#nat b peterson
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Made a little video with my favorite moments from the dancers and the band ♡
#taylor swift#the eras tour#ts the eras tour#tstheerastour#the eras tour latam#my concert#kam saunders#jan ravnik#whyley yoshimura#sydney moss#raphael thomas#tamiya lewis#sam mcwilliams#nat b peterson#karen schuang#natalie lecznar#tori evans
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Summer break and I'm kinda sorta missing F1 so here are the UK number one songs when drivers got their first Grand Prix win. Enjoy 😊
Giuseppe Farina (1950 British GP - 13th May), Juan Manuel Fangio (1950 Monaco GP - 21st May) & Johnnie Parsons (1950 Indy 500 - 30th May) - Billy Eckstine - My Foolish Heart
Lee Wallard (1951 Indy 500 - 30th May) - Les Paul & Mary Ford - Mockin' Bird Hill
Luigi Fagioli (1951 French GP - 1st July) & Jose Froilan Gonzalez (1951 British GP - 14th July) - Nelson Eddy & Jo Stafford - With These Hands
Alberto Ascari (1951 German GP - 29th July) - Hoagy Carmichael - My Resistance Is Low
Piero Taruffi (1952 Swiss GP - 18th May) - Nat 'King' Cole - Unforgettable
Troy Ruttman (1952 Indy 500 - 30th May) - Jo Stafford - Ay-Round The Corner
Bill Vukovich (1953 Indy 500 - 30th May) & Mike Hawthorn (1953 French GP - 5th July) - Frankie Laine - I Believe
Maurice Trintignant (1955 Monaco GP - 22nd May) - Tony Bennett - Stranger In Paradise
Bob Sweikert (1955 Indy 500 - 30th May) - Eddie Calvert - Cherry Pink And Apple Blossom White
Stirling Moss (1955 British GP - 16th July) - Alma Cogan - Dreamboat
Luigi Musso (1956 Argentine GP - 22nd January) - Tennessee Ernie Ford - Sixteen Tons
Pat Flaherty (1956 Indy 500 - 30th May) & Peter Collins (1956 Belgian GP - 3rd June) - Ronnie Hilton - No Other Love
Sam Hanks (1957 Indy 500 - 30th May) - Andy Williams - Butterfly
Tony Brooks (1957 British GP - 20th July) - Elvis Presley - All Shook Up
Jimmy Bryan (1958 Indy 500 - 30th May) - Connie Francis - Who's Sorry Now
Jack Brabham (1959 Monaco GP - 10th May) - Buddy Holly - It Doesn't Matter Anymore
Rodger Ward (1959 Indy 500 - 30th May) & Jo Bonnier (1959 Dutch GP - 31st May) - Elvis Presley - A Fool Such As I
Bruce McLaren (1959 US GP - 12th December) - Adam Faith - What Do You Want?
Jim Rathmann (1960 Indy 500 - 30th May) - The Everly Brothers - Cathy's Clown
Phil Hill (1960 Italian GP - 4th September) - The Shadows - Apache
Wolfgang Von Trips (1961 Dutch GP - 22nd May) - Floyd Cramer - On The Rebound
Giancarlo Baghetti (1961 French GP - 2nd July) - Del Shannon - Runaway
Innes Ireland (1961 US GP - 8th October) - The Shadows - Kon-Tiki
Graham Hill (1962 Dutch GP - 20th May) - B Bumble & The Stingers - Nut Rocker
Jim Clark (1962 Belgian GP - 17th June) - Elvis Presley - Good Luck Charm
Dan Gurney (1962 French GP - 8th July) - Mike Sarne & Wendy Richard - Come Outside
John Surtees (1963 German GP - 4th August) - Elvis Presley - Devil In Disguise
Lorenzo Bandini (1964 Austrian GP - 23rd August) - Manfred Man - Do Wah Diddy Diddy
Jackie Stewart (1965 Italian GP - 12th September) - The Rolling Stones - (I Can't Get No) Satisfaction
Richie Ginther (1965 Mexican GP - 24th October) - Ken Dodd - Tears
Ludovico Scarfiotti (1966 Italian GP - 4th September) - The Beatles - Yellow Submarine
Pedro Rodriguez (1967 South African GP - 2nd January) - Tom Jones - Green Green Grass Of Home
Denny Hulme (1967 Monaco GP - 7th May) - Sandie Shaw - Puppet On A String
Jacky Ickx (1968 French GP - 7th July) & Jo Siffert (1968 British GP - 20th July) - Equals - Baby Come Back
Jochen Rindt (1969 US GP - 5th October) - Jane Birkin & Serge Gainsbourg - Je T'aime... Mon Non Plus
Clay Regazzoni (1970 Italian GP - 6th September) - Smokey Robinson & The Miracles - Tears Of A Clown
Emerson Fittipaldi (1970 US GP - 4th October) - Freda Payne - Band Of Gold
Mario Andretti (1971 South African GP - 6th March) - Mungo Jerry - Baby Jump
Peter Gethin (1971 Italian GP - 5th September) - Diana Ross - I'm Still Waiting
Francois Cevert (1971 US GP - 3rd October) - Rod Stewart - Maggie May
Jean-Pierre Beltoise (1972 Monaco GP - 14th May) - T-Rex - Metal Guru
Ronnie Peterson (1973 French GP - 1st July) - Donny Osmond - Young Love
Peter Revson (1973 British GP - 14th July) - Slade - Skweeze Me Pleeze Me
Carlos Reutemann (1974 South African GP - 30th March) - Paper Lace - Billy Don't Be A Hero
Niki Lauda (1974 Spanish GP - 28th April) - Abba - Waterloo
Jody Scheckter (1974 Swedish GP - 9th June) - Ray Stevens - The Streak
Jose Carlos Pace (1975 Brazilian GP - 26th January) - Pilot - January
Jochen Mass - (1975 Spanish GP - 27th April) - Mud - Oh Boy
James Hunt (1975 Dutch GP - 22nd June) - 10CC - I'm Not In Love
Vittorio Brambilla (1975 Austrian GP - 17th August) - The Stylistics - I Can't Give You Anything (But My Love)
John Watson (1976 Austrian GP - 15th August) - Elton John & Kiki Dee - Don't Go Breaking My Heart
Gunnar Nilsson (1977 Belgian GP - 5th June) - Rod Stewart - I Don't Want To Talk About It
Jacques Laffite (1977 Swedish GP - 19th June) - The Jacksons - Show You The Way To Go
Alan Jones (1977 Austrian GP - 14th August) - Brotherhood Of Man - Angelo
Patrick Depailler (1978 Monaco GP - 7th May) - Boney M - Rivers Of Babylon
Gilles Villeneuve (1978 Canadian GP - 8th October) - John Travolta & Olivia Newton-John - Summer Nights
Jean-Pierre Jabouille (1979 French GP - 1st July) - Tubeway Army - Are 'Friends' Electric?
Rene Arnoux (1980 Brazilian GP - 27th January) - The Specials - Too Much Too Young
Nelson Piquet (1980 US GP - March 30) - The Jam - Going Underground
Didier Pironi (1980 Belgian GP - 4th May) - Dexy's Midnight Runners - Geno
Alain Prost (1981 French GP - 5th July) - The Specials - Ghost Town
Riccardo Patrese (1982 Monaco GP - 23rd May) - Madness - House Of Fun
Patrick Tambay (1982 German GP - 8th August) & Elio De Angelis (1982 Austrian GP) - Dexy's Midnight Runners - Come On Eileen
Keke Rosberg (1982 Swiss GP - 29th August) & Michele Alboreto (1982 Caesers Palace GP) - Survivor - Eye Of The Tiger
Ayrton Senna (1985 Portuguese GP - 21st April) - USA For Africa - We Are The World
Nigel Mansell (1985 European GP - 6th October) - Jennifer Rush - The Power Of Love
Gerhard Berger (1986 Mexican GP - 12th October) - Nick Berry - Every Loser Wins
Thierry Boutsen (1989 Canadian GP - 18th June) - Soul II Soul - Back To Life (However Do You Want Me)
Alessandro Nannini (1989 Japanese GP - 22nd October) - Jive Bunny & The Mastermixers - That's What I Like
Michael Schumacher (1992 Belgian GP - 30th August) - Snap! - Rhythm Is A Dancer
Damon Hill (1993 Hungarian GP - 15th August) - Freddie Mercury - Living On My Own
Jean Alesi (1995 Canadian GP - 11th June) - Robson & Jerome - Unchained Melody
Johnny Herbert (1995 British GP - 16th July) - Outhere Brothers - Boom Boom Boom
David Coulthard (1995 Portuguese GP - 24th September) - Simply Red - Fairground
Olivier Panis (1996 Monaco GP - 19th May) - Gina G - Ooh Ahh... Just A Little Bit
Jacques Villeneuve (1996 European GP - 28th April) - George Michael - Fastlove
Heinz-Harald Frentzen (1997 San Marino GP) - Michael Jackson - Blood On The Dance Floor
Mika Hakkinen (1997 European GP - 26th October) - Aqua - Barbie Girl
Eddie Irvine (1999 Australian GP - 7th March) - Boyzone - When The Going Gets Tough
Ruben Barrichello (2000 German GP - 30th July) - Craig David - 7 Days
Ralf Schumacher (2001 San Marino GP - 15th April) - Emma Bunton - What Took You So Long?
