Tag Archives: Dark Side of the Moon

Interview with Markus Schulz


Markus Schulz is a German trance music DJ, musician and producer. He is best known for his weekly radio show titled Global DJ Broadcast. He is also the founder of the label Coldharbour Recordings and Schulz Music Group (SMG), an artist management company which manages rising stars in the industry such as KhoMha, Mr. Pit, Grube & Hovsepian and Adina Butar. Schulz is all set to perform at season 7 of The Sunburn Festival as part of the big one!

WTS: You moved to America when you were 13. Which would you say has influenced your interest in making music – your German roots or your new home in the States?

Schulz: Both. I became fascinated with radio at a young age. Because I didn’t have that many friends when growing up, radio acted as a companion for me; a way to escape. I didn’t get to forge long friendships because my step-father was in the army, and we’d therefore be moving home a lot. I was one of the so-called “army brats”. But the radio was always there. I loved getting lost in the music.

I emigrated to the US when I was 13, and this was the point where the breakdance scene was massive. I’d make breakdance tapes and trade them with other people, much like people do nowadays downloading liveset and radioshow rips. The breakdance movement eventually led to us throwing parties, and in my case, gave me my first footsteps in DJing for a crowd. Moving on to production after that was a natural step.

WTS: Is it true that your first gigs in America were mostly at gay clubs? Why was that and how do you think your audience has expanded since?

Schulz: That is indeed true. When I started becoming booked as a DJ around the Boston area, I would be playing in the Top 40 clubs. It was ok to an extent, but not particularly gratifying on a personal level, because playing solely the Top 40 music can burn you out creatively. It was only when I started attending and DJing at the gay clubs where my passion for DJing really ignited, because now you were playing for people who knew their stuff. It presented that challenge of pushing boundaries musically.

One of the biggest moments of my career was my seven year residency at The Works in Phoenix. That was the point where I began to feel that I could create my own identity – where people would be coming to see me DJ rather than just going for a night out generally. It was during those years where I began concentrating more on production and originals.

WTS: What is the entire process behind creating your albums? How many songs do you have to sift through before you find the perfect ones?

Schulz: Artist albums are completely different from everything else you do. The art of songwriting brings a lot of self-exploration and assessment. Sometimes you could be working with as many as three other people on one song – a fellow DJ collaborator, a singer and a songwriter. These tracks tend to take so much longer to create, but because of the amount of effort, the rewards feel greater.

When all is said and done, I’ll usually have around 25-30 tracks created, and roughly 65% of them will make the cut. Sometimes after the album is released, I’ll revisit the projects of some that didn’t quite feel right at the time and work on them again for the future.

WTS: Scream received amazing reviews worldwide; is there another album in the works?

Schulz: There sure is. The whole Scream project has felt like a career journey – encompassing the album, the big singles and the first attempt at a Bus Tour last spring. I had so many ideas while on the road and being inspired by the fans that I felt I should continue the ethos with a second chapter.

Scream 2 will continue much in the same vein as the first offering – nice melodic vocal tracks featuring new singers, a couple of collaborations and plenty of big anthemic instrumentals. Some of the tracks were showcased on the Buenos Aires ’13 compilation – Remember This, Mardi Gras and Towards the Sun (my collab with Rex Mundi). I’ve just managed to complete the album in time for Christmas, so it’s set for release in February with a host of parties to celebrate.               

WTS: You’ve been for DJing a long time now. If not a DJ, what else would you like to be?

Schulz: I get asked this a lot, and the honest answer is that I cannot imagine myself doing anything else for a living. It sounds very corny but I genuinely think I was put on this earth to do what I have been so lucky to do all these years – entertain and connect.

If I had to pick something, I’d love to have a go at running a radio station. As I mentioned earlier, the radio medium has played a very important role in my life, so I’d love the challenge of programming a station under my vision.

WTS: What is the idea behind your sometimes alias Dakota?

Schulz: The main ethos of Dakota is the instrumental, clubby side of my sound.  The biggest difference between it and theMarkus Schulz tracks / albums is that with Dakota it’s just entirely me from start to finish, making conventional club tracks that fuel my DJ sets. The tracks tend to be a little deeper and slower.

