#Jefferson Friedman

[16strings]

Jefferson Friedman: String Quartet no. 3 performed by the Chiara String Quartet

[onenakedfarmer]

Currently Playing

John Corigliano STRING QUARTET SNAPSHOT: CIRCA 1909 A BLACK NOVEMBER TURKEY

Jefferson Friedman STRING QUARTET NO. 2

Corigliano Quartet

[autisticmiqote]

doing a reading for class going damn okay. those capitalists arent gonna fuck you though.

[inevitably-johnlocked]

"What's between you and I

Just a comfortable lie

I'm the fool who believes

When you look in my eyes~" -lyrics from Stolas Sings

Whenever I hear these lyrics, Johnlock comes to mind ._. for some reason. (*coughs*pinning Sherlock*coughs*)

[Intro] Owl in a cage You show your age Your sweetness has run foul Without a change You're lost, exhausted By your time On stage Then you walked in my room And like sparks in the dark Life was suddenly thrilling and new What’s between you and I Just a comfortable lie I’m the fool who believes when You look in my eyes Prince, all alone Upon your throne Your power is so frail You raise your voice You have no choice Inside your gilded jail [Outro] (Lyrics from Smule)

Hey Nonny!

Ahh, I love these lyrics for them for sure! Thank you so much for adding this one to the playlist, love it!

🎶 LISTEN TO THE JOHNLOCK PLAYLIST ON [SPOTIFY] & [YOUTUBE] 🎶

[warblogs17282]

Helluva boss Sinsmas songs are now on YouTube and Spotify, and potential uploads of more/every helluva boss song on Spotify.

First off, the songs used in the Sinsmas episode have been officially uploaded to YouTube and Spotify (Except 'I will be okay'):

The helluva boss twitter account also posted the high quality album art of each of the songs as well, if you're an .mp3 enjoyer like me:

But with that out of the way, let's discuss the second part of the title.

I believe that we're going to see most of if not all of the helluva boss discography on Spotify and the other official channels as well, for two main reasons.

The first being this tweet from Sam Haft, while I will admit I might be coming to the wrong conclusion here, I highly suspect that 'you know what that means!' means that they're planning to officially upload more of helluva boss' discography in the near future, and there's one more piece of evidence that also potentially points to this as well.

Notice anything interesting in the credit listings underneath the single name, and the song names? That's right, Helluva Boss itself is credited as well as the actual composers and such.

What I find interesting about this is that it appears that the official helluva boss Spotify account was made specifically for this release, implying that the official account was created recently, which suggests to me that the team is finally in a place where they can actually start officially uploading the discography of helluva boss onto streaming platforms like Spotify.

There's something else I want to bring up as well, mainly the fact that there are a few official videos for helluva boss songs on Vivziepop's channel, although specifically for s2 e7 and s2 e6. (Just look my way doesn't count for this considering that one is not in an episode at all.)

With the only common thread between all of them being Fizzarolli, and quite frankly idk if I can draw anything from that connection.

Looking at Jefferson's Friedman topic channel gives us a few pieces of music used within the show, also with actual proper album art covers, which to me suggests that every piece of music and song used within helluva boss so far has an actual album cover associated with it already, but due to whatever is going on internally, they cannot release said album cover art yet, as they have no reason to do so without a release on streaming services like Spotify or on the composer's topic page on YouTube.

With this being another thing that appears to suggest to me that the team is getting ready to start releasing most of helluva boss' discography officially, on their YouTube channel and on streaming services like Spotify, with proper album cover art to boot.

You may be thinking, 'but wait, there's the When I see him BTS on the channel, doesn't that blow a giant hole in what you're saying here?' and my answer to that is no, absolutely nowhere does it claim to be an official video for the song, so therefore, I do not consider the video giving us an insight into the recording of these songs to be an official video for the song specifically.

[chaifootsteps]

stans comparing HH and SU songs is so embarrassing. Despite my issues with both shows I still like them but SU has way better songs/bg music than HH. Rebecca is an amazing composer (I’ll ever forgive or forget viv trash talking Rebecca’s songwriting. It was on an old stream but she gave sugar shit for writing music with ukeleles especially musicals but honestly just sounded like she was seething hard) “everything stay” “love like you” and “I remember you” “giant woman” the speak for themselves. Another thing about SU is it had amazing soundtrack with instrumentals, it had tone/atmosphere. It made the world of Steven have a vibe and could set the tone and tell a story with music alone.

Also I know goose and Evan did the score for HH but honestly nothing stood out which is weird because digital circus has a great soundtrack it has those old rpg Nintendo game sound which is such a vibe and again makes digital world unknown but theres more things out there we want to know. “You’re new home” is so fucking good. monkey wrench also has a great soundtrack that’s really highlighted in episode 3, it sets a sombre, melancholic tone throughout the episode and it’s a pretty damn heartbreaking episode.