Juan Pablo Montoya (2001 Italian GP - 16th September) - DJ Otzi - Hey Baby
Kimi Raikkonen (2003 Malaysian GP - 23rd March) - Gareth Gates ft The Kumars - Spirit In The Sky
Giancarlo Fisichella (2003 Brazilian GP - 6th April) - Room 5 ft Oliver Cheatham - Make Luv
Fernando Alonso (2003 Hungarian GP - 24th August) - Blu Cantrell ft Sean Paul - Breathe
Jarno Trulli (2004 Monaco GP - 23rd May) - Frankee - F.U.R.B (F U Right Back
Jenson Button (2006 Hungarian GP - 6th August) - Shakira ft Wyclef Jean - Hips Don't Lie
Felipe Massa (2006 Turkish GP - 27th August) - Beyonce ft Jay-Z - Deja Vu
Lewis Hamilton (2007 Canadian GP - 10th June) - Rihanna ft Jay-Z - Umbrella
Robert Kubica (2008 Canadian GP - 8th June) - Mint Royale - Singin' In The Rain
Heikki Kovalainen (2008 Hungarian GP - 3rd August) - Dizzee Rascal ft Calvin Harris & Chrome - Dance Wiv Me
Sebastian Vettel (2008 Italian GP - 14th September) - Kings Of Leon - Sex On Fire
Mark Webber (2009 German GP - 12th July) - Cascada - Evacuate The Dancefloor
Nico Rosberg (2012 Chinese GP - 15th April) - Carly Rae Jepsen - Call Me Maybe
Pastor Maldonado (2012 Spanish GP - 13th May) - Rita Ora ft Tinie Tempah - R.I.P.
Daniel Ricciardo (2014 Canadian GP - 8th June) - Ed Sheeran - Sing
Max Verstappen (2016 Spanish GP - 15th May) - Drake ft Wizkid & Kyla - One Dance
Valtteri Bottas (2017 Russian GP - 30th April) - Clean Bandit ft Zara Larsson - Symphony
Charles Leclerc (2019 Belgian GP - 1st September) - Ed Sheeran ft Stormzy - Take Me Back To London
Pierre Gasly (2020 Italian GP - 6th September) - Cardi B ft Megan Thee Stallion - WAP
Sergio Perez (2020 Sakhir GP - 6th December) - Ariana Grande - Positions
Esteban Ocon (2021 Hungarian GP - 1st August) - Ed Sheeran - Bad Habits
Carlos Sainz Jr (2022 British GP - 3rd July) - Kate Bush - Running Up That Hill
George Russell (2022 Brazilian GP - 13th November) - Taylor Swift - Anti-Hero
Lando Norris (2024 Miami GP - 5th May) & Oscar Piastri (2024 Hungarian GP - 21st July) - Sabrina Carpenter - Espresso
And yes, I've created a Spotify playlist for these tunes 😊😊
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LIVESTREAM: MICHAEL KANAN with Greg Ruggerio and Neal Miner, MEZZROW’S, 19 NOVEMBER 2024, 9 pm set
I’ve passed on MICHAEL KANAN as “just another NYC jazz pianist” even though a) I very much like NYC jazz pianists and b) the “just” actually reflects being a member of an elite club, just as the last player on the bench of a W/NBA team relegated to garbage minutes is so much better than 99.several decimal places better than just about anybody. Now, that this is his standard band with Greg Ruggerio on guitar probably, I confess, prejudiced me against him/them. Sure, the original Oscar Peterson Trio had Herb Ellis in it, but having Ed Thigpen on drums instead suited me just fine.
I am almost certain that KANAN was sitting upfront that night at Mezzrow’s five weeks ago when I/we saw Bill Charlap/Noriko Ueda. I read further that he is a second generation Lennie Tristano-ite via his mentorship by Harvey Diamond and Sal Mosca. He has a nice touch, a deep repertoire born of working with Jane Monheit and other singers, and a great good humor with these old friends. I think of those left hand arpeggios when I think of Tristano, but he often defers to Miner to the point where he just plays with his right hand.
He has an album with Jorge Rossy called Tadd and Thad. They didn’t play Dameron’s glorious On a Misty Night which opened the album, instead it was Jones’ Three in One which was sprightly and collectively intricate (maybe that’s a Tristano influence). I liked the group sound, even Ruggerio’s guitar. He plays without a pick but fluid single notes. His chords are neither Freddie Green nor Jim Hall/Joe Pass intricate voicings, but he/they interact well. Without a drummer, they trade fours in every possible permutation. Additionally, the guitar opens up a different dynamic for all of them. It’s an intriguing ensemble.
Brother Can You Spare a Dime was next and then I didn’t recognize anything until a KANAN only All the Things You Are, an announced Neal Miner tune with a luscious bass line of course, and A Nightingale Sang in Berkeley Square before a quick closer. But all the tunes were fun romps showcasing their collective virtues. It was just the kind of set I was looking for anyway. I am glad to have another just another NYC jazz pianist and I will continue to think of the piano/guitar/bass trio. More early Peterson and some Nat King Cole before they realized just how well he could sing are in order.
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Under Cover of Night (1937) George B. Seitz
July 24th 2021
#under cover of night#1937#george b. seitz#edmund lowe#florence rice#henry daniell#dean jagger#nat pendleton#sara haden#theodore von eltz#maria shelton#dorothy peterson#frank reicher#harry davenport
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Thoughts on She-Hulk - S1 Finale
This was a memorable ride. The highs, the lows. The retreat episode, the wedding episode. The quality was all over the place, the controversy was plentiful, and I'm pretty sure they sacrificed the plot of the finale for an epic fourth wall gag.
So yes, the finale DID stay true to the show. It was the Jen show, with Nat and Pug in the B-plot. It was meta, it was funny, and it was also kind of a disaster - so every aspect of the show together. It was a fitting finale.
One plot development I liked that honestly caught me off guard but makes so much sense is Blonsky acting like a Jordan Peterson-type figure. He takes this therapeutic philosophy that does honest good and monetizes it by mixing it with things young men want to hear. And the most accurate part is, it's just a job. It's a gig, just like so many of these manosphere figures.
The twist doesn't really go anywhere except putting Blonksky back in jail, but I appreciated the concept. And look at that face on Abomination while he was doing his gig! Are those special effects even done? That looks so funny.
She-Hulk's conversation with K.E.V.I.N was brilliant. Jen literally arguing with the algorithm that makes Marvel content is the best path the writers could have taken with that scene - except if it was Kevin Feige himself. (I hope Marvel names their algorithm K.E.V.I.N. Because you know they have one. They have to have at least one.)
Unfortunately, the gag comes at the cost of the plot. (Wait, did I just summarize the MCU?) Jen's closing argument was that the climax shouldn't be some generic supervillain plot - it should be about her personal stakes and working things out through civilized discourse.
So, the climax was neither of these things.
The generic supervillain plot still happened - Todd still transformed into HulkKing. There's a difference between skipping to after an implied action scene, and actually writing a plot that genuinely doesn't rely on an action scene. Hmm, how do people resolve things without violence? Oh, that's right, they go to court.
Jen says that she wants the climax to be about her personal development, but it isn't. K.E.V.I.N just drops her into the scene after the fight where everything is already resolved. Blonsky is suddenly sorry when he wasn't before, and they have no time to talk about it. Todd isn't a Hulk anymore, and It's confusing whether he was, because Titania is there -
And about Titania! Poor Titania. The show really just leaves her character arc there, doesn't it? The episode is so caught up in the fourth wall gag it completely forgets to mention why Titania is even there, except to make it look like the plot is spiraling. And it is,
...but lampshades only get you so far.
The part with the Disney+ menu screen before She-Hulk climbs out of the thumbnail was cool, wasn't it?
All in all, it comes off like the writers made something entertaining with a lot of limitations - too many Marvel projects, not enough time to hash out a coherent plot while the executives kept changing things on the fly, especially with limited cash to put She-Hulk on screen at all, and make her look good. The writers knew the effects weren't great and the writing would be rushed, so they leaned into it, used fan outrage as a plot point, and tied things together in the finale with a fourth wall break instead of actually resolving the plot they set up.
When all is said and done, taken for what it is, it was fun. I'm afraid that whole K.E.V.I.N joke is going to stick though. For example: we've been waiting since Shang-Chi to learn what exactly Wong is teaching Blonsky. This show featured both of them, and we still don't really why they're hanging out, and moreover why the algorithm known as K.E.V.I.N wants to show us over and over again except to tease us that something might happen! ...someday.
