#Noah Mintz

[senorboombastic]

This One Song… Dermabrasion on Goblin Dance

Tell you what – we love hearing from artists when things go right. We equally love hearing from artists when things go dreadfully wrong. A song that was a piece of piss, written in 20 minutes? Or years in the making and a bastard to write? Whether it’s a song that came together through great duress or one that was smashed out in a short amount of time, we’re getting the lowdown from some of our…

[burlveneer-music]

Oiro Pena - Puna - spiritual jazz from Finland, new album out today

Oiro Pena is a Finnish jazz collective helmed by prolific composer Antti Vauhkonen. Their forthcoming album, Puna, recorded in bedrooms, studios and other salubrious locations around Helsinki during 2022, is a mix of lo-fi spiritual jazz, experimental, and avant-garde music forms. It includes four vocal tracks recorded with Merikukka Kiviharju, which feature both original lyrics and those sourced from traditional Finnish folk songs. Vauhkonen first attracted attention as saxophonist in the group Soft Power. He then launched Oiro Pena as solo multi-instrumentalist with two self-titled, astral, outsider jazz 10” EPs, released by Ultraääni in 2019, limited to 200 copies, since repressed three times and seriously in demand. With a background in electronic music, Vauhkonen explains his transition into avant-garde / spiritual jazz: "It came from Krautrock first, I started listening to Can, and searched through all the psychedelic German rock bands. There was a lot of jazzier elements there, horns and saxophones, I think it came from there, and then I found Miles Davis and John Coltrane (and) started listening to the early Sun Ra material." Puna features the interplay of vocalist Merikukka Kiviharju (Fat Chance, Jazzgangsters) on tracks 'Puna', Kaiju Kaiija', 'Kuinka Kukaan' and 'Calamity Caravan', matching with the intensity of Johannes Sarjasto’s saxophone, and Staffan Södergård’s piano. The album, like previous releases is built around Vauhkonen’s propulsive drumming and Philip Holm’s upright bass that provides the band with its forward momentum. Johannes Sarjasto’s flute, so much a part of previous Oiro Pena group recordings, also features on this release.  Antti Vauhkonen: Drums Johannes Sarjasto: Saxophone, Flute Philip Holm: Double Bass Staffan ''Wolf'' Södergård: Piano Merikukka Kiviharju: Vocals Mastered By: Noah Mintz at Lacquer Channel Mastering in Toronto. Artwork: Riina Tanskanen Layout: Steve Lewin

[sanatik-aga]

Working with Disney

For today’s assignment I had to pick two people who worked with Walt Disney and write about them, and so today I chose Walter Lantz and Xavier (X) Atencio. So let’s begin!).

Walter Lantz was born on April 27, 1900 in New Rochelle, New York. He started his animation career at sixteen years old working for William Randolph Hearst at “New York American, William Randolph Hearst’s”, newspaper company that wanted to create cartoons from popular Comics strips. He was just simple office boy where he had to wash brushes for Winsor McCay. Since then company was closed and he moved to Universal Studios as a gag writer for Oswald the Lucky Rabbit in 1927 and then in 1935 he was put in charge as a producer for the show. He distributed for the show many good things such as introducing new characters for the series including Andy panda and audience favorite Woody Woodpecker

He’s studio worked on shorter projects longer than any other studio before while they all increased their duration to grab viewers attention as long as possible. But in 1972 he had to stop due to shrinking revenues. In 1979 he received special Oscar for his special achievements and in 1994 he passed away.

He never actually worked for Disney, but rather for his opponents Universal Studio. But he was in friendly terms with Disney since both of them were in the association, the Animated Cartoon Association made of Leon Schlesinger of Warner Bros, Fred Quimby of MGM and Walt Disney. They were always cooperating and he said that in was very friendly group, for some people hearing that is something they would never believe in because everyone would rather imagine cutthroat type of relationship between big companies. But Walter Lantz said that he was in touch with Disney, if one of his employees thought about going to Disney instead, he would call Disney himself and tell about his employ that wants to work for him, Disney will ask how much Salter paying him, he would answer and then Disney would say that he won’t pay him more than Lantz already does.

I’m glad than I picked Walter Lantz for my blog because reading his interview with Don Peri definitely made me smile, this guy is very wholesome and nice guy. I picked him because I thought that his name is funny since Lantz part reminds me of name Lancelot. And I was even amazed when I found that he got an Oscar because back then really talented people were getting Oscar, and looking at his achievements, I can say that this man is really talented and hardworking man.

Second man that I want to talk about is Xavier (X) Atencio

So, Xavier Atencio was born on September 4,1919 in Walsenburg, Colorado. At the age of 18 he moved to Los Angeles as a student of Chouinard Art Institute and year later he began his career in Walt Disney Studio as an inbetweener on Pinocchio. Then he became assistant to Wolfgang Reitherman on Fantasia and Dumbo. After that he was in rolled into U.S. Army for WW2. After the war he returned to Disney and worked on small projects like Toot, Whistle and so on. His big projects he worked on were Jack and Old Mac in 1956 and then Noah’s Ark in 1959.

In 1962 he worked on A Symposium on Popular Songs as an instrumental in creating along side with Bill Justice. This duet also created the Special effects for Mary Poppins where the nursery magically tied up. Xavier shortly moved to WED in 1956 and worked on attractions there. His notable works are lyrics for Yo Ho for the Pirates of the Caribbean and Grim Grinning Ghost for Hunted Mansion. After his Retirement in 1984 he was labeled as a Disney Legend in 1996.