Even though most of my focus this year has been on Scream 2, I have still kept the Dakota alias active. Baraccas was actually the last thing I worked on before putting the Buenos Aires ’13 compilation together, and of course there was Doors Open – a 22 minute long track that has acted as my opener when I play my open to close solo sets. I have a couple more projects ongoing that will help me get ready for the long sets in 2014.

WTS: Who would you say is the biggest influence on your music?

Schulz: If we are talking about one single piece of music, I would say Pink Floyd’s Dark Side of the Moon album. Even today I could put it on and still develop new ideas just by listening through from start to finish.

Nowadays however, and as silly as it sounds, it’s the fans who inspire me. When I am on stage performing, I get so many ideas inside my head when looking out and seeing the reactions from the fans. A lot of the Scream 2 album was influenced by the experience of the Bus Tour that took place throughout the spring. 

WTS: In your opinion, what have been the best tracks of ?

Schulz: In no particular order, Fisherman & Hawkins – Apache, Markus Schulz – Remember This, KhoMha – Hydra, School of Seven Bells – Reappear (Thomas Datt Remix), Rex Mundi – Backpain, Grube & Hovsepian – Trickster, Wellenrausch & Basil O’Glue – Wickaninnish, Beat Service – Arcade, Danilo Ercole – Player One (Gai Barone Remix), Max Graham – The Evil ID.

WTS: Who’s your favourite upcoming artist these days?

Schulz: He’s been around for a couple of years, but I think this year marked the moment where people really started taking notice of Beat Service. His remix of ‘Nothing Without Me‘ is still so essential in my livesets almost a year on from when it was first made, and he’s gone on to make really booming originals like ‘Arcade‘, ‘Reach the Sun‘ and ‘Undercover‘.

And there’s no way we could call him a newcomer, but I’ve loved how M.I.K.E. has reinvented his sound this year. From his album that came out in February to the new stuff he’s done for me at Coldharbour, they are all so addictive.

WTS: Are there any artists that you haven’t collaborated with yet but would like to?

Schulz: I’ve always admired Eric Prydz’s work through the years.  His productions always have that special catchy melody and I’m immediately drawn to his name if I see any new content from him popping up through the promos or on Beatport.

In terms of outside the box choices, having the opportunity to work with a band like Coldplay or U2 would be a dream. I’ve really admired Lana Del Rey’s work over the past 18 months too; her whole Born to Die album is great, but the ‘Summertime Sadness‘ track is a real guilty pleasure of mine.

WTS: Name one track that you wish you had produced.

Schulz: That would have to be the original Cass & Slide version of ‘Perception‘. It first surfaced when I was moved to London at the turn of the millennium, where I was trying to rediscover the magic in the music after being badly burnt out after the Phoenix years.  It reminds me a lot of going to clubs like Ministry of Sound and Turnmills just as a clubber, seeing the big international DJs pass through at the time. When Naimee Coleman’s vocal got added, it just escalated the track even further to become my all time favorite.

Fortunately, as many of you know, I was given the privilege of remaking the track a few years ago, as part of my Do You Dream album. And to be able to get Justine Suissa on board for the vocals was just incredible. She did such an unbelievable job on the lyrics. It’s such a powerful line that we can all take inspiration from – “Rise up together”.

WTS: Tell us a little bit about KhoMha, the Colombian DJ you manage.

Schulz: My boy KhoMha! I’m so proud of how he continues to develop. I had known him for quite a while due to playing in Medellin so often. But the one distinct point I remember about him was the night I was playing a solo set at Amnesia in Ibiza, and he sent me the demo version of ‘Rainy in the Night‘ about an hour before I was due to leave for the club. I loved the track so much that I burned it and played it in the first hour, and his name started to spread.

Then when I came up with the concept of Schulz Music Group – taking people under my wing and managing them while acting as their booking agent, he was one of the first on my wishlist. We had a lot of trouble getting him a US Visa; so much so that he couldn’t make it for the Los Angeles ’12 release party, but now that it’s thankfully all sorted his tour schedule has just exploded. And he continues to fuel my livesets with some of the most outrageous melodies I have heard in tracks. He’s just going to get better and better.

WTS: What do you think of the new generation of producers and DJs? Do you think they’ve contributed to the sudden upsurge in dance music’s popularity?

Schulz: There’s no doubt about that. I think it was needed for the scene in a way. For many years the scene felt a little tired. It was the same lineups on the same stages at the same festivals. But now the newer generation have come in and brought new production ideas to the table, and therefore brings an element of excitement along with it.