*tears off K.E.V.I.N's face*
Me: Gasp! It was Zola all along?!
Zola: That is correct! I was K.E.V.I.N all along!
Me: What a twist. Well, I'm glad we resolved that.
...
And the post-credits scene!
Hulk: This is my son, Skarr.
Me: Um...okay.
Hulk: And this is his friend, Pip the Troll.
Me: *recoils in horror*
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Music
Finding Obscure Music
Artists Who Talk About Race
FKA Twigs
Frank Ocean
Janelle Monae
*Mitski
Raveena
*Rina Sawayama
Solange
Small Artists
Ada Rook
Dead Naked Hippies
Dream Nails
Giant Kitty
Heather Hills
Helen Love
Jemina Pearl
Mr Airplane Man
One Eyed Doll
Pleasure Venom
Scarling
Seasalt
The Downbeat 5
The Fondas
The Stuck Ups
Tina and the Total Babes
War on Women
Country Artists
Chris Stapleton
CoJo
Colter Wall
Flatland Calvary
Koe Wetzel
Sturgill Simpson
Tyler Childers
Zach Bryan
Indie Pop Artists
Alexandria Savior
Beach Bunny
Blossoms
Chloe Lilac
Coast Modern
Maude Latour
Stella Donnelly
The Night Cafe
Wallice
Indie Rock Artists
Hippo Campus
Holly Humberstone
Idles
*Mitski
Mom Jeans
Perfume Genius
Remo Drive
Snail Mail
Sticky Fingers
Surf Curse
Vagabon
Waxahatchee
Indie Folk Artists
Haley Heynderickx
Penelope Scott
Midwest Emo Artists
GILT
Hospital Bracelet
Retirement Party
Pop Punk Artists
Forever the Sickest Kids
Intervention
Knuckle Puck
Palomino Blond
Pool Kids
Real Friends
Woolbright
Bedroom Pop Artists
Clairo
Claud
Gracie Abrams
Sofia Mills
Zach Villere
Pop Artists
Will Joseph Cook
R&B Artists
Bruno Major
Leyla Blue
*Rina Sawayama
UMI
Hip Hop Artists
Loyle Carner
Rejjie Snow
Saba
Tom Misch
Jazz Artists
Ben Webster
Charlie Parker
Chet Baker
Count Basie
Duke Ellington
Ella Fitzgerald
Frank Sinatra
John Coltrane
Louis Armstrong
Miles Davis
Nat King Cole
Oscar Peterson
Soul Artists
Al Green
Aretha Franklin
Marvin Gaye
Natalie Cole
Stevie Wonder
Blues Artists
Albert King
Billie Holiday
Etta James
Nina Simone
Electronic Artists
James Blak
Yves Tumor
Art Pop Artists
Angel Olsen
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All Spongebob Background/Incidental Character Names, the Masterpost
So this is LONG!! But I'll separate them into Canonically Named, Semi-Canonically Named, and Fanon Named. Canonically named characters are proven by the producers to be said name, while semi-canonically named have been named before but it's unclear whether that actually is their name or not. I'll also put "debunked names" that are names proven to be wrong by their context.
Canonically Named
Fred
Incidental Numbers: 1, F1, 1D, 1ISH
Debunked Names: Hank Hailbut, Troutenheimer, Clint
Wikia Page
Scooter
Incidental Numbers: 38
Debunked Names: Marv, Camper Guy
Wikia Page
Old Man Walker
Incidental Numbers: 83
Debunked Names: Old Man Jenkins
Wikia Page
Sandals
Incidental Numbers: x
Debunked Names: x
Wikia Page
Semi-Canonically Named
Steven
Incidental Numbers: 4, FG10
Wikia Page
John
Incidental Numbers: 5
Wikia Page
Tom
Incidental Numbers: 6, PM4, FG2
Other Aliases: Chocolate fish
Debunked Names: John
Wikia Page
Nancy Suzy Fish
Incidental Numbers: 7, CM20
Other Aliases: Nancy, Suzy Fish, Susie, Sally
Wikia Page
Tina Fran
Incidental Numbers: 8, PM22
Other Aliases: Tina, Fran, Clementine
Wikia Page
Evelyn Annette
Incidental Numbers: 14
Other Aliases: Evelyn, Annette
Wikia Page
Charlie
Incidental Numbers: 23
Wikia Page
Tibor
Incidental Numbers: 24
Other Aliases: Frank, Gold Team Leader
Wikia Page
Joe
Incidental Numbers: 26 or 25
Notes: This one’s tough, because there’s a duo of paramedics but only one is named Joe, so I’ll just link 26′s.
Wikia Page
Jimmy
Incidental Numbers: 27
Other Aliases: Gus
Wikia Page
Phil
Incidental Numbers: 28
Notes: This is only according to the YT channel, so it’s a bit less canon than most of the others
Wikia Page
Clay
Incidental Numbers: 31
Wikia Page
Don the Whale
Incidental Numbers: 32
Wikia Page
Harold (Harold A on this blog)
Incidental Numbers: 36
Other Aliases: Marshmallow Guy
Wikia Page
Gus
Incidental Numbers: 37A, BM37
Wikia Page
Wobbles
Incidental Numbers: 37B
Wikia Page
Lou
Incidental Numbers: 39
Other Aliases: Mr. Bakerman
Wikia Page
Harold Reginald (Harold B on this blog)
Incidental Numbers: 40
Other Aliases: Reginald, Bill, Scott
Wikia Page
Nat Peterson
Incidental Numbers: 41, BM41, FG4
Other Aliases: Tuck, Tucker, Percy, Phil, Peterson, Nat
Wikia Page
Dave
Incidental Numbers: 42, PM11
Other Aliases: Dave, Frank, Percy, Muskie, Harold
Debunked Names: Scooter
Wikia Page
Shubie
Incidental Numbers: 45, CM21, PM8
Other Aliases: Sally Sole, Judy
Wikia Page
Sadie
Incidental Numbers: 47
Other Aliases: Mable
Wikia Page
Martha Smith
Incidental Numbers: 63
Other Aliases: Mrs. Smith, Martha, Doris
Wikia Page
Thaddeus
Incidental Numbers: 64
Other Aliases: Bruiser
Wikia Page
Billy (Billy A on this blog)
Incidental Numbers: 65
Wikia Page
Brett
Incidental Numbers: 67
Other Aliases: Jimmy
Wikia Page
Harris
Incidental Numbers: 73, 73KID, CM14, FG1
Debunked Names: Paco
Wikia Page
Mable?
Incidental Numbers: 82, PM6
Other Aliases: Oma (GERMAN)
Wikia Page
Mabel?
Incidental Numbers: 84, PM26
Wikia Page
Mary
Incidental Numbers: 87
Wikia Page
Dennis
Incidental Numbers: 92
Wikia Page
Miss Shell
Incidental Numbers: 93
Wikia Page
Victoria Ellen
Incidental Numbers: 94, PM20
Wikia Page
Timmy
Incidental Numbers: 103
Other Aliases: Billy, Tommy, Monroe
Wikia Page
Gale
Incidental Numbers: 104
Wikia Page
Frank
Incidental Numbers: 105
Wikia Page
Pilar
Incidental Numbers: 106
Wikia Page
Steve
Incidental Numbers: 107
Other Aliases: Frankie, Billy, Monica (F)
Wikia Page
Dale
Incidental Numbers: 108
Wikia Page
Lenny
Incidental Numbers: 114
Wikia Page
Monica
Incidental Numbers: 115
Other Aliases: Jill, Mabel
Wikia Page
Dr. Gilliam
Incidental Numbers: x
Other Aliases: Dr. Gill
Wikia Page
Officers Dorado, Slugfish, and Johnson
Incidental Numbers: 118
Notes: This one is also tricky because all the colored ones have different names.
Wikia Page
O’Malley
Incidental Numbers: 118B
Other Aliases: Officer Nancy
Wikia Page
The Con Man
Incidental Numbers: 118C
Wikia Page
The Janitor
Incidental Numbers: 119
Wikia Page
Lisa
Incidental Numbers: 150, PM3
Wikia Page
Tyler
Incidental Numbers: 151
Wikia Page
Billy (Billy B on this blog)
Incidental Numbers: 152, PM2
Wikia Page
Susie
Incidental Numbers: 153
Other Aliases: Sissy
Wikia Page
Norton
Incidental Numbers: 154
Wikia Page
The Lifeguard
Incidental Numbers: 155
Other Aliases: Frank
Wikia Page
Billy (Billy C on this blog)
Incidental Numbers: 158
Wikia Page
Ryan
Incidental Numbers: 160
Other Aliases: Timmy
Wikia Page
Helen the Felon
Incidental Numbers: 173
Wikia Page
What Zit Tooya
Incidental Numbers: 178, FG8
Other Aliases: Mystery Man
Wikia Page
Richard
Incidental Numbers: 189
Debunked Names: The Hash-Slinging Slasher
Wikia Page
Fanon Named
These ones are named by fanon but the YT channel agrees with them.