In his interview with Don Peri he was asked how did happened that he went to work for Disney.

He said that before that he was unrolled into Charles Mintz Studio because his uncle was a worker there. But he didn’t have enough experience with animations so they sent him to Chouinard Institute which had a preanimation. After the graduation his professors were collecting portfolio for Disney. At first he rejected offer, because he was committed for Mintz at first. But after the while he gave a shot and then they accepted him.

So, my thoughts on this man that he was pretty much an essential figure in Disney. If he wasn’t there I guess we can’t tell for sure how some works would turned out.

That’s it for now, thank you for your attention.

[theloniousbach]

GETTING BACK TO THE SMALL’S LIVE ARCHIVE

VIRGINIA MAYHEW with Waldron Mahdi Ricks, Noah Bless, Lisa Parrott, Roberta Piket, Harvie S, and Billy Mintz, SMALL’S JAZZ CLUB, 26 JULY 2024, 9 pm set

KYLE NASSER and SIMONA PREMAZZI with Massimo Biolcati and Jimmy Macbride, SMALL’S JAZZ CLUB, 27 JULY 2024, 7:30 pm set

MIKI YAMANAKA with Tyrone Allen and Jimmy Macbride, MEZZROW’S, 31 JULY 2024, 10:30 pm set

Over the past couple of weeks, I preferred to watch and listen to Lake Superior out my window rather than jazz, particularly since sunsets typically came early in the 9 pm set. But, these shows did catch my eye as chance to give some deserving musicians another look.

I had previously seen VIRGINIA MAYHEW in a quartet or quintet setting with this same rhythm section, Alan Broadbent’s with Roberta Piket, married to drummer Billy Mintz, at the piano. That afforded her plenty of space to solo and show her improvisational chops. Here she had a mini-big band with trumpet, trombone, and baritone sax to showcase her compositions and arranging. She’s a fine enough soloist with a full tone and robust approach, but she didn’t dominate the solo space which afforded proper space for Waldron Mahdi Rick’s nimble, thoughtful trumpet work and Noah Bless’ solid trombone. I don’t have a nuanced ear for that instrument, but their presence adds to most gigs. Lisa Parrott mostly had section work like George Barrow on Blues and the Abstract Truth, but she got a couple of solos too. Piket, Harvie S, and Billy Mintz had a cohesion that amplified their significant contributions. Piket soloed strong and seemed inside the tunes, but Harvie S too made himself heard in the big room with the big band. I shouldn’t be surprised that Mintz can simultaneously drive a septet and do it with subtlety. It’s not minimalist in the same way as with Broadbent but it has nuance.

Still it was Mayhew’s gig and her tunes were catchy, though there was one by a Mike Oliver (?) for her grandmother, also named Virginia, which was quite lush and seemed to be a composed through piece and they played a Mintz tune in honor of Piket. But Apples Flambé, Amy’s Cha Cha Cha, A Hundred Kisses for Herschel, and One for Sonny (Rollins) evoked big bands, Jazz Messengers flavored hard bop, bebop, and a very nice calypso on the one for Rollins.

SIMONA PREMAZZI and KYLE NASSER too had tunes at the forefront as they each composed tunes worth considering. Hers are quirky rhythmically which gave Jimmy Macbride nice things to do, though I was struck at just how melodic, tuneful his drumming is. She also homes in on the groove of the tune while taking into account the complex spikiness both of them rely on. Nasser has a drier, sparer tone—on the John Ellis/Mark Turner end of the spectrum. They’re an interesting band that I don’t seem to miss, though I can’t call them “can’t miss.” I most noticed Nasser’s litheness and melodicism, but I think Premazzi is the more unique player. That said, I like her work with Nasser and as a leader than the time I saw her as a side woman.

MIKI YAMANAKA is, by now, can’t miss. She got to play Mezzrow’s rather than Small’s and really liked it and the piano. She plays with fire, taste, and respect for the traditions. She played tunes by George Cables (distinctive, sort of, in that I didn’t guess Cables but thought Walton, Silver, or Tyner), Mary Lou Williams, the deep Thelonious Monk cut Ugly Beauty, a Patrice Rushen number, and Tea for Two. She has power and drive, but she knows when/how to use it. Getting to hear Macbride back to back helped me see, in the varying contexts, his musical approach. With Yamanaka, they are a nicely complementary package. That is, good as she is, he makes her even better.

I was glad to have the opportunity to look at the lake and sunsets, but music is a release and a meditation too. So that’s what I turn to know.