With HH its not really a good score there no tone/mood just a lot of sound effects and the eres no build up or proper setting to musicals. I know songs are good but they feel empty? Cheap? It’s confusing. Either goose and Evan were told to just write whatever while most of the focus and highlights were the songs but bg music can really make a show. HH has none of that. HB has good bg music I hate stolas but his theme “stolas speaks” “robo fizz show” are pretty good and they were made by Jefferson Friedman who does the music for the Harley Quinn show. Score just set ups tone in a narrative story telling way that better than just having characters singing, but that’s just me. Respectless is pretty good even if the lyrics are really annoying, I think people stopped saying hashtag and swipe left a long time ago, just makes velvet sound like a boomer

Viv can seethe all she likes, nothing she's ever written is ever matching Rebecca Sugar's songwriting for craft, storytelling, and sheer heart.

[cliothedaydreamer]

⊱ ─ CLIO’S FANART

" Prince, all alone Upon your throne Your power is so frail You raise your voice You have no choice Inside your gilded jail "

> Owl in a Cage, Sam Haft and Jefferson Friedman

[the-pherenike]

Helluva Stimboard - Stolas 🦉🌙

Made with Canva ✂️

Feel free to use it but please, credit me. Thank you!

[dieletztepanzerhexe]

Sculpture to Be Seen From Mars, 1947

A ten-mile-long earthwork depicting an abstract human face, Noguchi’s Sculpture to Be Seen From Mars was, as the artist himself once put it, “a requiem for all of us who live with the atomic bomb” and alternatively “a flight of the imagination.” Prompted by the World War II atomic bombings of Hiroshima and Nagasaki, which horrified Noguchi—“he often spoke of his fear of atomic annihilation,” Hayden Herrera writes in Listening to Stone—he began thinking about end-of-mankind scenarios. “It was in 1945, wasn’t it, when we dropped the atomic bomb?” Noguchi once reflected. “All of us were concerned about our place on earth, and that it might be rather precarious.”

For Noguchi, the monumental work was intended to be “an eternal reminder to the rest of the solar system that the planet earth, seemingly bent on self-destruction, once had its civilizations,” writes Friedman in the Imaginary Landscapes catalogue, hailing it as the artist’s “most impressive memorial to the futility of war.” The work, as Friedman points out, was also Noguchi’s way of showing his respect and reverence for ancient and indigenous monumental forms, such as the pre-Columbian geometric earthworks in the Andes. “‘Earth sculpture’ is nothing new,” Noguchi said. “It’s just a new name for an old thing.”

The earthwork also connected to Noguchi’s ongoing interest in outer space and the cosmos. When the art critic Lucy Lippard asked Noguchi to use a photograph of the project in her 1983 book Overlay, paralleling contemporary art with prehistoric sites and symbols, Noguchi replied, “I recently saw a reproduction of a face which was found in the landscape of Mars taken by the Viking Satellite. I think it would be very appropriate to show this version along with mine. I have written to the Mars Research Laboratory asking for this image and will send it to you if you are interested.” The connection of rocks across the universe was not lost on the artist. “Ultimately,” Noguchi told Calvin Tomkins in The New Yorker in 1980, “I like to think that when you get to the furthest point of technology, when you get to outer space, what do you find to bring back? Rocks!”

An incredibly moving, visionary concept that, as Friedman notes, in many ways preceded the land art and conceptual art movements that would emerge and flourish in the second half of the twentieth century, Noguchi’s memorial to mankind was intended for “some desert, some unwanted area.” It was, as the artist put it, “a sculpture just to be seen from the air so that, when you come to a landing, you will see the sculpture there.” That Noguchi was concurrently working on the Jefferson National Expansion Memorial suggests he was balancing both a belief in America’s future technological prospects and an acknowledgment of the bleak potential for mankind to destroy the planet and itself. Sculpture to Be Seen From Mars is today only memorialized in a single photograph of a model Noguchi had formed out of sand.

[casterhex]

drop a playlist pleeeeeaaase i need music to get into

just for you ill grab a few of songs ive enjoyed recently & share them right here

get up and go – teen idles

blackout – S.O.A.

liars beware – richard hell and the voidoids

leidenschaft – ZWE1HÄNDER

the ballad of you & me & pooneil – jefferson airplane

ariel – dean friedman

and pretty much the entire "dissent" album by christ vs warhol

[harleenquinn-isley]

Goodbye, dear Frank, you were one of the best characters and a wonderful friend. I hope you will quickly come back to life thanks to the power of greenery…

[smolcinnamonchipmunk]

The music doesn't quite reach all the way until the end, but I didn't feel like fiddling with the file anymore than I had to

(Stolas Speaks - Jefferson Friedman (Chroma9 Waltz Rendition)

Romantic Battle - Yuki Kajiura)

[bloody-gravez]

Nothing like listening to these on loop on the way to school bc ur sad!!