However, there has been a side effect to it, namely that the producers who have come in and scored a massive hit are thrust into this enormous tour schedule, with little to no experience of DJing. So that’s where you see the routine 1 hour pre-programmed set, which never changes for a year or whatever city they are playing. That is hurting the art of DJing, and that’s why for me the most important thing we have to ensure while we are going through this explosion is that the art of DJing is preserved and appreciated. I think that the people who have the ability to read a room and react accordingly should be celebrated more.

WTS: You’re performing at POPNYE in Oakland for New Year’s Eve. If you weren’t, what would you be doing on a typical New Year’s Eve?

Schulz: Haha, that’s a good question. I think I’ve only had one New Year’s Eve in the past 10 years where I didn’t have a gig, and if I remember right, all I did that night was just have a quiet dinner with my family. It will be a fun experience this year, because I get to share the stage with Ferry for the New World Punx show. We’ve never done a New Year’s Eve together before.

WTS: At the Winter Music Conference, you play a drinking game where you take a shot every time someone messes up. Who’s got you the most drunk in this game?

Schulz: Haha. Well, because WMC takes place in Miami, I have to act as the host. It’s always a crazy week, because you have to divide your time between preparing for some of the most important shows of the year, whilst attending BBQ parties put on by agencies and promoters where things can sometimes get a little messy. Needless to say, if I am playing the game, I make sure it’s on a night where I have nothing to do and don’t have to get up early the next morning.

WTS: You’ve been to India before, how much do you feel the EDM scene has changed over the years?

Schulz: I can easily measure it by the amount of people from India tweeting me during Global DJ Broadcast every week. The volume has spiralled, especially in the past year. There were so many people asking when I was coming back to the country. So to be able to do it on such a grand scale of the Sunburn Festival is great for me. I’m hoping to see more and more producers come out of India in the future. I remember playing one of Praveen Achary’s tracks on Global DJ Broadcast earlier in the year, and my twitter timeline blew up because I was supporting an Indian producer. So hopefully more and more talents like him can come to the fore.

WTS: You’re going to be in Goa during the best time of the year! What do you think of the city, one of the origins of electronic music?

Schulz: It’s such a beautiful place. One of these days I’ll have to plan a vacation there. And although I haven’t gotten to see much of it, I have read enough stories online about how much it blossoms throughout Christmas. And you’re right in saying that electronic music owes a lot to the roots of Goa. All the dreamy melodic trance can point to influences of the vibe there. You never know, I might get inspired for a new track idea from this year’s visit.

WTS: Sunburn as a festival has been hailed as Asia’s #1 Dance Music Festival. How do you think it compares to those in Europe and America?

Schulz: Sunburn is one of those festivals where the mood of the crowd will be dictated not just by the music being played, but also by the ambience of the scenery around them. Because of Goa’s location and the position in the calendar of the Sunburn festival, there will most likely be a very diverse international audience, arguably more so than any other festival worldwide. 

WTS: Anything in particular you’re looking forward to at Planet Sunburn this time?

Schulz: It’s going to be a special show because it means that for the first time, a Global DJ Broadcast World Tour episode will come from India. Headlining one of the day is a huge honor for me too, so hopefully I can deliver a set people will enjoy long beyond the event. Having wrapped up things on Scream 2, I can probably take the shackles off and slip some of the material into my set now. So keep an eye out for that.

WTS: Now that you’re in India and the music scene has exploded here, any advice to budding DJs?

Schulz: Simplest advice is to try to develop your own style. I think the best way to approach it is to take little bits of influences from different sources, and make them a hybrid of you own. For example, I get inspired by a lot of melodies in classic and modern rock. Bands like Pink Floyd, Led Zeppelin, to the modern day melodies of Coldplay. At the same time, I love listening to drum n bass because of the basslines present in that genre.

Nowadays for DJs, productions act almost exclusively as your calling card. So getting that big unique production out in the ether is incredibly important; because if there is something appealing, that will attract the attention of the more established names and help give you a shot of momentum.


The KORG M50


KORG have really outdone themselves with this one! I think the M50 is a semi-professional artists dream! At the price, nothing can beat the power and functionality of the M50. KORG have always been coming up with products with stage artists and performance artists in mind, and it is in this context that one must evaluate their instruments.