Medly
Incidental Numbers: 13, PM9
Wikia Page
Phil
Incidental Numbers: 28
Wikia Page
Nazz-Mimi
Incidental Numbers: 46
Wikia Page
Norma
Incidental Numbers: 49
Other Aliases: Nurse Rechid
Wikia Page
Nathiel
Incidental Numbers: 60, PM1
Wikia Page
#spongebob squarepants#long post#this took a while to complie but here's what i got#background characters#all incidentals#didnt include the ones not numbered#personal tags:#el:high#op plz nerf
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the degree to which cashiering is just pretending to be a person is wild like im looking at it and i really do have basically a full-on NPC vibe going
interactions begin and end the same way, any number of variants on the opening just lead to one of a few trees (ringing up items, fetching items from near, from far, or finding items) with a few new branches as it goes on (different store offers/policies) with a few somewhat deeply hidden bits of unique dialogue.
and even those are pretty repetitive! someone’s buying their fantasy football guide for the year? recommend they draft at least one receiver from the Browns despite the way the team may not be forecasted to be very good. buying D&D? tell them about that one post where someone using an online dice generator accidentally rolled a 1d201 and got a nat 1. buying 1984? recommend Kafka instead. buying gun magazines? marvel at largeness of rifle on cover, perhaps offer some firearms trivia or a recommendation of a recent issue of a magazine we sell, commiserate over strict New York gun laws. buying literally any book about gender? tell them to read Butler. psychology? Anti-Oedipus. psychiatry? Anti-Oedipus. Freud? Lacan? Social theory? Philosophy? Literary Criticism? Yes, Anti-Oedipus.
like again and again and again these interactions stack up and all the cumulative “have a nice days” and the image of the individual as related to consumption and how the vast, near-infinite range of possibility of interaction with the commodity-structure in schizoanalytic approaches to the commodification of identity itself can be reduced to so few signifiers is just...the myth of the individual is itself an intellectual commodity being sold and traded by The Economist and writers like Jordan B Peterson and so many fucking other assholes who deny the potential for univocality, who act as if the experience of individual subjectivity in America is based upon a subject held together by trauma, that the founding act of America is anything other than genocide, that it is not in being free from trauma but simply freer to express it that the most privileged of subjects are recognized.
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Nina Golgowski at HuffPost:
Aretha Franklin, the undisputed “Queen of Soul” whose powerhouse vocal cords revolutionized American music and made her one of the top-selling female musicians of all time, has died at age 76, her publicist told The Associated Press on Thursday.
BREAKING: Publicist for Aretha Franklin says the Queen of Soul died Thursday at her home in Detroit.
— The Associated Press (@AP) August 16, 2018
The cause of death was advanced pancreatic cancer, her oncologist confirmed to the AP.
“In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart. We have lost the matriarch and rock of our family,” Franklin’s family said in a statement.
News of her death comes on the heels of several reports of Franklin being “seriously” unwell. Friends of the singer said Monday that Franklin was “gravely ill” and “asking for prayers.”
Rumors surrounding her health have followed Franklin in recent years, including concerns that she had cancer, which she denied in 2011. She performed at the Elton John AIDS Foundation gala in New York City last November and had lost a noticeable amount of weight. She canceled several shows in 2017 and 2018 for health reasons, including a headlining gig at New Orleans’ Jazz Fest in April. Franklin’s management said at the time that the singer’s doctor had ordered her to “stay off the road and rest completely.”
The 18-time Grammy winner, who got her start singing gospel as a child, transcended music categories — R&B, pop, jazz, disco and blues — during her six decades as a recording artist.
Her Top 10 hits included ”(You Make Me Feel Like) A Natural Woman,” “Think,” “I Say a Little Prayer,” “Chain of Fools,” and most famously her signature rendition of Otis Redding’s “Respect,” which became a rallying cry for strong, independent women and black empowerment during the civil rights era.
“There are artists, there are stars, but there are very, very few we know will be a part of history forever,” Franklin’s longtime music collaborator, Clive Davis, told HuffPost in April 2017. “And her talent, her voice will be studied and appreciated forever.”
In addition to being a cultural icon ― not just in music, but in human rights and even fashion ― Franklin, who was ranked by Rolling Stone as the greatest singer of all time, was one of the most honored singers of the 20th century and 21st century.
She was the first woman inducted into the Rock & Roll Hall of Fame in 1987 and received a Presidential Medal of Freedom, the highest U.S. civilian honor, in 2005. She was invited to perform at the inaugurations for Presidents Bill Clinton and Barack Obama.
Her 2009 performance at Obama’s inauguration ― where she wore a spectacular jeweled hat ― was one of several shows she performed for the first couple during Obama’s two terms in the White House. She would also perform the classic “A Natural Woman” at the 2015 Kennedy Center Honors. Obama appeared to wipe away tears as she brought the house to a standing ovation.
Born March 25, 1942, to a Baptist minister and a gospel singer, Franklin first started singing at her father’s church as a child with her two sisters.
Her father, the late Rev. C.L. Franklin, was a celebrity in his own right. His fiery sermons packed the pews and attracted a range of musical talent to the Detroit home where Franklin grew up. There, the Franklin children were exposed to the likes of Nat King Cole, Art Tatum, Mahalia Jackson, Sam Cooke and Oscar Peterson, as Franklin fondly recalled to NPR’s Terry Gross in 1999.
In later years, the Franklins became close to the Rev. Martin Luther King Jr., with C.L. helping to spearhead civil rights demonstrations, including Detroit’s Freedom March in 1963.
Franklin’s music career kicked off at age 14, when she recorded her first studio album, “Songs of Faith,” in 1956. While touring with her father, by then her manager, she gave birth to her first child. Two years later, she gave birth to the second of what would be four children.
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In 1960, she signed with Columbia Records, where she released her first Top 40 hit, ”Rock-A-Bye Your Baby With a Dixie Melody.”
Her signing with Columbia was monumental, helping her to transition from gospel to mainstream music. Yet it wasn’t until after her contract ended in 1966 that her career took off, with Franklin signing to Atlantic Records.
John Hammond, who produced Franklin’s nine albums with Columbia, remarked on that move upon her induction into the Rock & Roll Hall of Fame: “I cherish the albums we made together, but Columbia was a white company who misunderstood her genius,” he said.
Franklin produced 19 albums for Atlantic over 12 years, and she exploded at the top of the charts with many of the soulful classics she’s best known for today.
In her autobiography, Franklin credited the label, and music producer Jerry Wexler, with granting her free rein in regard to her music, which led to her chart-topping success.
“Jerry handled all the technical aspects and made sure I put my personal stamp on these songs,” she wrote. “Atlantic provided TLC — tender loving care — in a way that made me feel secure and comfortable. ... Putting me back on piano helped Aretha-ize the new music. The enthusiasm and camaraderie in the studio were terrific, like nothing I had experienced at Columbia. This new Aretha music was raw and real and so much more myself. I loved it!”
The 1970s saw her win six Grammys and release a variety of diverse live albums, which included a return to gospel with her double platinum selling album “Amazing Grace.”
In the ‘80s, she signed with Clive Davis’ label, Arista Records, where she knocked out a range of tunes from dance music to pop ― notably her 1987 Grammy-winning single with George Michael, “I Knew You Were Waiting (For Me).” Her 23-year partnership with Arista Records, which lasted until 2003, was the longest in her recording career.
She went on to receive her 18th Grammy in 2007 for her duet “Never Gonna Break My Faith” with Mary J. Blige.
Her last album, “Aretha Franklin Sings the Great Diva Classics,” was released in 2014 on RCA, and marked her first major-label album in 13 years.
In January, it was revealed that Franklin had chosen Grammy- and Oscar-winning singer and actress Jennifer Hudson to portray her in an upcoming biopic.
Production had stalled on the film due to negotiations, but Franklin was anticipating moving forward with the project.
“It’s been a long, long haul, but I think we’re right at it now,” she told HuffPost while celebrating her 74th birthday in New York City in 2016. “We’re gonna go forward with it.”
Regardless of the biopic’s status, Franklin’s place in the nation’s cultural landscape is secure.
“Nobody embodies more fully the connection between the African-American spiritual, the blues, R&B, rock and roll — the way that hardship and sorrow were transformed into something full of beauty and vitality and hope,” Obama told The New Yorker in 2016. “American history wells up when Aretha sings.”
Franklin is survived by her four sons ― Clarence Franklin, Edward Franklin, Ted White Jr. and Kecalf Cunningham ― and several grandchildren.