[beardedmrbean]

Lizzo has lodged her first legal response to the lawsuit brought by three of her former dancers.

In August they claimed they had been subjected to sexual harassment and a hostile work environment while on tour with the US singer, which she denies.

The star and her Big Grrrl Big Touring company are requesting that the court dismiss the case with prejudice, meaning that it cannot be refiled.

If they do not, the dancers are requesting a jury trial.

What are the claims?

Arianna Davis, Crystal Williams and Noelle Rodriguez accused Lizzo - real name Melissa Jefferson - and her touring company of several allegations in the original complaint filed in a Los Angeles court.

These include claims that Lizzo pressured them to attend a sex show in Amsterdam and interact with the nude performers, and that dance team captain Shirlene Quigley repeatedly engaged in behaviour that made them feel uncomfortable.

They also accuse Lizzo of fat shaming, saying the Brit Award and Grammy-winner "called attention" to a dancer's weight gain following a performance; and that employees of the touring company singled out black dancers by accusing them of "being lazy, unprofessional and having bad attitudes".

It is also claimed that Lizzo denied dancers bathroom breaks during an "excruciating re-audition".

In the immediate aftermath of the claims, Lizzo took to social media allegations to say they were as "unbelievable as they sound and too outrageous to not be addressed."

She added that "sensationalised stories" were "coming from former employees who have already publicly admitted they were told their behaviour on tour was inappropriate and unprofessional", something the dancers deny.

Lizzo's dance team Big Grrrls later released a statement in support of the singer, saying they "had the time of our lives" on tour.

What are Lizzo's lawyers now saying?

Now, in a 31-point rebuttal, lodged on Wednesday, Lizzo's legal team said:

The dancers who filed the complaint "ratified, acquiesced, condoned, and/or approved of the acts" they were now complaining about.

Lizzo's alleged conduct "was undertaken in good faith and with good cause" and "undertaken for legitimate reasons reasonably related to one or more lawful business purposes".

If the dancers were harmed as alleged, they "contributed, in whole or in part," to that harm.

The dancers' claims relate to Lizzo's rights of free speech and/or religion and are therefore barred.

The dancers claims of discrimination or retaliation should be barred because any employment decisions were made "for legitimate, non-discriminatory, non-pretextual reasons", and that Lizzo and the other defendants "acted out of business necessity".

The dancers "have failed to plead and cannot establish facts sufficient to support allegations of malice, oppression or fraud".

Lizzo's spokesperson, Stefan Friedman, said in a statement that this was "the first step" of a legal process in which the star and her team "will demonstrate that they have always practised what they've preached - whether it comes to promoting body positivity, leading a safe and supportive workplace or protecting individuals from any kind of harassment."

He continued: "Any and all claims to the contrary are ridiculous, and we look forward to proving so in a court of law."

In response, the dancers' lawyer, Neama Rahmani said Lizzo's team's answer "merely consists of boilerplate objections that have nothing to do with the case".

"That said, the key takeaway is that Lizzo is agreeing to our clients' demand for a jury trial," he added.

"We look forward to presenting our case in court and letting a panel of her peers decide who is telling the truth, Lizzo and her team, who continue to shame the victims or the plaintiffs and so many others who have come forward sharing similar stories of abuse and harassment."

Lizzo sued again over bullying and harassment

Lawyers review further allegations against Lizzo

Lizzo says dancers' harassment claims are 'false'

Lizzo dancer claims others are scared to speak

Earlier this month, Lizzo was sued for the second time this year by a former employee who claimed she oversaw an "unsafe, sexually charged workplace culture".

Fashion designer Asha Daniels accused the star's wardrobe manager of making "racist and fatphobic" comments and mocking black women in the entourage.

Lizzo was named as a defendant in the lawsuit, but was not directly accused of harassment.

A spokesperson for the star called the case an "absurd publicity stunt".

[tankthrust-bored]

Him. My favorite gay owl ever. Btw, i've seen the full moon tonight.... 🌕

I love when he 🙃

[ear-worthy]

Season 2 Premiere Of "The Deal with ARod & Jason Kelly" & Two New Shows On The Rich Eisen Network

Sports has been a growth engine for podcasting, especially women's sports shows. Today, we have two news items that may not shock the sports world, but are significant for sports podcasting. First, any time Billie Jean King is on any media source, she's worth our undivided attention. Second, Rich Eisen is one of the good sports announcers, who doesn't fish for ratings by screaming incendiary comments like so many others. He's growing his network with a show about basketball and one about wrestling.