Jumping right in, the M50 is a cut down version of the already legendary M3. With features like Open Sampling, KARMA 2.0, the RADIAS expansion option and the aftertouch being removed, the M3 is identical to the M50! And this is saying something, since the M3 itself borrows its waveROM from their then flagship workstation, the KORG OASYS. This means that you get the powerful EDS synth engine at a throw away price! The list of cuts might look large, but it’s really not that bad. KORG took everything essential from the M3, and removed all the fluff. This really gives semi-professionals a huge amount of power with their music, without complicating the machine with too much. Let’s take a quick look at what this beast is capable of.

The first thing that catches your eye with the M50 is the huge blue touch-screen. KORG is the only manufacturer that gives you pleasure of navigating menus with the touch of a finger. This allows the top of the workstation to be very uncluttered. This is by itself a very, very big deal. Just how easy it is to move around makes a big difference to how you work with your music. I personally find this feature very satisfying. The next thing you would probably notice is the orange back-lit joy-stick. The XY joy-stick allows 3 assignable parameters to be controlled, while many manufactures still retain the ancient two wheel combination, allowing only two parameter controls, a pitch bend and an assignable mod-wheel. I personally prefer love this joy-stick! I think it’s a matter of taste, and what you’re used to. Coupled with the joy-stick are two assignable buttons which let you do what you want while fiddling around with the joy-stick.

Other obvious controllers are the four assignable knobs on the main panel. They are assigned to some very useful parameters like Filter cut-off and resonance, and EG intensity and release. These knobs are freely assignable so that you can tweak any parameter within the workstation. The menus can get deep, and yet, they are very logical. Once you understand how they are laid out, you’ll be doing things that you didn’t know could be done, in seconds!

The M50 also has dedicated chord buttons right on top where you can store four commonly used chords and just press a button to trigger an intricate 8-note jazz-voicing, with each note playing at different levels of hardness/softness! This along with the drum track function allows you to jam along for hours and hours! The M50 also has two dedicated arpeggiators, so if you are into electronica or dance music, this is perfect. Or if you just want to mess around with the arpeggiator, it’s just as fun. ‘On The Run’ from Dark Side of the Moon is one very legendary application of an arpeggiator. I’ve programmed my M50 to replicate that, and it does it so well, I have no words to express how awesome it is – you just have to listen to it!

Getting a little more technical, the M50 boasts a jaw-dropping 256MB of sample data! This might seem like a joke, but in the keyboard world, what this translates to is quite amazing. With 1032 multi-samples and a whole bunch of stereo multi-samples, KORG has really changed what one expects at this price range in the semi-pro market. Each ‘tone’ on this workstation, (Programs, as KORG calls them) can consist of two independent oscillator sections. Each oscillator can lay its hands on four multi-samples, and these multi-samples are velocity split! All this translates to each Program giving you up to eight different sounds set-up across the keyboard and being played depending on how hard you press the keys! This allows you set-up a complicated song that might require you to sound mellow during the intro and sound insane when you rock out towards the end of the song! Each oscillator can access up to four filters (two filters each with four modes and four routings), two amps, five LFOs, and five EGs, all available simultaneously. All this gives you so much power, that it makes you want to cry with joy!

But wait! You thought THAT made you powerful? Ha! That’s what you come to expect if you haven’t dealt with KORG products before. There’s more – KORG has a mode called COMBI mode. Basically what Combi mode allows you to do is to combine upto 16 different Programs, and have them interact with each other in ways that will have you shaking with eargasms! Combi lets you multiply the power of the Program by 16. So just to summarise, let’s see what that lets you do: If you have the technical ability to play at different softness/hardness, you can trigger up to 127 different sounds just on how hard you play! And I haven’t even mentioned that in Combi mode you split up sounds across the keyboard, so that the lower part sounds like the intro bell from ‘High Hopes’ and the top part sounds like the piano parts! I even programmed my own Combi to sound like all the keyboards (about 4-5 keyboards) from the intro of ‘Shine On You Crazy Diamond’! You could probably pull off a very, very authentic sounding Pink Floyd/Dream Theater/YES cover with the right degree of know-how to navigate and program this beast. And that is saying something, considering how legendary those sounds can be.

