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scotttrust · 2 years

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New year times square video

#NEW YEAR TIMES SQUARE VIDEO FULL#

Enjoy streaming video and audio from multiple webcams and watch as the world. Among the other changes announced Thursday, revelers won’t be allowed into viewing areas until 3 p.m., much later than in past years. Watch archived video of the 2022 New Years celebration in Times Square. I personally think that 2021 was worse than 2020 but that doesn’t. Other networks plan to air the festivities, including “Dick Clark’s New Year’s Rockin’ Eve” on ABC, the stalwart now hosted by Ryan Seacrest.ĭe Blasio said along with Thursday’s announcement that the city is monitoring the COVID-19 situation and could impose additional precautions if needed. Wow, that was certainly a year huh, it felt uneventful but very eventful at the same time. On Tuesday, the Fox network gave its verdict, pulling the plug on a planned live broadcast from the New Year’s Eve event. Little more than a month ago, de Blasio gleefully announced that a fully vaccinated crowd of hundreds of thousands of people would be back at the iconic celebration - donning goofy 2022-themed glasses and watching a crystal-clad ball drop at midnight - after it was limited last year to small groups of essential workers.īut that was before omicron caught fire, forcing city officials and event organizers to rethink just how many people they wanted to squeeze into the bright, billboard-lined tourist haven known to some as the Crossroads of the World. The goal is to provide a safe and healthy celebration, according to a release from The Times Square Alliance, which noted, "The event is working closely with medical experts to consult on all health protocols and to ensure that everyone follows the state established safety guidelines.LA police kill teen girl while firing shots at male suspect NYC LIVE Times Square 2022 New Years Eve Live Stream Rules and Guidelines (Show More to Display) No racism, sexism, harassment, toxicity, violence, or. These websites stream the webcast during the event, from 6pm on December 31 to 12:15am on January 1. WATCH LIVE: New Year's Eve in Times Square 330,289 views Streamed live on 1.4K Dislike Share Save Description WCNC 109K subscribers Tonight, New Year’s Eve celebrations will look very. The new wave of cases has led to the cancellation of concerts, sporting events and Broadway shows, but de Blasio has shown a strong preference for having the annual Times Square ball drop go on as. Holidays: Things to do this season around the Hudson Valley, NYC Each year, get up close and personal with the New Year’s Eve celebration in Times Square with various websites from the Times Square Alliance and Countdown Entertainment, co-organizers of Times Square New Year’s Eve. Revelers will still ring in the new year in New York's. Hudson Valley holidays 2021: Tickets on sale for popular drive-thru events FILE - The 2022 sign that will be lit on top of a building on New Year's Eve is displayed in Times Square, New York, Monday, Dec. video, or audio recording taken by or New York Marriott Marquis or the. NYC: When will the Rockefeller Center Christmas tree be lit? Buy tickets to Marriott Marquis Times Square New Years Eve Party. Details are not yet available on where those entrances points will be located. The broadcasts that usually set up shop in. It's safe to expect the same for this year's celebration, with the addition of those vaccination checks. The ball will still drop in Times Square, but the celebration will be virtual this year, with no public audience. In previous years, spectators were only able to access the area via dedicated entrance spots where bags were checked. Children too young to receive the vaccine must be accompanied by a fully-vaccinated adult and the children must wear a face covering. The site of the official New Years Eve Ball Drop since 1907- right in.

#NEW YEAR TIMES SQUARE VIDEO FULL#

Spectators ages 5 and older must provide proof of full vaccination as well as a valid photo ID before they can be admitted to a viewing area. See Instagram photos and videos from One Times Square (onetimessquarenyc).

#New year times square video

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jelenamasterpost · 3 years

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2010

January 1st:

Selena and Justin share a Twitter exchange after sharing the stage together during Justin's performance of One Less Lonely Girl at Dick Clark's New Year's Rockin' Eve in Las Vegas

selena's tweet (x) justin's tweet (x)

January 5th:

Justin is interviewed by Popstar! Magazine and is asked whether he’s dating either Demi or Selena

Interviewer: "So there's been links that you've been seeing Demi or Selena, you guys have been Twittering back and forth. Is there any truth to that? Or are you guys just friends, is there something more there?"

Justin: "No, I just - I met Demi a few times. Me and Selena are good friends."

