100s pieces of assorted inlay materials – including stone, mother of pearl, brass, aluminum and acrylics – to depict Taarna's war blade”. Under the hood, the guitar is fitted with a pair of DiMarzio humbuckers – an AT-1 in the bridge and a Gravity Storm in the neck – controlled via two volume knobs, a master tone pot and three-way toggle. Other features include a MannMade intonatable wraparound bridge – precision machined from aircraft grade aluminum – a bone nut, gold Gotoh machineheads and a five-ply body binding. “The illustrious legacy of Heavy Metal is no better represented than by a custom guitar to celebrate this momentous occasion,” says Matthew Medney, CEO of Heavy Metal Entertainment. “Balancing art and music along with counter culture is and has been our ethos for these 40 years.” Adds Llexi Leon, CEO of Incendium: “This is the first time we're offering an individually hand-built, painted and crafted product – the resulting instrument is truly a work of art! “It's a great privilege to be working with the tremendous luthiers, airbrush artists, inlay experts, technicians, and more under the guidance of Marc of Minarik to pull this ambitious vision together. As a player and collector myself, I'm beyond thrilled.” The Heavy Metal electric guitar is available to order now, though it'll set you back the princely sum of $19,666. It also comes with a hard case, certificate of authenticity and a set of Heavy Metal-branded Dunlop picks. Peavey is “reviving a classic for the modern era” as it marks the return of its Vandenberg Signature Series with three new finishes. The range looks to mix nostalgia with modernity as it puts a contemporary spin on Adrian Vandenberg's cult classic signature guitar.The models are available in a choice of Rock-It Pink, Purple Flame (which is actually red, deceptively) and a comparatively tame Matte Black. Each variation comes equipped with a Floyd Rose floating bridge and high-performance Seymour Duncan pickups. Notably, the Purple Flame model sports twin humbuckers, whilst the Pink and Black options offer single coil pickups in the neck. Visually, the guitar offers a slightly glitched-out take on the Strat shape, with black hardware the choice for the Pink and Black models. The Purple Flame build, which boasts a quilted maple top, stands out with its gold hardware. For both their bodies and necks, the trio recruits high-grade mahogany, whilst ebony is the choice of wood for the fretboards. Size-wise, they comprise a 24.75" scale length and 15-inch radius. Those fretboards are adorned with Vandenberg signature inlays, with red diamond inlays exclusive to the matte black model. They all feature Seymour Duncan pickups, which Peavey believes can offer a “tonal palette that spans from searing, high-gain leads to nuanced, dynamic cleans.” There’s a three-way selector switch and a master volume control for each. There’s also a TB-6 humbucker in the bridge of each, though – as alluded to above –there are two choices of neck pickups on offer: there’s an STK-S6 Custom Stk Plus in the Matte Black and Rock-It Pink models, and a SH-6 in the Purple Flame. The original Vandenberg signatures were released in the late '80s and comprised a poplar body with a two-piece maple neck. The new edition, then, sees the signature guitar receive something of a glow-up. “The reintroduction of the Vandenberg Signature Series is a celebration not only of a groundbreaking guitar, but an influential artist's journey,” says Peavey. The Dutch guitar He would later join Whitesnake and deliver that solo in Here I Go Again. He also co-wrote the band’s platinum-selling album, Slip of the Tongue. That saw him sharing guitar duties with Steve Vai, who is currently out with the reunited original G3 line-up, on the subsequent tour. “Made to his specifications and road-tested over the years, Vandenberg guitars have become highly coveted on the resale market,” Peavey’s statement continues, “with Reverb currently selling some at a little over $3,000. Now the coveted guitar of the ‘80s is back. Reviving a classic with a perfect blend of '80s nostalgia and modern precision, it offers modern appointments for discerning players.” Vandenberg sat down for a chat with Guitar World back in August and his rhythm playing was an integral part of what was discussed. He stated that “rhythm playing is the backbone of whatever a guitar player is trying to say – and it’s become deeply undervalued today.” He also discussed the return of his beloved Peavey model, taking the opportunity to pay tribute to the “absolutely amazing” craftsmanship it showcased. “As the years passed, people kept asking me if I had any Peavey Vandenberg guitars and if I'd part with them,” he said of the guitar's return. “And since I had a few, I never bothered to answer. And then Facebook groups started popping up in tribute to the guitar, and I saw all these fans. “So, eventually, Peavey approached me about bringing it back around a year ago; I said, 'Yes,' and we started working on it. That guitar has taken on a life of its own, which I certainly never expected.”