The onboard sequencer is a little outdated, and feels ancient once you work with DAWs. But again, in the context of a gigging workstation, and a light and easy machine, the sequencer is quite adequate for basic sequencing. The sequencer has a lot of interesting features like the RPPR, which allows you to trigger pre-recorded loops with just one single key-press. So for those people who like to play with loops, Abelton Live users and DJ-type stuff, this is pretty cool. Here again, it can get as deep as your creativity takes you.

Moving to the sound processing, the M50 boasts an amazing DSP engine! You can have up to eight-effects chained together to get that perfect sound. 8-effects is a lot more than the competition offers on their flagship workstations. The effects section is filled with all the right kinds of effects that one might need and all the effects parameters can be controlled using the knobs or the foot-controllers. All this technical talk just tells you how deep one can go into editing each sound. With effects sections, LFO’s and DMod etc., your ability to express yourself becomes much easier.

About the sounds, well they are just as amazing as the specs. The pads are lush and beautiful. They move and evolve in spectacular ways. The brass sounds are simply phenomenal! You have everything from brass slides to drops, so you can play those big-band numbers with ease. The presets for acoustic guitars, the pianos and flutes aren’t as nice as say, the presets on the ‘Motif of the Fantom‘, but that is an unfair comparison. The M50 pianos/E.P.s are known to be a little thin. But again, you have to understand that unless you’re an audiophile, you will hardly notice that these sounds aren’t as good as the competition. I’m only talking about the presets though, so if you’re ready do some tweaking, they do sound quite nice. So for semi-pros, it’s just amazing. And even in studio, unless you’re a pro and you have access to better equipment, this does an amazing job. The power of the KORGs lie in their synth, sounds which I think, blow the competitors out of the water, even on their flagship workstations! The synth sounds are simply magnificent! Leads and Pads are the most common uses of synth sounds, and they are unbelievable. All the synth presets are so good, that you hardly have to edit them. I rarely have to edit presets, but when I do, I know that I have everything I could possibly want to get that perfect sound.

Overall, I have only two complaints about this machine. One, that there is no after-touch and two, no MIDI-Thru. These are pretty standard requirements for gigging musicians. I don’t know how KORG over-looked them. If they had put these two features in, even with a slight hike in price, I think the M50 could have been the staple on-stage keyboard for everybody. BUT, they didn’t and it’s not. That’s alright though, I’m just being picky.

Even after all of this, there many, many things about the M50 that I haven’t even touched! But I blame that on KORG. They packed it with such a plethora of features that it’s hard to talk about all of them.  I think I’ve done justice to the bare-bones functionality of the M50 though. This is such an amazing piece of hardware that it takes ages to describe what it does! Overall I feel that KORG have really hit the nail on the head with this one. It caters to the gigging musicians who want pro sounds on stage without having to invest in heavy workstations that have such a lot of fluff that it makes them bulky and hard to carry around. But it works equally well in the studio with its in-depth editing control.

The M50 is part of my current rig on stage with Bourbon Street. I’ve expanded it with all the possible controllers: Sustain Pedal, Foot-Switch and a Pedal. This lets me push my M50 to the limit. It has done wonders for me off-stage as well. I take it to all my recordings. I’ve even used it in a single that I co-produced. It’s that good!

Writing this review has got me missing my M50. I think I’ll go jam for a while!

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Bharath Kumar

Bharath Kumar, besides being a full-time geek, is a keyboard player and music producer. He runs his own studio, Minim Sound Labs www.minimsoundlabs.com, and is an active volunteer in various charities.


Breathe – The Sound of Floyd, at UB City Bangalore





Pink Floyd. The legends. The stories. The visions and the colors. The imagery and form. The words and The void. The mellow warmth and the choral highs. The dystopian landscape and the virtuosic inflection. Pink Floyd.

Who among us has never felt or experienced the Floydian point of view especially down in the city of rock (or pubs), Bengaluru! In case you thought there was nothing more, Breathe – The Sound of Floyd, decided their gig in Bangalore last year was worth revisiting, and hence the Floyd Tribute concert at UB city on Saturday 26th February was proclaimed! Now, I personally have been listening to Floyd even before I knew to shave, and have been privileged enough to have watched a Roger Waters Concert in Mumbai. So forgive me for looking down my high horse atop a pedestal.