[maceincognito]

All my main OC’s for my story

Mason ��Mace” McMillan(🪓)

Joise Nevermore(🪶)

Damian Crowder(🦈)

Alex Menendez(👾)

Ruby Savanna(🐉)

Aleister Crowder(👻)

Alinnah “Ali” Belle(🦅)

Julio Quinn(🪄)

Isaiah Thorne(⚡️)

Sophia Rose(🩸🦇)

Justin Holland(🕶️)

Aaliyah Jimenéz(🐍)

Seth Logan(🐺)

Maria Abigail(🗡️)

Issac Martin(🎭)

Violet Addison(🌹)

Amaros Bloodthorne(🕷️)

Dionte “Deon” Westbrook(🚬)

Embla Revna(🐅)

Natalie Brooke(🐈‍⬛)

Wyatt Nash(🦂)

William “Zelter” Edwards(☠️)

Xanthus Vanidestine(🪨)

Ramona Amherst(🪦)

Santana Crimson(🎸)

Javíer Thomás(🎼)

Sadie Hutton(🐰)

Chris Thompson(🦊)

Ashley Larissa(🩺)

Leo Claxton(🌘)

Zane Pearce(☣️)

Stella Thatcher(🏹)

Kai Aoki(💮)

Isabella De Los Santos(🌺)

Atticus Verlice(⚜️)

Arebella Elsher(🛡️)

Aiden Crassus(✨)

Austin Hayes(🦾)

Daisuke Isuma(🥷☄️)

Sakura Suzuki(🦠)

Esmeralda Cassidy(❤️‍🔥)

Itsuki Noaki(🔥)

Saleyah “Sally” McMillan(⚰️)

Archie “Snow” Walker(❄️)

Alice Scarlet(🎮)

Michael Burton(🃏)

Clara Carmichael(🔮)

Colt Jameson(📡)

Enríque Nūnez(🦁)

Aiko Sora(🦋)

Ethan James(🔪)

Alexandra Belov(💧)

Clyde McIntyre(🦡)

Noah Author(🪳)

Estrella Peralta(🐆)

Ember Levine(🏜️)

Draco Bateman(🏮)

Bellatrix Bateman(🐀🎀)

Adrenaline Myskia(🦴🌒

Talon Corbin(🐐🦉)

Blossom Emerson(🐝)

Desmond Langston(🦥)

Skylar Zali(👽)

Dryden Ryker(🔯)

Syrena Isola(🦜🏴‍☠️)

Neptune Cutler(🦑🏴‍☠️)

Elizabeth Mallory(🦌🎪)

Alexa Justice(💞)

LeMarcus Jackson(🐾)

Mae Mintz(🖼️)

Jason Lamb(🛹)

Daichi Yoshida(🪲)

Alejandra López(💐)

Conner Riley(🐇🧨)

Akihito Tanaka(⛩)

Faith Marigold(🪽🐕‍🦺)

Daniela “the cougar” García(💥)

Trey “T-Hill” Hill(⛓️)

Axel Maverick(🧟‍♂️)

Mia Jordan(🕯️)

Katio D’Angelo(⚔️)

Valkyrie Ripley(🐱)

Jalen O’Neal(☢️)

Amaya Burna(🪰)

Zaiden “hacker” Mitchell(🔌)

Mordre Keller(🕸)

Devin Lockwood(🔫)

Fuyuko Honoka(🪭)

Roberto Perdomo-Reyes(🎰)

Delilah Cora(🛍)

Henry Ellis(🧪)

Ava Harper(💀🧁)

Jae Brunson(⚓️)

Katie Holly(🧸)

Jrue Brunson(🪝)

Maybelle Banks(💸)

Carlos De La Curz(🏁)

Adele Harmony(🎻)

Tyrese “Ty” Davis(🧊)

Kayla Lauren(💖)

Nayla Nura(🔅)

Hanzo Matsuki(🀄️)

Nia Sky(🎟️)

Cain Bloodthorne(🌕)

Cassie Cash(📷)

Adonis Ortiz(❗️)

Autumn Ashford(🩻)

Rosaline Thornhill(📖)

Spencer Springer(💦)

Raven Ebony(🐦‍⬛)

Gunner Hawk(🌩️)

Iyo Akria(🌨️)

Juan Escobar(🔔)

Cecilia Ricci(🎷🕊️)

Cherry Desma(🤡)

Olivia Audrey(🩰)

Blake Carter (🌊)

Marcus Simmons(🎤)

[independentartistbuzz]

Dead Levee Debut New Single “Love & Misery”

Dead Levee is a 4-piece old-school, no-nonsense rock band consisting of members Tayler “Izzy” Morgan, Ray Klapatiuk, Rylan “Buck” Dusyk, and Preston Laschuk. Their aggressive, organic, and attitude-driven style harkens back to the high energy rock of the late 60's with the attitude of 90’s rock. 

Playing alongside established bands such as Chilliwack, The Trews, Monster Truck, The Lazys, The Wild!, Econoline Crush and touring coast to coast for hundreds of shows, they are no stranger to the stage. Dead Levee’s worked with renowned producers Garth Richardson (Rage Against The Machine, Nickelback, Alice Cooper), Kevin Dietz (The Glorious Sons, JJ Wilde) and Noah Mintz (Arkelles, Billy Talent, Matt Mays, Death From Above 1979).

On their latest offering “Love & Misery,” the group delivers a polished arena rock sing-along wall of sound that chugs with howling swirling guitars in an ode to a toxic but passionate relationship. 

“In the case of this song, it’s about a relationship where the sex outweighs the obvious toxicity. Even though the peers around you can all see how bad it is, they don't know how good it gets.”

[americanahighways]

Video Premiere: Ken Tizzard and Music For Goats "Pain Free Living"

Ken Tizzard and Music For Goats – “Pain Free Living” Americana Highways is hosting this video premiere of Ken Tizzard’s song “Pain Free Living” from his forthcoming album The Dagg Sessions.  The Dagg Sessions were recorded and mixed by Ken Tizzard and mastered by Noah Mintz. With the passing of their drummer Steve Dagg in March 2023, Ken and the band will be releasing a series of singles later to…

[sosoawayrpg]

Oii gente! Vocês tem sugestões de FC para o Olaf e o Hiccup pls? Ajudem uma desesperada

bom dia meu bem!

temos várias, e se não tiver a gente resolve.