The revised Vandenberg signature guitars will be available to order soon. They will be sold for $2,999 each. Mad Professor Amplification’s first products were made in 2002 and the company says that they are a culmination of decades of work with guitars, amps and pedals. Since that first pedal arrived, there have been many additions to the catalogue, some of which have had real longevity, while others have been discontinued. One of the last Mad Professor pedals we took a look at (back in issue 445) was the Loud’n Proud, which offered the sound of a vintage Marshall amp with a fuzzbox in front of it. It is now discontinued, but the one we’re looking at today is a stalwart of the range and never out of production. The Sweet Honey Overdrive is Mad Professor’s take on the low- to mid-gain overdrive pedal, typically used to add a little hair to clean amps or to drive already dirty amplifiers a little harder. There’s an easy-to-dial-in three-knob control surface here with self-explanatory Volume and Drive knobs, plus a Focus knob that the brand says is for adjusting the feel and dynamics of the pedal, as well as overall EQ. The pedal is capable of a small but practical clean boost with the Drive at minimum and a decent guitar amp-like raunch at maximum. What is particularly notable is the response to playing dynamics, which really is quite amp-like – you can play softer for the clean-ish sounds, while bolder strokes can really bring out dirt. All of this expressive nature can be tempered with the Focus knob, providing plenty of variation on the driven theme. At its lower settings, there’s a smooth, warmer rounded sound and the dynamics are such that you have to dig in that little bit harder to get overdriven sounds, but as you turn it up you’ll get an increase in top-end presence and an easier transition into driven sounds. This is the sort of pedal you may wish to keep on all the time, but it also stacks really well as a booster in front of other drive pedals. The company also has a limited-edition version with its ‘Fat Bee mod’ that essentially tweaks the bottom-end.
Specs
A video that captured the confrontation between a group of Chinese tourists and a piano-playing YouTuber at a train station in London did go viral. A confrontation erupts when British pianist Brendan Kavanag, also known as Dr.K, found himself at the center of a spat with a group of tourists waving Chinese flags at a public piano in the St Pancras International station. In the video, livestreamed on Kavanagh's DrKBoogieWoogie YouTube channel on Jan. 19, he was initially seen engaging with the tourists, referring to them as “Japanese.” At one point, he asks one of the women in the group if she'd like to dance. When she declined, he returned to the piano and commented, “Whatever, I think British girls are more fun.” Tensions escalate later in the video, when members from the Chinese group express that they want to use the piano. After vacating the piano, Kavanagh continued filming, which sparked an objection from a woman in the group. She insisted that he stop as they were filming for "Chinese TV" and their footage was "not disclosable." Kavanagh challenged her, asking which Chinese law prohibited him from filming in a public space. A man from the group reiterated their refusal to be filmed, citing their need to protect their rights and avoid having their images shared online.
As of this writing, the video of the incident got viral as it has so far garnered 4.8 million views and ignited online debates about cultural sensitivity, freedom of expression and the implications of public filming. Kavanagh claimed in a subsequent video that there were attempts to take down the livestream.
Ukrainian model Karolina Shiino has ignited controversy by winning the Miss Japan 2024 beauty pageant. Although Shiino is a naturalized Japanese citizen, she has no Japanese ancestry and her win has angered some viewers in the ethnically homogenous nation.
The 26-year-old model was crowned the winner of the 56th annual Miss Japan Grand Prix on Monday, becoming both the first naturalized Japanese citizen – and the oldest woman – to do so. Shiino was born in Ukraine to two Ukrainian parents, and moved to Japan aged five when her mother remarried. ”I live as a Japanese person, but there have been racial barriers and many instances where I wasn’t accepted,” she said during Monday’s ceremony, according to Reuters. “I’m just filled with so much gratitude that I have really been accepted as a Japanese person today,” she added, speaking in fluent Japanese. Japanese commenters on social media were less accepting. “So, someone who doesn’t have a drop of Japanese blood and has no trace of Japanese-ness is going to represent Japanese women?” one X (formerly Twitter) user wrote. “If she was half [Japanese], sure no problem. But she’s ethnically 0% Japanese and wasn’t even born in Japan,” another wrote, while one user worried that “Japanese people naturally [would] get the wrong message when a European-looking person is called the most beautiful Japanese.” Some commenters claimed that the judges had chosen Shiino to send a signal of support to Ukraine in its conflict with Russia. “If she were born Russia, she wouldn’t have won. Not a chance. Obviously the criteria is now a political decision. What a sad day for Japan,” one person wrote. Pageant organizer Ai Wada told the BBC that the judges had chosen Shiino with “full confidence.” The Ukrainian model “speaks and writes in beautiful and polite Japanese,” Wada said, calling her “more Japanese than we are.” Japan is widely regarded as the world’s most ethnically homogenous developed country, and while its government does not keep track of its citizens’ race or ethnicity, it is believed that 98% of the country’s population is ethnically Japanese. Although the government no longer pays immigrant workers to return to their home countries – as it did in the wake of the 2008 financial crisis – immigrants must meet strict criteria to become citizens, and birthright citizenship is not awarded. Shiino is not the first controversial winner of the Miss Japan title. In 2015, Ariana Miyamoto, whose parents are Japanese and African-American, became the first biracial woman to win the pageant, triggering a national discussion about whether mixed-race contestants should be allowed to enter the competition. Philippines President Ferdinand Marcos Jr drew flak on social media for his use of a presidential helicopter to attend a concert by British rock band Coldplay in a province north of the capital, Manila.