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Interview with José James
We had the pleasure of interviewing José James over Zoom video! Out now, the jazz voice of the hip hop generation José James (Rainbow Blonde Records) releases his first ever Christmas album Merry Christmas from José James. In addition to the album release, José also premieres the official performance video for the original track "Christmas in New York" today. The contemporary album celebrates the holiday season while honoring classic jazz and pop records of the 1950s. Combining the classic jazz-crooner elegance of Frank Sinatra and Nat “King” Cole with the earthy sophistication of soul legends Stevie Wonder and Donny Hathaway, the ten track Merry Christmas from José James takes listeners on a world-class holiday experience from one of the greatest living voices in jazz. Listeners can find two original tracks, “Christmas in New York” and “Christmas Day” along with popular ballads such as “The Christmas Song,” “White Christmas,” “Let it Snow” and “This Christmas,” a modern twist on the Donny Hathaway holiday favorite. In James' version, he musically brings an aspect of R&B and hip-hop to the mostly Jazz collection. Songwriting for the project was spearheaded by José James and his partner, recently Grammy nominated Talia Billig. The album’s studio band features Grammy winning and nominated all stars Ben Williams (bass), Aaron Parks(piano), Jharis Yokley (drums) and Marcus Strickland (soprano saxophone). Produced by José James and Brian Bender and recorded by Ariel Shafir at Dreamland Studios, the album was mastered by Frank Arkwright at Abbey Road Studios. The session was recorded completely live on 2” tape and mixed in LCR (left-center-right) by Brian Bender at Motherbrain West. “It’s the perfect album to put on whenever there’s a certain spirit in the air,” James says. “I hope that people can feel a little bit of the joy and the wonder, year round, that 8-year-old José felt, not only about Christmas and all the obvious things—the ornaments, the tree, the holiday season—but also the music,” he continued. A 13 date tour to support the album will launch at SF Jazz in San Francisco on November 27th and conclude at New York’s City Winery on December 14th. Stops also include Seattle, Portland, Santa Cruz, LA, Phoenix, Santa Fe, Minneapolis and Chicago. (All tour dates listed below). About José James James, a Minneapolis, MN native who spent most of his career in New York, was discovered by Gilles Peterson in London before his major label debut with Blue Note Records. He has produced and written 11 albums covering the best of jazz, pop, hip-hop and R&B. In 2017, José made his screen debut with a performing role in Fifty Shades Darker. He now lives in Amsterdam with Talia Billig, his partner and Grammy nominated songwriter. We want to hear from you! Please email [email protected]. www.BringinitBackwards.com #podcast #interview #bringinbackpod #joséJames #zoom Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! source https://www.spreaker.com/user/14706194/interview-with-jose-james
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Wild Wednesday 2/3
It’s Black History Month, so tonight’s sets honored that by featuring some of the greatest black musicians of all time.
Exposure:
Bad Brains - Secret 77 Chuck Berry - Johnny B. Goode Jimi Hendrix - Machine Gun - Live At Filmore East, 1970 / 50th Anniversary Fishbone - Gittin' in That Ass Lenny Kravitz - Fly Away Little Richard - Dock of the Bay TV On The Radio - DLZ Fishbone - Lemon Meringue Chuck Berry - No Particular Place To Go Jimi Hendrix - Power of Soul Bad Brains - Soul Craft Lenny Kravitz - American Woman Chuck Berry - Move It Nat’s Jazz:
Gil Scott-Heron - Lady Day and John Coltrane James Brown - Night Train Herbie Mann - Hi-Jack Dizzy Gillespie - Caravan Louis Armstrong - Skokiaan (South African Song) Duke Ellington - In A Sentimental Mood Count Basie - Cherry Point King Curtis - Memphis Soul Stew Jelly Roll Morton's Hot Seven - Panama Ella Fitzgerald - Dream A Little Dream Of Me - Single Version Dizzy Gillespie - St. Louis Blues Duke Ellington - The Single Petal Of A Rose - The Queen's Suite Miles Davis - Rubberband Ella Fitzgerald - Flying Home James Brown - Funky Drummer Billie Holiday - All of Me (with Eddie Heywood & His Orchestra) Gil Scott-Heron - The Revolution Will Not Be Televised Duke Ellington - The Mooche John Coltrane - Blue Train - Remastered 2003 Dinah Washington - Evil Gal Blues Dizzy Gillespie - Bang Bang Jelly Roll Morton - King Porter Stomp Wes Montgomery - Fly Me To The Moon Ray Charles - What'd I Say, Pt. 1 & 2 George Benson - Tequila Oscar Peterson Trio - C Jam Blues Billie Holiday - Gimme A Pigfoot And A Bottle Of Beer - Single Version Milt Jackson - Stablemates (Take 2) Louis Armstrong - Sittin' In The Sun
Sphynx Jazz:
Count Basie - Basie Beat Ella Fitzgerald - A-Tisket, A-Tasket Dizzy Gillespie - Manteca - Live At Carnegie Hall / 1961 Wes Montgomery - I Say A Little Prayer For You Louis Armstrong - A Kiss To Build A Dream On - Single Version George Benson - On Broadway Dizzy Gillespie - A Night In Tunisia Oscar Peterson - Mumbles Count Basie - April In Paris Billie Holiday - Crazy He Calls Me - Single Version Duke Ellington - Take the "A" Train Louis Armstrong - The Dummy Song George Benson - I Want to Hold Your Hand Wes Montgomery - Yesterday The Jungle Band - Mood Indigo Ray Charles - I've Got a Woman
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A Listener’s Journal #24: The Jazz Piano Trio in the 1950s, Pt. 3: Monk in Context
I started this (probably) three part series thinking about how Bud Powell, Oscar Peterson, Errol Garner, and Ahmad Jamal (and, Nat King Cole, I was reminded after the fact) helped create the piano/bass/drums but sometimes early on guitar trio as a fixture in jazz. Art Tatum's virtuosity and embellishment was an influence as these players built a repertoire around the Great American Songbook.
Part 2 looked at Miles's '50s pianists--Red Garland, Wynton Kelly, and Bill Evans with Ahmad Jamal's space and taste as formative on Miles and influential on these players.
Now, I happily think about Thelonious Monk again, in relation to his friends Bud Powell and Elmo Hope along with the under appreciated Herbie Nichols. These are composers, mostly, and I'll focus on Powell's "Un Poco Loco," Hope's "B's a Plenty," and Nichol's "Shuffle Montgomery." The Monk trio work includes his original Blue Note 10" recordings recently rereleased, a '65 Columbia date, and two anomalous Riverside discs, one devoted to Ellington tunes and the other of standards. The anomalies are chances to explore just how he conceived of tunes, the de/re- construction of standards sheds light on the ones he built himself.
Monk's compositional logic is one of the more immediate rewards of my "listener's piano" exercises which I've reinitiated after a hiatus that began in the summer. I have been playing much more guitar, in part spurred on by what I had been doing with the piano. I return to the keyboard with a clearer sense on how to learn music. "Well You Needn't" was where I started with an A part modulating from F6 to Gfl 6 with a nifty little repeated figure and a bridge with a figure that moves in half steps from G7 to B7 and back down. I want to return to "Misterioso" which similarly takes a pattern up and down by steps to reinforce my wonder at the sheer logic of Monk's music, It sounded so fresh, so magical, and so unlike anyone else, that it is a revelation to have even a small sense of how it works. And how it works is as fascinatingly logical as JS Bach; making my theloniousbach sobriquet even more appropriate than I imagined.
But, it's equally true that Monk didn't exist in a vacuum--and listening to him in relation to these comrades has suggested some context.
Bud Powell is a giant, a mighty improviser who stood his ground with Charlie Parker. A subsequent Listener's Journal with think about those two with Milt Jackson and Clifford Brown as consummate players (it will be hard to resist calling it "Bird, Bud, Bags, and Brownine"). He plays more covers than the others as he gobbles up improvisational vehicles. But, his "Un Poco Loco" has a Latin rhythmic feel and Monkish angularity. It's busier than Monk (nearly everybody is. Monk can and does play, but his genius is that he's brave enough to let his compositions stand in their stark simplicity.), but it is nicely off kilter and of course he has a flurry of ideas about what to do with it. Powell was Monk's friend and honored by the contrefactual of "Blue Skies," "In Walked Bud." They were bebop veterans together, peers.
Elmo Hope was friends with both of them and can be seen as a synthesis of both of them. That is, he is a fluid, adept player who deftly incorporates Monk's wonderful angles and discords. He bears serious attention and I have welcomed this opportunity to listen to him closely in this context. His "B's a Plenty" kicks off his self-titled album. It's a jaunty bit of virtuosity, a prime example of being the proud little brother of Monk and Powell. That would be enough except the wonderful little shards of phrases of at least "In Walked Bud" which perfectly makes the point. It's busier than Monk, but then it's supposed to be. It's also more than just Bud Powell lite. His fluidity, invention, and skill deserve their own attention.