Olaf:

Logan Lerman, Finn Wolfhard, Michael Cera, Jaeden Martell, Hunter Doohan, Bryce Gheisar, Reid Miller, Igby Rigney, Eli Brown, Noah Centineo, Quincy Fouse, Thomas Brodie-Sangster, Franco Masini, Thomas Weatherall, Cole Sprouse, KJ Apa.

Hiccup:

Taron Egerton, Tom Holland, Aria Shahghasemi, Christopher Mintz-Plasse, Graham Rogers, Nick Jonas, Alex Wolff, Ross Lynch, Evan Peters, Rory Culkin, Nico Tortorella, Jack Quaid, Mason Gooding, Dylan Minnette, Brooklyn Beckham.

[robshostak]

Parchment, 2022

An installation of community collected parchment papers exploring the mark made by baking challah bread for Shabbat, leaving an imprint of memory.

Follow @ParchmentProject for more stories and photos behind the parchment prints. 

Challah is often associated with an Ashkenazi egg bread bearing an artfully twisted exterior and a slightly sweet, fluffy interior. But the bread shared at the Shabbat table varies widely from Ethiopian dabo to the slow baked Yemenite kubanah bread to a coiled Sephardic loaf to the pita often enjoyed by artist Rob Shostak’s Syrian-Jewish family. Recently, Shostak took up making the braided loaf weekly. He noticed unusual golden-brown markings left on the parchment paper which revealed the distinctive underbelly of the challah. He set out to gather similar papers to create this installation. Week by week his collection grew as friends and strangers dotingly saved that which is usually discarded. 

Post-bake papers arrived from across Canada and the United States, as well as Israel, England and Germany. Novices and food industry pros, rabbis and artists, Jews and Gentiles, the observant and secular, children and grandparents viewed these accidental prints as snowflakes, finger and footprints, even Rorschach tests. Each sheet is as unique as its baker while retaining a consistency and familiarity akin to the tradition itself, with the oven acting as the serendipitous darkroom “developing” images onto the page. The slow, intentional yet unpredictable manner of assembling these materials mirrors the staggered, capricious nature of making challah. This baking process is, in turn, similar to the adaptability of Jewish life – some push and pull, absorbing local flavours, responding to the surrounding conditions, and experimenting with the ephemeral, essential ingredient of time. 

Rabbi Abraham Joshua Heschel wrote of Jewish ritual as “an architecture of time” calling Sabbaths “our great cathedrals,” rather than grand sacred monuments. In this exhibition, the fleeting way time is marked by the weekly celebration of Shabbat (the seventh day of rest) is made visible in these parchment papers. Shostak explores the impermanence of memory and Shabbat rituals—candles, wine and bread are all consumed—as these flimsy pages become an archive of that which disappeared months ago.

When the pandemic dashed Shostak’s ambitions to host large Friday night gatherings, baking challah became a small gesture to enliven Shabbat dinners for two with his then-new partner. For FENTSTER, this intimate experience expanded into a collective effort during a period marked by separation. The Hebrew word ‘challah’ stems from an ancient Jewish practice that continues today where a portion of dough is set aside as a sacred offering. Participants in Shostak’s project shared with us the significance of setting aside time to bake challah: reclaiming ritual, tasting nostalgia, marking the ebb and flow of the week, connecting to children, parents, partners and friends. Together, this community of bakers set aside their parchment prints—simple offerings with love and legacy baked in. 

- Evelyn Tauben, Curator

Rob Shostak and FENTSTER thanks Lauren Schreiber-Sasaki, Sabrina Malach, Miles Nadal JCC, Shoresh, Museum of Jewish Montreal, bare market, Chris Rouleau, Noah Gano, and all those who graciously and enthusiastically baked for this exhibition: Eliot Alfi, Jacque Altman, Laura Brandes, Kate Campbell, Vincent Chan, Gigi Cukier Sala, Loren Davidson, Sarah Deshaies, Paul Dotey, Natalie Dubovsaja, Ed Elkin, Katie Fotheringham, Allen Flaming, Kate Goetz, Ellen Greenspan, Shawn Hitchins, Dafna Joy, Britt Jursik, Gracy Kahn, Shari Kasman, Kayla Kaye, Donna Koffman, Noe Koffman, Jürgen Krauss, Rachel Lissner, Miriam Margles, Ilana Martinez, Max McQuinn, Corey Mintz, Alon Nashman, Janet Nezon, Josh Nezon, Lida Nosrati, Elena Polyak-Duke, Hannah Schifman, Lauren Schreiber Sasaki, Tyler Shaw, Rob Shostak, Eve-Lynn Stein, Bonnie Stern, Mindy Stricke, Aliya Tafber, Revital Weiss, Natalie Tarek, Evelyn Tauben, Ariana Tugg, Naomi W., Jason Wong, Shirly Wong, Rob Zimmer.

Press What I Wish I Could Go Back in Time to Tell Pandemic Bakers About Bread    – Corey Mintz, TVO Meet Multidisciplinary Artist Rob Shostak    – Kultura Collective The Stories Behind The Parchments    – Niv Magazine The Unexpected Art of Challah    – Hey Alma

[alwaysahiccupandastrid]

Is it bad that I’m praying DreamWorks don’t try to remake the HTTYD movies? Not just because I’m sick of Hollywood live action remakes but also because I just feel it’s perfect as it is and doing a live action of it will be nowhere near as good as the animated movies are.