"Using official resources, like the presidential chopper, for personal and non-official activities is generally considered an abuse of power or misuse of government resources," Facebook user James Patrick Aristorenas said in a post on Saturday. "We paid for the use of the chopper, fuel and security, who knows even for the tickets for everyone," Facebook user Arvine Concepcion said.
Meet the new Frankenstein, same as the old one, just without the stripes, and with a lived-in feel that's as comfortable as well-worn denim. By ditching Ed’s signature stripes in favor of a single-color finish, the EVH Frankenstein Relic Series provides all of the vibe, tones and high-performance attributes of the Frankenstein guitar in a package that allows players to make their own visual and aural statements. Pros
Cons
The EVH Striped Series is pretty much the coolest thing going for guitarists who want to make a loud and proud statement about their appreciation for Eddie Van Halen and his influence. However, many players may prefer something a little less flashy and distracting-looking that still provides plenty of classic VH vibe. If that’s your jam, the new EVH Frankenstein Relic Series delivers the goods. The EVH Frankenstein Relic guitar is based upon the mid-’80s iteration of Ed’s iconic Frankenstein, but it features a single-color finish (red, white or black) and offers a few modern modifications, like a compound-radius fretboard and EVH Floyd Rose with D-Tuna, perfect for guitarists who want the aggressive tones and rat rod appeal of Ed’s original axe, expertly combined with high-performance playability. The EVH Frankenstein Relic features a familiar Strat-style asymmetrical double cutaway body that’s made from basswood to optimize resonance and keep the overall weight around an average of seven comfortable pounds. The bolt-on neck is quartersawn maple with a separate maple cap fingerboard (so there’s no skunk stripe), both finished with Heavy Relic lacquer that seals and protects the wood. The neck finish and simulated dirt/wear on our test example had a warm, mocha latte brown color that resembled roasted maple. The body finish is gloss lacquer that is subjected to moderate relic aging around the edges and common wear areas like the forearm contour and rear “belt buckle” section. Appropriate for its rat rod design, the guitar has a high-power engine: an EVH Wolfgang humbucker in the bridge position, with the pickup measuring 14.3k ohms resistance. The neck position single-coil pickup and selector switch in the middle pickup cavity are only there for show, just like they are on Ed’s Frankenstein (however, that pickup and selector switch are functional – they’re just not wired in, but can be). The humbucker pickup is direct wired to a volume pot (with a skirted “Tone” knob) and mounted directly to the body (there are no mounting ring or height adjustment screws), and that’s it. The Wolfgang humbucker’s tone is surprisingly brilliant and almost Strat-like, with a distinct upper midrange bite and snappy attack that remain consistently lively even as the volume knob is backed down for clean tones. The bass has plenty of heft for heavy distorted rhythms and riffs. The single bridge humbucker/volume knob-only setup is not the most versatile configuration on its own, but its rich harmonic content provides a solid base for sculpting a much wider variety of sounds with amp settings, a wah pedal and/or a programmable EQ. With 22 jumbo frets, a 12-16-inch compound radius fretboard, slim modified “C” profile, 1.69-inch nut width and easily accessible heel-mounted truss rod adjustment wheel, the neck is built for speed and precise, comfortable playability. The raw wood-like feel of the Heavy Relic lacquer finish provides an ideal balance between smoothness and resistance to facilitate gliding up and down the neck and stopping precisely where the player desires.
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April 2024
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