Finally, there's the even more undersung Herbie Nichols who came to my attention years ago in AB Spellman's Four Lives in the Bebop Business. Just as in this context, he was lesser known than Ornette Coleman, Cecil Taylor, and Jackie McLean. His portrayal of Coleman as fiercely innocent was formative and Taylor's equally fierce intelligence was vivid. McLean probably had the most contemporary success yet had that snatched from his too. Nichols though was perhaps the most tragic figure. He played the gigs he could, never quite in the mainstream (or perhaps they were too mainstream and old-fashioned). In any case, his curious (and quite wonderful compositions) never got their due. There are 4 Blue Note discs, but these tunes really didn't get played until Rosewell Rudd, Steve Lacy, and thenBen Allison and Frank Kimbrough (who in 2018 also did a wonderful survey of all 70 Monk compositions with Scott Robinson, Rufus Reid, and Billy Drummond) did a couple of albums with a quintet as the Herbie Nichols Project which also incorporated manuscripts that were never even recorded. The exception that proves the rule is that Nichol's wrote the signature Billie Holiday song "Lady Sings the Blues."
Nichols is a thoughtful composer who creates nifty little puzzles to work through. They are smart but not simply head trips. "2300 Skidoo" and, for my purposes, "Shuffle Montgomery" have catchy but quirky melodies that sneak up on the listener. He's a fine player and these albums are appealing, but the emphasis is on the compositions. Monk recorded several versions of his tunes and that made the individual performances interesting as we got to compare sax players (oh what sax players), arrangements, rhythm sections. If Monk had only been able to record one version of his tunes, we'd delight in them as compositions and wonder at the piano technique behind them. Nichols isn't nearly as idiosyncratic as Monk as both pianist and composer, but, insofar as I think I know the dancer from the dance, in Nichol's it's the compositions. But those are way more than enough to seek out these recordings on their own and in worthy juxtaposition to Powell, Hope, and Monk himself.
The piano trio came of age in the 1950s. Getting to listen to all of these players chronicled in these three linked essays have secured them in my regular attention in this defiinitive idiom.
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News & interesting tips on POS Hardware & Point of Sale.
After near-complete obscurity, the oldest wines in documented history are making a comeback. Called amber wines in the country of Georgia, where they originated eight thousand years ago, orange wines, as they are often called today, are moving into some of Texas’s hottest new restaurants and wine bars. A handful of Texan wineries are even making them now.
At Bar & Garden Dallas, managing partner Julie Buckner Lane says she has seen a “steady influx of interest” in orange wine, particularly after it was featured in season two of Netflix’s Dead to Me, a dark comedy centered on two women who tank up on wine. A neighbor comes over with a bottle, and Jen, the tragicomedy’s irascible main character, responds: “What the f— is orange wine?”
To answer a question commonly asked at Bar & Garden, orange wine isn’t made from oranges. It’s simply white wine made in the manner of red wine—meaning the grapes are fermented with the skins on. They are sometimes orangish in hue, but they can also resemble a pale white wine, a rosé, or a scotch whiskey. They can be cloudy or clear; bone dry, sour, or floral. A few sparkle like a pét-nat. The term most commonly used to describe them, though, is versatile. In recent years, some of Texas’s more avant-garde restaurants and bars have started including them on wine lists.
Bujar Yuri Tukuli, the lead sommelier at Monarch, a new, ultra-swanky Italian restaurant in downtown Dallas, touts orange wines as having the “perfect profile if you’re tired of [drinking] red and white.” They can complement the flavors of most any type of cuisine, and he considers them to be the best wine pairing for Texas barbecue. Fuller orange wines with tannins, which add astringency and bitterness, contrast well with smoky meats and don’t overpower the main show with the jammy fruit of a red. The most important thing when enjoying these wines, Tukuli says, is to serve them slightly chilled—at 55 to 57 degrees, to be exact.
Tukuli has tasted over 1,500 orange wines in the past two years, including in Georgia, the birthplace of minimal-intervention winemaking, with around 100,000 wineries still existing today. Since 2015, consulting agency Marq Wine Group has collaborated with Georgian winemakers to help them expand their reach into U.S. markets. Managing partner Julie Peterson says distribution of Georgian wines has sustainably grown year after year as more Americans seek them out.
The reality, however, is that orange wines can take time to get used to���an acquired taste, perhaps. Wine writer Richard Betts wrote “Why Tecate Is Greater Than Orange Wine” for Forbes in 2013, in which he blasts the wines for resembling kombucha (it’s true). He walked away from his time in Friuli, Italy, where the style was revived in the ’90s, “feeling as though we could make those exact same orange wines in Texas. . . . Terroir be damned.” (I’ll go ahead and assume Betts hadn’t visited any Texas wineries when he wrote that dismissive line.) Another wine blogger, Ron Washam, calls orange wine the Kardashians of wine. “Please, just quietly die,” he writes.
But orange wines are not dying. Today in Texas, Vincent Henderson of Austin-based Henderson Selections supplies around forty orange wines to restaurants and bars throughout the state, which is about 3 percent of his total portfolio. He says he “does and doesn’t like them,” in part because they are hard to categorize— “they’re all from different places and taste radically different,” he says.
After pouring me a taste of a skin-fermented grüner veltliner from Wachau, Austria, he asks what I think. “I could drink a glass, but not a bottle,” I answer. “You’ve got the title of your article right there,” he jokes.
Henderson says orange wines have been trending for some time in Austin, and they’re even catching on in Marfa. He has no qualms about being quoted as saying that “Dallas is still buying boring, brand-name wine,” but Houston is “out-punching their weight” in selling orange wines.
The traction in Houston may be due to restaurants like Nancy’s Hustle, which landed on Esquire’s and Thrillist’s lists of best new restaurants in 2018. Nancy’s Hustle co-owner Sean Jensen has had at least three skin-contact wines on the menu since the restaurant’s inception in late 2017, and currently, there are two by-the-glass options along with nine bottles. Jensen includes these wines because “they are delicious and incredibly versatile for pairing with our menu.”
In Fredericksburg, Otto’s German Bistro and La Bergerie wine bar have also sold orange wines since opening in 2013 and 2017, respectively. Paula Rester Salinas, beverage director for Side Street Hospitality, which owns the two establishments, says it’s always acceptable to pour a taste when introducing orange wines, and they’re easiest to sell and explain when they have their own category on menus.
Salinas says sometimes there are issues with availability complicated by worldwide shipping issues, so they look to domestic producers instead, like Southold Farm + Cellar, a winery that moved from the North Fork of Long Island to Gillespie County, Texas, in 2017 and has been using 100 percent Texas grapes ever since. Southold’s co-owner, Regan Meador, says skin-contact whites are some of their most popular wines, and in recent years, Southold has at least doubled their production. They are presently sold out of all but one.
Meador doesn’t ever expect orange wines to become as mainstream as pinot grigio, and he kind of hopes they don’t—“I am not really a fan of any wine on that larger level of production. Essentially those things are made so people don’t have to think about what they’re drinking. Skin-contact whites force people to do the opposite—they’re much more cerebral,” he says.
Large producers are moving into the Texas market now. Gérard Bertrand, one of the biggest biodynamic wineries in the world, with more than three hundred wines in 171 countries, is in the process of launching the Orange Gold, a blend of seven grapes, mainly from the Mediterranean, fermented with skins on. It will be in Central Market and select H-E-B locations by this summer, says a company spokesperson. The winemaker’s notes describe the wine as having “an explosion of white-flower notes, candied fruits, and white pepper” on the nose, with a long finish that leaves a “delicate, bitter tip to stimulate the taste buds.” As Orange Gold hits grocery shelves across the state, Texans will soon be able to discover the taste explosion for themselves.
Waco-based wine distributor David Mayfield sees the growth of orange wines as “consumer-driven.” When he launched his business in 2012 and started importing orange wines, a lot of restaurant and bar owners echoed a common refrain: “It’s interesting, but I don’t think my customers will like it.” Now, he says the same wines that once sat on the shelf for being too expensive at $28 a bottle are selling out at $38 and up. “They sell basically on arrival,” he says.
Before dropping that much cash, folks new to orange wine might try the Lunaria Ramoro Pinot Grigio, available at most Central Markets for $16. It’s an Italian, skin-fermented pinot grigio, and tastes much like a rosé, with a note at the end that’s almost guaranteed to leave you saying aloud, “Hmm, interesting.” In establishments around the state that have started backing orange wine, look for the Nine Oaks Rkatsiteli. It’s a classic amber wine produced in Khaketi, Georgia’s biggest wine region, and it’s made with traditional methods using the country’s most popular white grape, the rkatsiteli.
As a Dallas-based wine-chugger who first discovered orange wine four years ago while visiting D.C., it does sometimes feel like I’m in a city with a lot of “boring, brand-name wine.” But the times, they are a-changin’. Texas has the terroir (critics be damned), the consumer-driven interest, and the restaurant wine lists to give oenophiles something to try when they’re tired of red and white and need something to go with the barbecue.
This article was first published here.
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CC Blogger - New Arrivals @ Collectors Corner : Wednesday - 8/28/19
Complete list of items shipping to the stores, some items may be limited in availability. If you see anything you want to purchase on the list and are not a subscription member at Collectors Corner, just contact us and let us know if you want an item held at the stores. email - [email protected]
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NEW ARRIVALS : WEDNESDAY - 8/28/19
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COMIC SHOP NEWS Comic Shop News #1680, AR
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Do you remember "Truth in advertising"? This series is kicking that off its inside-joke throne with style. An updated look at the world of making commercials, warts and all.