The storyline of the Dragon movies work better in animation because it allowed the filmmakers to be more creative about showing dragon flights and races as well as dragon behavior

I mean I can’t imagine a live action version of the Toothless/Night Fury mating dance, like it just works as an animation

The reason that the dragons can be both terrifying and cute is because of the animation style - trying to remake them in live action just wouldn’t have that same effect. Some of the dragons communicate with facial expressions as well, and we all know how terrible certain live action remakes have made animal facial expressions look (ie. They’re either TOO human and uncanny or they’re emotionless)

Frankly, I don’t think I could bear to see anyone else play Hiccup or Astrid. Even though they start off as 15 year olds and are voiced by adults throughout, their voices work as they are. I cannot imagine anyone other than Jay Baruchel as Hiccup or America Ferrera as Astrid because they’ve both voiced their characters constantly throughout the movies and the television shows, and they’ve both expressed how much the characters mean to them. Maybe it’s a bit silly on my part but for me, they ARE the characters and anyone else playing their parts would be too much for me. Jay especially because he’s even done a couple of the video games (well, I know he did the first one)

By extension, Christopher Mintz-Plasse has also voiced Fishlegs throughout the shows and movies, and I can’t help but think about Fishlegs whenever I hear his voice. I would also add TJ Miller as Tuffnut because, frankly, he was one of the best voices on the cast and also another one who voiced his character in the TV show (and his improv was fantastic too, he steals the show), but given the whole controversy about him, plus him being replaced in the Hidden World, I’m feeling that’s not as firm a point.

Honestly, I just REALLY do not want to see one of Twitter’s white boys of the month cast as Hiccup. They’ll cast someone like Noah Centipede or Timothee Chalamet whatever their names are and all the fangirls will lose it. That’s NOT Hiccup - the reason we love Hiccup is because he’s a skinny, runt-ish awkward bean of a boy who doesn’t fit in.

The colours of the movies would undoubtedly be dullened down to be more realistic (eg, The Lion King remake) - the locations of the series are bright and colorful and vibrant for good reason.

I can only imagine how they will butcher Astrid if they made a live action remake. They’ll add some bogus plot lines to be more feminist (and trust me, I’m a feminist myself) but it’ll change the plot/relationships. Like they’d probably have Astrid involved in the Red Death battle in the clouds or some shit. Like no, you don’t need to do that - Astrid is awesome and strong as a female character the way she is.

Look, I am all for not offending people and all that, but there’s a limit between “adding diversity/being less offensive” and “let’s be overly Politically Correct to the point where it���s not fun anymore”.

God knows how they would portray Ruffnut, I mean honestly, knowing the way Hollywood is going I wouldn’t shocked if they just cast Jake Paul and Logan Paul as Ruff and Tuff, making Ruff a boy or some shit. Or maybe they’d cast JoJo Siwa or whatever her name is, who even knows at this point.

To be quite honest, I feel that if DreamWorks wants to do more with the How To Train Your Dragon name, they should consider adapting the books into an animated television show. Granted, I know Hiccup would have to be voiced by a kid because he’s 10 in the books, and there’s the issue of how to show Hiccup speaking Dragonese whilst the others don’t understand it (would they speak English for the Dragonese parts and just act like the other humans can’t understand? Or would they actually have them speak actual Dragonese and then have subtitles?). I know that it didn’t work out as a film (the original film plot being much closer to the books) but perhaps as a television show on Netflix or something they could take their time with it. They could adapt like three or four of the books per season.

Better yet, if they did make it into a Netflix show, they could have David Tennant voice the prologue/epilogue parts where Hiccup is an old man and looking back at his life. I think that would be a beautiful way of linking the books and everything together.

But overall, I’m really hoping that DreamWorks doesn’t decide to jump on the live action remake bandwagon like Disney. I’d prefer that they left the movies as they are.

[wecouldstillbegreat]

Pheobe Waller Bridge won Best Actress in a Comedy Series at the Critics Choice Awards. 

So far, Veep has lost every single award it has been nominated for except for the AFI Television Program of the Year (along with Chernobyl, The Crown, Fosse/Verdon, Game of Thrones, Pose, Succession, Unbelievable, Watchmen, When They See Us and a Special Award for Fleabag).

Here are all the awards that are left:

1. Producers Guild Awards (January 18, 2020)

The Danny Thomas Award for Outstanding Producer of Episodic Television

Comedy

●     Barry (Season 2)

Producers: Alec Berg, Bill Hader, Aida Rodgers, Liz Sarnoff, Emily Heller, Julie Camino, Jason Kim

●     Fleabag (Season 2)

Producers: Phoebe Waller‐Bridge, Harry Bradbeer, Lydia Hampson, Harry Williams, Jack Williams, Joe Lewis, Sarah Hammond

●     The Marvelous Mrs. Maisel (Season 3) 

Producers: Amy Sherman‐Palladino, Daniel Palladino, Dhana Gilbert, Matthew Shapiro, Daniel Goldfarb, Kate Fodor, Sono Patel

●     Schitt’s Creek (Season 5)

Producers: Eugene Levy, Daniel Levy, Andrew Barnsley, Fred Levy, David West Read, Ben Feigin, Michael Short, Rupinder Gill, Colin Brunton