 ************************************************ The Season 2 Premiere of Bloomberg’s video podcast The Deal, hosted by Alex Rodriguez and Jason Kelly, is available

In the latest episode of the show, Rodriguez and Kelly sit with tennis champions Billie Jean King and Ilana Kloss to discuss the current buzz around women’s sports. King and Kloss, the dreamer and builder (respectively) behind Billie Jean King Enterprises, King says, tell the hosts about their investments in the Los Angeles Dodgers and Angel City FC, the story behind how they helped launch the Professional Women's Hockey League and the lessons they think athletes should learn about the business of sports.

CLIPS:

King says she’s always wanted the men’s and women’s professional tennis circuits to unify, saying, “We should be for each other. I don’t care what gender you are.”

While discussing why it’s important for athletes to talk to each other about business opportunities, King shares the toll her off the court work took on her during ‘70s and says, “I was exhausted. I averaged 4 hours of sleep a night. And I’m playing by the way.”

Listen to the full podcast episode HERE.

See HERE for a link to Jason Kelly’s article about the interview with King and Kloss and how athletes can win off the court.

The Deal brings together A-Rod Corp CEO and owner of the Minnesota Timberwolves and Lynx, Alex Rodriguez, and Bloomberg’s veteran business journalist, Jason Kelly to explore the stories behind the biggest deals across industries.

Upcoming guests this season include David Rubenstein, Adena Friedman, Marc Lasry, Ted Leonsis and more. Watch the trailer for the series HERE and catch up on previous episodes HERE, with guests including Maria Sharapova, Michael Strahan, Derek Jeter, Serena Williams and more. ********************************************** Two New Shows On The Rich Eisen Podcast Network

Cumulus Media has announced two new podcasts from the Rich Eisen Podcast Network, the fourth and fifth shows in Marconi-winning and Emmy-nominated host Rich Eisen’s expanding network of sports programs for the Cumulus Podcast Network.

Eisen is tag-teaming with actor O’Shea Jackson, Jr. to bring the new weekly original podcast, No-Contest Wrestling, to the Rich Eisen Podcast Network. Together with co-host TJ Jefferson, No-Contest Wrestling’s first episode dropped on October 2 and featured WWE Superstar, CM Punk. With new shows airing weekly, No-Contest Wrestling combines Jackson’s and Jefferson’s unique takes on sports entertainment by interviewing the biggest stars, going behind the scenes with untold stories from the world of wrestling while covering the past, present, and future of WWE, AEW, and independent promotions.

Do they know it's all fake? I won't say anything if you won't. Jackson is best known for his starring roles in “Straight Outta Compton,” “Godzilla: King of the Monsters,” “Den of Thieves,” and “Cocaine Bear.” Jefferson can be seen daily on The Rich Eisen Show, where he doubles as an on-air producer and talent for the Emmy-nominated sports and entertainment talk show. The Rich Eisen Podcast Network also debuted The Jim Jackson Show, an all-new weekly podcast hosted by two-time All-American and 14-year NBA veteran Jim Jackson, that released on October 3 with guest Charles Barkley. The Jim Jackson Show will cover the sport he loves from the college game to the highest levels of the Association, sitting down with superstar guests and sharing his experience in finance, business, lifestyle, travel, and more. As a studio and game analyst for FOX Sports, Turner Sports, NBA TV, and Westwood One, Jackson has on-court perspective and access to the game's biggest names. "I've been in a constant search for new, fresh, thought-provoking, and entertaining voices to add to our growing podcast business, and I'm thrilled to add both O'Shea Jackson, Jr. and Jim Jackson to the roster," said Rich Eisen, owner and CEO of Rich Eisen Productions. "We've doubled our number of podcasts. And Jacksons." No-Contest Wresting and The Jim Jackson Show are available on most major podcast platforms. The Cumulus Podcast Network distributes, markets, and monetizes all existing and forthcoming podcasts from the Rich Eisen Podcast network.

The Rich Eisen Podcast network also includes the flagship podcast, The Rich Eisen Show, which blends sports, pop culture, humor, and interviews, discussing topical issues not commonly addressed by sportscasters; Overreaction Monday, which expands the most popular segment of the flagship podcast into its own weekly podcast with Eisen and co-host Chris Brockman reflecting on the biggest fan- and hysterical media-driven overreactions from the previous weekend’s professional and college football games; and What The Football with Suzy Shuster and Amy Trask, a unique blend of witty banter, offbeat conversations, and expert sports commentary hosted by Emmy Award-winning broadcaster Suzy Shuster alongside the first female CEO in the NFL, Amy Trask.  Eisen also hosts the pregame and halftime shows for Westwood One’s syndicated Monday Night Football coverage and anchors “The Rich Eisen Show,” also syndicated by Westwood One for national radio.