Community Films’ directorial collective JEAN and director Pam Thomas have joined forces to create “Commercials”, a comedic web series about the humorous, ego crushing, overanalyzed silliness that plagues the world of commercial film making and everyone involved.
“As Commercial directors and former advertising creatives, we’ve experienced hundreds of completely ridiculous moments during productions where we looked at each other and said, ‘this needs to be a show,’” says Natalie Prisco of JEAN.
Seizing on the seemingly important, but altogether ridiculous scenarios that inherently go along with making commercials, “Commercials” peels back the curtain on an industry that everyone is familiar with, but very few know much about.
“The world of commercial making is such a unique industry that feels so ripe for satire,” says Eric Eckelman of JEAN
Told from the unique point of view of an eccentric group of egomaniacal, yet wildly insecure commercial directors and their production company, Bird Films, “Commercials” satirizes the world of production as The Office did the world of 9-5ers.
Each episode gives a glimpse into the various aspects of commercial making and stages of production, leaving nobody unskewered in the process.
“We’d love Commercials to give viewers a sneak peek into what we love so much about our business and hope they find it as hilarious and fun as we do,” says Pam Thomas.
“We’re thrilled we finally decided to make that show,” adds Armand Prisco of Jean.
Episode 101: ‘ETHNICALLY AMBIGUOUS’
Nate, Maggie and the agency team try to figure out how to navigate an unexpected client request. This one feels as real as it gets, this happens. A lot.
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Episode 102: ‘REALLY GREAT MEETING’
Nate and Jay may or may not have totally nailed their Snackyz presentation. Or maybe not. Maybe.
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Episode 103: ‘MANTRUM’
TRUE STORY - the last time I heard a story about a director locked in a car delaying the shoot, he was also eating bowls of cereal in there. Nate uses the oldest trick in the book to lure the out of his mind director Axel Roundhouse back to set.
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Episode 104: ‘FULL CLOCKS’
Directing team Tom and Dave learn the art of the full clock.
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Episode 105: ‘GUYS AND DOLLS’
A seemingly mundane Pre-Production meeting goes off the rails.
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About JEAN
JEAN, pronounced like the pants that are made of denim, is comprised of Eric Eckelman, Armand Prisco and Natalie Prisco. Known for their comedy chops, and pulling believably odd performances out of their actors, they have created comedy-driven work for Lifetime, Delta, Pizza Hut, AT&T, Honda, TBS and Visa. Armand & Nat got their start working as a creative team at McCann before they went over to write and direct for MTV. There, they met Eric who was also a writer and director for the acclaimed network.
About Pam Thomas
Pam Thomas began her career at MTV, back when it was cool, in the late 1980s, writing and directing promos in the On-Air Promotions Department. Pam has worked with dozens of brands and agencies to produce a huge body of work, including spots for Gatorade, Nike, Visa, AMEX, Payless, Lexus, Wal-Mart, Dove, Verizon, Cheerios, Pantene and Cotton featuring celebrities Zooey Deschanel, Kate Bosworth, Emmy Rossum, and Hayden Panetierre. Pam’s style of work portrays an essence of glamour, fashion and creativity. Her sense of humor and knack for getting great performances, is evident in her TV work on Sex and the City and Desperate Housewives and more recently on the Netflix series Atypical with Jennifer Jason Leigh and Michael Rappaport.
COMMERCIALS CREDITS
ETHNICALLY AMBIGUOUS
Directed by JEAN
Written by Natalie Prisco
Story by JEAN
Created by JEAN and Pam Thomas
Production Company: Community Films
Executive Producer: Lizzie Schwartz
Executive Producer: Carl Swan
Producer: Tony Cantale
Director of Photography: Neil Shapiro
CAST
Nate Young: Nate Lang
Maggie Cheng: Ana Parsons
Ashley: Ali Hillis
DK: DK Uzoukwu
Agency Producer: Brent Popolizio
Head Client” Rebecca Tilney
AD: Sam Carsons
EA Woman: Rachel Varela
Editor: Angela Cheng
Production Designer: Jace Ford
Original Score: Jay Lifton
Casting Director: Chad McKnight
Casting Assistant: Rachel Varela
Re-Recording Engineer: Robin Buyer for Pulse Music
Colorist: Quinn Alvarez
First AD: Julianne Maiello
Second AD: Aban Sonia
Script Supervisor: Lucia Pier
Production Supervisor: Andrea Tello
Production Coordinator: Kathy Burnham
Art Director: Chad Bailey
Leadman: John Horlick
Set Decorator: Marisa Collins
Prop Master: Greg Schultz
Set Dresser: Marty McCue
Costume Designer: Julie Vogel
Key Costumer: Kristin Hazen
Costumer: Ariel Kostrzewski
Key Make Up: Brenna Bash
Make Up Assistant: Laura Connelly
Camera Operator: Bill Robinson
First AC / A Camera: Diona Mavis
First AC / B Camera: Jason Kinney
Second AC: Austin Pedroni
DIT: Lee Summer
Gaffer: Tim Stratton
Key Grip: Marco Pearson
Sound Mixer: Scott Farr
Boom: Jason Brooks
VTR: Mike Waters
Key PA: Francisco Hernandez
Production Assistant: Scott Belsky
Production Assistant: Patrick McElroy
Production Assistant: Scott Kukla
Production Assistant: Phoebe MacCurrach
Production Assistant: Jeremy Meizlish
Production Assistant: Tony Paoli
Production Assistant: Ted Sheahan
Special Thanks
House Casting
Cosmo Street Editorial
Pulse Music
Apache
REALLY GREAT MEETING
Directed by JEAN
Written by Natalie Prisco
Story by JEAN
Created by JEAN and Pam Thomas
Production Company: Community Films
Executive Producer: Lizzie Schwartz
Executive Producer: Carl Swan
Producer: Tony Cantale
Director of Photography: Neil Shapiro
CAST
Nate Young: Nate Lang
Jay Beck: Bo Barrett
Agency Producer: Katie Von Til
Creative #1: Rich Pierre Louis
Creative #2: Dalton Leeb
Editor: Angela Cheng
Production Designer: Jace Ford
Original Score: Jay Lifton
Casting Director: Chad McKnight
Casting Assistant: Rachel Varela
Re-Recording Engineer: Robin Buyer for Pulse Music
Colorist: Quinn Alvarez
First AD: Julianne Maiello
Second AD: Aban Sonia
Script Supervisor: Lucia Pier
Production Supervisor: Andrea Tello
Production Coordinator: Kathy Burnham
Art Director: Chad Bailey
Leadman: John Horlick
Set Decorator: Marisa Collins
Prop Master: Greg Schultz
Set Dresser: Marty McCue
Costume Designer: Julie Vogel
Key Costumer: Kristin Hazen
Costumer: Ariel Kostrzewski
Key Make Up: Brenna Bash
Make Up Assistant: Laura Connelly
Camera Operator: Bill Robinson
First AC / A Camera: Diona Mavis
First AC / B Camera: Jason Kinney
Second AC: Austin Pedroni
DIT: Lee Summer
Gaffer: Tim Stratton
Key Grip: Marco Pearson
Sound Mixer: Scott Farr
Boom: Jason Brooks
VTR: Mike Waters
Key PA: Francisco Hernandez
Production Assistant: Scott Belsky
Production Assistant: Patrick McElroy
Production Assistant: Scott Kukla
Production Assistant: Phoebe MacCurrach
Production Assistant: Jeremy Meizlish
Production Assistant: Tony Paoli
Production Assistant: Ted Sheahan
Special Thanks
House Casting
Cosmo Street Editorial
Pulse Music
Apache
MANTRUM
Directed by Pam Thomas
Written by Lloyd Stein
Story by Lloyd Stein
Created by JEAN and Pam Thomas
Production Company: Community Films
Executive Producer: Lizzie Schwartz
Executive Producer: Carl Swan
Producer: Tony Cantale
Director of Photography: Neil Shapiro
CAST
Nate Young: Nate Lang
Tom: Adam Silver
Dave: Ken C Peterson
Agency Producer: Olivia Herman
AD: Sam Carsons
Actor #1: Christal Deloney
Actor #2: Casey Alexander
Editor: Angela Cheng