We arrived at the luxuriant UB City parking lot at 6:30 that Saturday evening, made our way up top to the amphitheater arena and squeezed into the Q – which by now resembled a S, and we whiled away some time trading heavy concert stories, or at least whatever we could… umm recall. The entry into the venue was flanked by Ducati stalls, which seemed to gather all the incoming attention and passed it on to the adjacent stall stocking KF beer. The arena was simply amazing, the amphitheater sinks from the restaurant level into one corner of the UB City building offering the audience a spectacular view of the city and offering a nice contrast to the glass facade of nearby sky-rises. The ubiquitous floating pig was keeping watch above us while the makeshift ‘eye’ trussed at the rear of the performing stage, fitted with four moving-head projectors trying their best to throw out psychedelic-ness. Because we were late, we could only manage bad outlying seats on the semi circular seating area, which I estimate could seat 1300. People kept pouring in, and the adventurous ones would tip toe around to look for precious squatting space (Really? You’re holding a spot for three friends with that cap?)

The show kicked off eventually with Wolfpack playing some popular tunes. I could only recognise U2 but I swear the other tracks were popular too! The frontman Rajeev was holding on to the by-now 1500 strong crowd. My suspicions of the FOH system were slowly coming true. Probably not the best choice of speaker cabinets for the venue, but the sunken level of the stage directed the small stack to within the first six or seven rows only; with speech intelligibility dropping exponentially thereon. Most of Rajeev’s quips and gags were lost on us and the harmonic richness of the music output was clearly absent if you were standing on any one of the higher rows or even worse, saw the crowd below and decided to stay up near the advertising stalls.

I decided to run up for a beer and right then the boys got on stage and threw everyone into a frenzy. Standard tracks like ‘Another Brick in the Wall Pt 2′ were just the thing to warm up the crowd. The guys were super-talented and really, really tight on stage. Chris Barnes (vocals + guitar) displayed stellar singing, awesome chops on the occasional solo and was lively and chatty between songs. Peter Worley (bass + vocals) – No nonsense here, the man keeps the lines simple and the groove tight. Joel Anderson (keyboard) pulled off all the organ licks and spacey pads just like the late great Rick Wright. Andy Fenton (lead guitar+pedal steel) has put in his work in going for the Gilmour tone. Being the seasoned artiste he is, he most definitely has the feel and soul we all love in a good Floyd solo. Dave Gee (drums) – probably the most experienced in the band; had the style and the space; perfect flams and rolls – but was criminally made to play on a very poorly mic’ed drum kit.

After some initial buzz, they hit the ‘Dark Side of the Moon‘ albeit minus ‘Great Gig in the Sky’, obviously due to the scat vocal necessity. Next , (in my opinion the highlight of the evening) was a track you would never ever have heard a band cover live. A song that Pink Floyd originally spent 6 months working on and tentatively titled ‘Return of the Son of Nothing’, a song that would be a forerunner to the great DSOTM album. A track called ‘Echoes‘. Complete with immaculate vocal harmony , the ethereal undertones and that psychedelic instrumental spot with whining-squealing-guitar-whammy- sounds-spaceytrippy-madness dealt out copiously. ‘Sheep’ from the Animals album was next followed by ‘Sorrow’. The  eye in the rear was faithfully reproducing some classic PF imagery and visuals blending lasers and color, crescendoing into some fireworks for the grandiose ‘Shine on You Crazy Diamond‘. The audience participation was absolute with the whole crowd joining in with the lyrics spot-on perfect. Tracks towards the fag end of the show ran through ‘Run run run’ and ‘Coming Back to Life’. The finale spots were reserved for the all important ‘Wish you were here’ and an encore with Rajeev for ‘Comfortably Numb’, with a thunderous guitar solo to drop curtains on the concert.

All in all, the show could have been managed a little better, with tighter security to keep jokers from running across the stage to grab a quick photograph with the guitarist after a terrific song. The sound was ill-suited to the venue and the desired sound effects typical of Pink Floyd music – so maybe a line array could have proved a better option. The lighting and lasers, did everything possible, but still ended up disappointing. Perhaps this was truly a tribute concert in these logistical aspects, but there’s no doubting or denying the fact that the band truly brought the heavens down on UB city and everyone who was there, experiencing a show that was worthy of the real thing.

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Fidel Dsouza

Fidel Dsouza is a Journalist/Editor at WTS