●     Veep (Season 7)

Producers: David Mandel, Frank Rich, Julia Louis‐Dreyfus, Lew Morton, Morgan Sackett, Peter Huyck, Alex Gregory, Jennifer Crittenden, Gabrielle Allan, Billy Kimball, Rachel Axler, Ted Cohen, Ian Maxtone‐Graham, Dan O'Keefe, Steve Hely, David Hyman, Georgia Pritchett, Erik Kenward, Dan Mintz, Doug Smith

2. Directors Guild Awards (January 25, 2020)

Outstanding Directorial Achievement in a Comedy Series

●    Dan Attias

“The Marvelous Mrs. Maisel,” “It’s the Sixties, Man!” (Prime Video)

●     Bill Hader

“Barry,” “ronny/lily” (HBO)

●    David Mandel

“Veep,” “Veep” (HBO)

●    Amy Sherman Palladino

“The Marvelous Mrs. Maisel,” “It’s Comedy or Cabbage” (Prime Video)

●    Daniel Palladino

“The Marvelous Mrs. Maisel,” “Marvelous Radio” (Prime Video)

3. Writers Guild Awards (February 1, 2020) 

Comedy Series

●   Barry

Written by Alec Berg, Duffy Boudreau, Bill Hader, Emily Heller, Jason Kim, Taofik Kolade, Elizabeth Sarnoff; HBO

●  The Marvelous Mrs. Maisel

Written by Kate Fodor, Noah Gardenswartz, Daniel Goldfarb, Alison Leiby, Daniel Palladino, Sono Patel, Amy Sherman-Palladino, Jordan Temple; Prime Video

●  PEN15

Written by Jeff Chan, Maya Erskine, Anna Konkle, Gabe Liedman, Stacy Osei-Kuffour, Andrew Rhymer, Jessica Watson, Sam Zvibleman; Hulu

●   Russian Doll, 

Written by Jocelyn Bioh, Flora Birnbaum, Cirocco Dunlap, Leslye Headland, Natasha Lyonne, Amy Poehler, Tami Sagher, Allison Silverman; Netflix

●   Veep, Written by Gabrielle Allan-Greenberg, Rachel Axler, Emilia Barrosse, Ted Cohen, Jennifer Crittenden, Alex Gregory, Steve Hely, Peter Huyck, Erik Kenward, Billy Kimball, David Mandel, Ian Maxtone-Graham, Dan Mintz, Lew Morton, Dan O'Keefe, Georgia Pritchett, Leila Strachan; HBO

Episodic Comedy 

●  “Here’s Where We Get Off” (Orange Is the New Black)

Written by Jenji Kohan; Netflix

●  “It’s Comedy or Cabbage” (The Marvelous Mrs. Maisel)

Written by Amy Sherman-Palladino; Prime Video

●  “Nice Knowing You” (Living With Yourself)

Written by Timothy Greenberg; Netflix

●  “Pilot” (Dead to Me)

Written by Liz Feldman; Netflix

●  “The Stinker Thinker” (On Becoming a God in Central Florida)

Written by Robert F. Funke & Matt Lutsky; Showtime

●   “Veep” (Veep)

Written by David Mandel; HBO

[intoxicatingimmediacy]

Daveed Diggs & More Set for Second Edition of 24 Hour Plays' Viral Monologues Initiative

On the heels of last week's talent-packed inaugural edition of Viral Monologues, a starry lineup of talent has been announced to take part in a second edition of the new program which features performances released digitally on the Instagram video application IGTV. The series is an initiative of The 24 Hour Plays.

Performers taking part this week include Daveed Diggs, Coral Peña, Kelly Aucoin, Nicholas Braun, Michael Shannon, Ashley Fink, Jessica St. Clair, Juliana Canfield, Anna Baryshnikov, Marylouise Burke, William Jackson Harper, Ryan Haddad, Clark Gregg, Daniel K. Isaac, Nathan Stewart-Jarrett, Christopher Mintz-Plasse, Ty Defoe, Dylan Baker, Becky Ann Baker, Noah Galvin, Damon Gupton, Danny Pudi and Josh Hamilton.

Last night at 6:00pm, 24 actors shared brief orientation-style videos to allow the writers to get to know them better. By 7:00pm, writers and actors were paired, and writers got to work on crafting new monologues especially for their assigned actors. Actors received their monologues this morning at 10am, are filming their performances throughout the day, and at 6:00pm their videos begin to be released to the world, completing the 24-hour cycle.

[burlveneer-music]

Tom Dissevelt - Fantasy In Orbit - reissue of 1963 electronic LP (We Are Busy Bodies)

The official reissue of Dutch electronic music pioneer Tom Dissevelt’s 1963 album, Fantasy In Orbit: An Astronaut's Impressions While Orbiting The Earth (mono) and Fantasy In Orbit. Round the world with electronic music by Tom Dissevelt (stereo). Fantasy in Orbit will be issued as a double LP, containing both mono and stereo versions of the album as were originally released.

Adored by David Bowie and sampled by the likes of DJ Premier, Cyprus Hill, Klaxons, RZA and David Holmes, the music of Tom Dissevelt and Kid Baltan holds a prominent and influential position in the long and complex history of electronic music. The albums were remastered by Noah Mintz at Lacquer Channel Mastering and the artwork expertly restored by Steve Lewin. Under license from Fields of Roses/Basta Music.