Production Designer: Jace Ford
Original Score: Jay Lifton
Casting Director: Chad McKnight
Casting Assistant: Rachel Varela
Re-Recording Engineer: Robin Buyer for Pulse Music
Colorist: Quinn Alvarez
First AD: Julianne Maiello
Second AD: Aban Sonia
Script Supervisor: Lucia Pier
Production Supervisor: Andrea Tello
Production Coordinator: Kathy Burnham
Art Director: Chad Bailey
Leadman: John Horlick
Set Decorator: Marisa Collins
Prop Master: Greg Schultz
Set Dresser: Marty McCue
Costume Designer: Julie Vogel
Key Costumer: Kristin Hazen
Costumer: Ariel Kostrzewski
Key Make Up: Brenna Bash
Make Up Assistant: Laura Connelly
Camera Operator: Bill Robinson
First AC / A Camera: Diona Mavis
First AC / B Camera: Jason Kinney
Second AC: Austin Pedroni
DIT: Lee Summer
Gaffer:Tim Stratton
Key Grip: Marco Pearson
Sound Mixer: Scott Farr
Boom: Jason Brooks
VTR: Mike Waters
Key PA: Francisco Hernandez
Production Assistant: Scott Belsky
Production Assistant: Patrick McElroy
Production Assistant: Scott Kukla
Production Assistant: Phoebe MacCurrach
Production Assistant: Jeremy Meizlish
Production Assistant: Tony Paoli
Production Assistant: Ted Sheahan
Special Thanks
House Casting
Cosmo Street Editorial
Pulse Music
Apache
FULL CLOCKS
Directed by JEAN
Written by Natalie Prisco
Story by JEAN
Created by JEAN and Pam Thomas
Production Company: Community Films
Executive Producer: Lizzie Schwartz
Executive Producer: Carl Swan
Producer: Tony Cantale
Director of Photography: Neil Shapiro
CAST
Nate Young: Nate Lang
Tom: Adam Silver
Dave: Ken C Peterson
Agency Producer: Olivia Herman
AD: Sam Carsons
Actor #1: Christal Deloney
Actor #2: Casey Alexander
Editor: Angela Cheng
Production Designer: Jace Ford
Original Score: Jay Lifton
Casting Director: Chad McKnight
Casting Assistant: Rachel Varela
Re-Recording Engineer: Robin Buyer for Pulse Music
Colorist: Quinn Alvarez
First AD: Julianne Maiello
Second AD: Aban Sonia
Script Supervisor: Lucia Pier
Production Supervisor: Andrea Tello
Production Coordinator: Kathy Burnham
Art Director: Chad Bailey
Leadman: John Horlick
Set Decorator: Marisa Collins
Prop Master: Greg Schultz
Set Dresser: Marty McCue
Costume Designer: Julie Vogel
Key Costumer: Kristin Hazen
Costumer: Ariel Kostrzewski
Key Make Up: Brenna Bash
Make Up Assistant: Laura Connelly
Camera Operator: Bill Robinson
First AC / A Camera: Diona Mavis
First AC / B Camera: Jason Kinney
Second AC: Austin Pedroni
DIT: Lee Summer
Gaffer: Tim Stratton
Key Grip: Marco Pearson
Sound Mixer: Scott Farr
Boom: Jason Brooks
VTR: Mike Waters
Key PA: Francisco Hernandez
Production Assistant: Scott Belsky
Production Assistant: Patrick McElroy
Production Assistant: Scott Kukla
Production Assistant: Phoebe MacCurrach
Production Assistant: Jeremy Meizlish
Production Assistant: Tony Paoli
Production Assistant: Ted Sheahan
Special Thanks
House Casting
Cosmo Street Editorial
Pulse Music
Apache
GUYS AND DOLLS
Directed by JEAN
Written by Natalie Prisco
Story by JEAN
Created by JEAN and Pam Thomas
Production Company: Community Films
Executive Producer: Lizzie Schwartz
Executive Producer: Carl Swan
Producer: Tony Cantale
Director of Photography: Neil Shapiro
CAST
Nate Young: Nate Lang
Maggie Cheng: Ana Parsons
Male Client #1: David Lowe
Male Client #2: Ted Canon
Female Client #1: Jayne Entwistle
Female Client #2: Io Bottom
Editor: Angela Cheng
Production Designer: Jace Ford
Original Score: Jay Lifton
Casting Director: Chad McKnight
Casting Assistant: Rachel Varela
Re-Recording Engineer: Robin Buyer for Pulse Music
Colorist: Quinn Alvarez
First AD: Julianne Maiello
Second AD: Aban Sonia
Script Supervisor: Lucia Pier
Production Supervisor
Andrea Tello
Production Coordinator: Kathy Burnham
Art Director: Chad Bailey
Leadman: John Horlick
Set Decorator: Marisa Collins
Prop Master: Greg Schultz
Set Dresser: Marty McCue
Costume Designer: Julie Vogel
Key Costumer: Kristin Hazen
Costumer: Ariel Kostrzewski
Key Make Up: Brenna Bash
Make Up Assistant: Laura Connelly
Camera Operator: Bill Robinson
First AC / A Camera: Diona Mavis
First AC / B Camera: Jason Kinney
Second AC: Austin Pedroni
DIT: Lee Summer
Gaffer: Tim Stratton
Key Grip: Marco Pearson
Sound Mixer: Scott Farr
Boom: Jason Brooks
VTR: Mike Waters
Key PA: Francisco Hernandez
Production Assistant: Scott Belsky
Production Assistant: Patrick McElroy
Production Assistant: Scott Kukla
Production Assistant: Phoebe MacCurrach
Production Assistant: Jeremy Meizlish
Production Assistant: Tony Paoli
Production Assistant: Ted Sheahan
Special Thanks
House Casting
Cosmo Street Editorial
Pulse Music
Apache
BREAK ROOM
Directed by Pam Thomas
Written by Pam Thomas and Lloyd Stein
Story by Pam Thomas
Created by JEAN and Pam Thomas
Production Company: Community Films
Executive Producer: Lizzie Schwartz
Executive Producer: Carl Swan
Producer: Tony Cantale
Director of Photography: Neil Shapiro
CAST
Nate Young: Nate Lang
Tom: Adam Silver
Dave: Ken C Peterson
Agency Producer: Olivia Herman
AD: Sam Carsons
Actor #1: Christal Deloney
Actor #2: Casey Alexander
Editor: Angela Cheng
Production Designer: Jace Ford
Original Score: Jay Lifton
Casting Director: Chad McKnight
Casting Assistant: Rachel Varela
Re-Recording Engineer: Robin Buyer for Pulse Music
Colorist: Quinn Alvarez
First AD: Julianne Maiello
Second AD: Aban Sonia
Script Supervisor: Lucia Pier
Production Supervisor: Andrea Tello
Production Coordinator: Kathy Burnham
Art Director: Chad Bailey
Leadman: John Horlick
Set Decorator: Marisa Collins
Prop Master: Greg Schultz
Set Dresser: Marty McCue
Costume Designer: Julie Vogel
Key Costumer: Kristin Hazen
Costumer: Ariel Kostrzewski
Key Make Up: Brenna Bash
Make Up Assistant: Laura Connelly
Camera Operator: Bill Robinson
First AC / A Camera: Diona Mavis
First AC / B Camera: Jason Kinney
Second AC: Austin Pedroni
DIT: Lee Summer
Gaffer: Tim Stratton
Key Grip: Marco Pearson
Sound Mixer: Scott Farr
Boom: Jason Brooks
VTR: Mike Waters
Key PA: Francisco Hernandez
Production Assistant: Scott Belsky
Production Assistant: Patrick McElroy
Production Assistant: Scott Kukla
Production Assistant: Phoebe MacCurrach
Production Assistant: Jeremy Meizlish
Production Assistant: Tony Paoli
Production Assistant: Ted Sheahan
Special Thanks
House Casting
Cosmo Street Editorial
Pulse Music
Apache
United States
advertising jokes
advertising jokes
Uncategorized
self-promotion
humor
reality
-- via Adland
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(via https://www.youtube.com/watch?v=RdTep6HboME)
1. The Jumpin' Blues Jay McShann And His Orchestra: Bob Merril, Jesse Jones, William Hickman (tp), Nat Clayton, Al Morgan (tb), John Jackson, Rudolph Dennis (as), John Sparrow, Paul Quinichette (ts), Bradbury Taylor (bs), Jay McShann (pn), Gene Ramey (b), James Skinner (dm) - Los Angeles, 1944
2. Moten Swing Jay McShann's Kansas City Stompers: Oliver Todd (tp), Tommy Douglas (as), Clairborne Graves (ts), Jay McShann (pn), Efferge Ware (gt), Walter Page (b), Baby Lovett (dm), Kansas City, 1944
3. No Name Boogie Jay McShann And His Band: James Ross, Art Farmer (tp), Frank Sleets (as), Pete Peterson (ts), Milburn Newman (bs), Jay McShann (pn), Addison Farmer (b), Robert Brady (dm) - Los Angeles, 1948
4. Soft Winds Jay McShann And His Band: Vernon Smith (tp), Don Hill (as), Maxwell Davis (ts), Jay McShann (pn), Tiny Webb (gt), Ralph Hamilton (b), Jesse Sailes (dm) Los Angeles, 1949
5. Reach Jay McShann And His Orchestra: Orville Minor (tp), Clifford Minor (as), Ben Webster, Fats Dennis (ts), Jay McShann (pn), Gene Griddins (gt), Lioyd Anderson (b), Cooky Jackson (dm) Kansas City, 1951
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