[djgeezyg]

OUT NOW!!! Zee 1, DJ Geezy G - Monstars (G Music Group) 2022 Grenada Soca LIMITED TIME FREE DOWNLOD: https://www.dropbox.com/scl/fo/zkp1x6w1oopb8yrn6etmv/h?dl=0&rlkey=r4rf6ie7iaapten7gwzznkqk2 YOUTUBE:https://youtu.be/uA1nL5-JvYI SOUNDCLOUD: https://soundcloud.com/djgeezyg/sets/monstars AUDIOMACK: https://audiomack.com/djgeezyg/song/monstars Written & performed by: Kenty "Zee 1" Bartholomew Produced & composed by: Glen "DJ Geezy G" George Recorded by: Paul Thomas (Mt Zion Studios, Grenada) Mixed by: Glen "DJ Geezy G George Mastered by: Glen "DJ Geezy G George, & Noah Mintz, Lacquer Channel Mastering Distribution & Publishing by: G Music Group Copyrights by: G Music Group (Socan/Ascap) #djgeezyg #gmusicgroup #newmusic #newmusicalert #torontolife #toronto #tdot #grenada #discovergrenada #mastering #musicmastering #soundengineer #monstars https://www.instagram.com/p/CgaXVgTMbQs/?igshid=NGJjMDIxMWI=

[independentartistbuzz]

Dead Levee "Shout" on New Release

Dead Levee is a 4-piece old-school, no-nonsense rock band comprised of members Tayler “Izzy” Morgan, “Sweet Baby” Ray Klapatiuk, Rylan “Buck” Dusyk, and Preston “Miami” Laschuk. Their aggressive, organic, and attitude-driven style harkens back to the high energy rock of the late 60s with the attitude of 90s rock.

The quartet’s live show features bold guitar solos, rippin’ vocals, and heart-pounding rhythm that revitalize the contagious energy of rock ‘n roll that the world fell in love with in a fresh new way. 

Born from an impromptu jam on stage, “Shout” unleashes ‘the inner beast’ and signifies a sonic renaissance. Mixed by Mike Fraser (AC/DC, Aerosmith, Metallica) and mastered by Noah Mintz (Matt Mays, Arkells, Death From Above 1979), the new single delivers their signature big sound.

Listen in here: https://soundcloud.com/user-752935696-866233896/shout

[stephenmccull]

CVS and Walgreens Under Fire for Slow Pace of Vaccination in Nursing Homes

The effort to vaccinate some of the country’s most vulnerable residents against covid-19 has been slowed by a federal program that sends retail pharmacists into nursing homes — accompanied by layers of bureaucracy and logistical snafus.

This story also ran on CNN. It can be republished for free.

As of Thursday, more than 4.7 million doses of the Pfizer-BioNTech and Moderna covid vaccines had been allocated to the federal pharmacy partnership, which has deputized pharmacy teams from Walgreens and CVS to vaccinate nursing home residents and workers. Since the program started in some states on Dec. 21, however, they have administered about one-quarter of the doses, according to the Centers for Disease Control and Prevention.

Across the country, some nursing home directors and health care officials say the partnership is actually hampering the vaccination process by imposing paperwork and cumbersome corporate policies on facilities that are thinly staffed and reeling from the devastating effects of the coronavirus. They argue that nursing homes are unique medical facilities that would be better served by medical workers who already understand how they operate.

Mississippi’s state health officer, Dr. Thomas Dobbs, said the partnership “has been a fiasco.”

The state has committed 90,000 vaccine doses to the effort, but the pharmacies had administered only 5% of those shots as of Thursday, Dobbs said. Pharmacy officials told him they’re having trouble finding enough people to staff the program.

Dobbs pointed to neighboring Alabama and Louisiana, which he says are vaccinating long-term care residents at four times the rate of Mississippi.

“We’re getting a lot of angry people because it’s going so slowly, and we’re unhappy too,” he said.

Many of the nursing homes that have successfully vaccinated willing residents and staff members are doing so without federal help.

For instance, Los Angeles Jewish Home, with roughly 1,650 staff members and 1,100 residents on four campuses, started vaccinating Dec. 30. By Jan. 11, the home’s medical staff had administered its 1,640th dose. Even the facility’s chief medical director, Noah Marco, helped vaccinate.

The home is in Los Angeles County, which declined to participate in the CVS/Walgreens program. Instead, it has tasked nursing homes with administering vaccines themselves, and is using only Moderna’s easier-to-handle product, which doesn’t need to be stored at ultracold temperatures, like the Pfizer vaccine. (Both vaccines require two doses to offer full protection, spaced 21 to 28 days apart.)

By contrast, Mariner Health Central, which operates 20 nursing homes in California, is relying on the federal partnership for its homes outside of L.A. County. One of them won’t be getting its first doses until next week.

“It’s been so much worse than anybody expected,” said the chain’s chief medical officer, Dr. Karl Steinberg. “That light at the end of the tunnel is dim.”

Nursing homes have experienced some of the worst outbreaks of the pandemic. Though they house less than 1% of the nation’s population, nursing homes have accounted for 37% of deaths, according to the COVID Tracking Project.

Facilities participating in the federal partnership typically schedule three vaccine clinics over the course of nine to 12 weeks. Ideally, those who are eligible and want a vaccine will get the first dose at the first clinic and the second dose three to four weeks later. The third clinic is considered a makeup day for anyone who missed the others. Before administering the vaccines, the pharmacies require the nursing homes to obtain consent from residents and staffers.

Despite the complaints of a slow rollout, CVS and Walgreens said they’re on track to finish giving the first doses by Jan. 25, as promised.

“Everything has gone as planned, save for a few instances where we’ve been challenged or had difficulties making contact with long-term care facilities to schedule clinics,” said Joe Goode, a spokesperson for CVS Health.

Dr. Marcus Plescia, chief medical officer at the Association of State and Territorial Health Officials, acknowledged some delays through the partnership, but said that’s to be expected because this kind of effort has never before been attempted.

“There’s a feeling they’ll get up to speed with it and it will be helpful, as health departments are pretty overstretched,” Plescia said.

But any delay puts lives at risk, said Dr. Michael Wasserman, the immediate past president of the California Association of Long Term Care Medicine.

“I’m about to go nuclear on this,” he said. “There should never be an excuse about people not getting vaccinated. There’s no excuse for delays.”

Bringing in Vaccinators

Nursing homes are equipped with resources that could have helped the vaccination effort — but often aren’t being used.

Most already work with specialized pharmacists who understand the needs of nursing homes and administer medications and yearly vaccinations. These pharmacists know the patients and their medical histories, and are familiar with the apparatus of nursing homes, said Linda Taetz, chief compliance officer for Mariner Health Central.

“It’s not that they aren’t capable,” Taetz said of the retail pharmacists. “They just aren’t embedded in our buildings.”

If a facility participates in the federal program, it can’t use these or any other pharmacists or staffers to vaccinate, said Nicole Howell, executive director for Ombudsman Services of Contra Costa, Solano and Alameda counties.

But many nursing homes would like the flexibility to do so because they believe it would speed the process, help build trust and get more people to say yes to the vaccine, she said.

Howell pointed to West Virginia, which relied primarily on local, independent pharmacies instead of the federal program to vaccinate its nursing home residents.

The state opted against the partnership largely because CVS/Walgreens would have taken weeks to begin shots and Republican Gov. Jim Justice wanted them to start immediately, said Marty Wright, CEO of the West Virginia Health Care Association, which represents the state’s long-term care facilities.

The bulk of the work is being done by more than 60 pharmacies, giving the state greater control over how the doses were distributed, Wright said. The pharmacies were joined by Walgreens in the second week, he said, though not as part of the federal partnership.

“We had more interest from local pharmacies than facilities we could partner them up with,” Wright said. Preliminary estimates show that more than 80% of residents and 60% of staffers in more than 200 homes got a first dose by the end of December, he said.

Goode from CVS said his company’s participation in the program is being led by its long-term care division, which has deep experience with nursing homes. He noted that tens of thousands of nursing homes — about 85% nationally, according to the CDC — have found that reassuring enough to participate.

“That underscores the trust the long-term care community has in CVS and Walgreens,” he said.

Vaccine recipients don’t pay anything out-of-pocket for the shots. The costs of purchasing and administering them are covered by the federal government and health insurance, which means CVS and Walgreens stand to make a lot of money: Medicare is reimbursing $16.94 for the first shot and $28.39 for the second.

Bureaucratic Delays

Technically, federal law doesn’t require nursing homes to obtain written consent for vaccinations.

But CVS and Walgreens require them to get verbal or written consent from residents or family members, which must be documented on forms supplied by the pharmacies.

Goode said consent hasn’t been an impediment so far, but many people on the ground disagree. The requirements have slowed the process as nursing homes collect paper forms and Medicare numbers from residents, said Tracy Greene Mintz, a social worker who owns Senior Care Training, which trains and deploys social workers in more than 100 facilities around California.

In some cases, social workers have mailed paper consent forms to families and waited to get them back, she said.

“The facilities are busy trying to keep residents alive,” Greene Mintz said. “If you want to get paid from Medicare, do your own paperwork,” she suggested to CVS and Walgreens.

Scheduling has also been a challenge for some nursing homes, partly because people who are actively sick with covid shouldn’t be vaccinated, the CDC advises.

“If something comes up — say, an entire building becomes covid-positive — you don’t want the pharmacists coming because nobody is going to get the vaccine,” said Taetz of Mariner Health.

Both pharmacy companies say they work with facilities to reschedule when necessary. That happened at Windsor Chico Creek Care and Rehabilitation in Chico, California, where a clinic was pushed back a day because the facility was awaiting covid test results for residents. Melissa Cabrera, who manages the facility’s infection control, described the process as streamlined and professional.

In Illinois, about 12,000 of the state’s roughly 55,000 nursing home residents had received their first dose by Sunday, mostly through the CVS/Walgreens partnership, said Matt Hartman, executive director of the Illinois Health Care Association.

While Hartman hopes the pharmacies will finish administering the first round by the end of the month, he noted that there’s a lot of “headache” around scheduling the clinics, especially when homes have outbreaks.

“Are we happy that we haven’t gotten through round one and West Virginia is done?” he asked. “Absolutely not.”

KHN correspondent Rachana Pradhan contributed to this report.

This story was produced by KHN, which publishes California Healthline, an editorially independent service of the California Health Care Foundation.

Kaiser Health News (KHN) is a national health policy news service. It is an editorially independent program of the Henry J. Kaiser Family Foundation which is not affiliated with Kaiser Permanente.

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