Interviewer: "Yeah, I think you're performing with Selena at Pop-Con this year, in February - you are, surprise! Do you know if you'll be hanging out with her at all while you're there?

Justin: "Probably, we're good friends."

full video (x)

January 31st:

Justin tweets "good times" to Selena, suggesting they recently hung out.

justin's tweet (x)

February 1st:

Selena and Nick Jonas arrive to “We Are The World” remake together in the same vehicle, held at Jim Henson Studios in Los Angeles. There's been speculation of a reconciliation as Selena was seen at Nick's concert in Dallas January 2nd and photographed crying during the song "Stay" (x)(x)

February 7th:

Nick attends San Antonio Rodeo to watch Selena perform. Selena allegedly introduces her song “I Won’t Apologize" (song about Nick) by sharing with the crowd: “I wrote this, but it’s in the past now”

February 14th:

Selena recently chatted with the California Chronicle and said this about her rumored rekindled romance with Nick Jonas (x)

"He's a really nice guy and he's always been a really good friend in my life. So I'm just happy to have him back as a good friend."

February 16th:

Selena talks about Justin during her radio interview with DJ Kid Kraddick and explains how their NYE performance was conceived:

“You know what, he’s the cutest, sweetest kid on the face of this planet. I feel like a cougar because I totally have a crush on him. He’s cute, he is so cute - he has swagger!"

"We were doing the Dick Clarks Rockin' New Years Eve and I performed first and I was leaving to do press backstage and Justin runs back and goes: 'Selena! Can you come on stage with me for One Less Lonely Girl?' and I was like, 'Ahh Justin' and he's like 'Please please please!' and I go 'Fine, okay what do I do?' and he's like 'Oh I'll do all the work' [...]"

"So then he runs off stage and then he runs back and he goes 'Wait, can you take your heels off I don't want you to be taller than me' I was like, 'No I'm not going to take my heels off' - and no we're actually the same height without heels."

youtube

February 16th:

During an interview with 106.1 KISS FM, a fan tells Selena that people in their school are saying she's dating Justin Bieber

Fan: “People in my school are saying that you and Justin Bieber are dating”

Selena: “I love that! I kind of wish we were [...] No, he’s 15, so I’d be a cougar, so that wouldn’t be right - but he’s very sweet, and I do love him very much. He’s a very good guy.”

The interviewer explains Justin was also recently on the show and that he does have a little crush on her -

Selena: “That’s okay! He can call me in like 3 years.”

youtube

February 19th:

Selena talks to MTV News before both her and Justin are set to perform at Pop-Con in NYC. When asked if they’d perform together she says:

"I'm excited. We would love to. We're trying to work it out, We don't know yet. We're still trying to figure out if we're going to do something together on stage. [It] might be a surprise, but as far as co-headlining — I don't know. I'm sure he's much bigger. [It's] probably his show — I'm just there." // she confesses that at this point they are such good friends, he almost feels like family: "I love Justin. When he first started to come over from Canada his manager contacted me and he just said that he would like to meet me and he was just such a good kid," she explained. "And I feel like a big sister now, 'cause I want to protect him. So I'm always very cautious with him, but he is so talented and he's so sweet, so that just started us wanting to work together. Now he's just become one of my good friends."

full article (x)

February 20th:

Justin and Selena pose for a photo together while attending Pop-Con, held at Nassau Coliseum in New York - they each are set to perform. After the event, Justin tweets to Selena calling her a sweetheart.

justin's tweet (x)

February 23rd:

Selena is again asked about Justin during her livestream webcast:

“I think Justin Bieber is amazing. Do you think he’s amazing? He’s like, 15, and he has like, every girl in America”

youtube

February 24th:

Selena interviews with Frankie of Neighborhood 93.3 and there's lots of Justin discussion. Frankie tells Selena that Justin was also recently interviewed and he called her a cutie-pie and said that she’s amazing. A fan also asks what she would name her baby (?) if she were to have one:

Selena: “Awww! He’s so cute! Oh my gosh, he’s about to turn 16, I’m just saying...just saying!”

Selena: “Lets see, I’ve had these names picked out for a while - I like Emory? Just E-M-O-R-Y. Emory, insert my husband’s last name…yeah, Emory Bieber"

youtube

March 1st:

Selena attends Justin's "Sweet 16" celebration and publicly tweets him a happy birthday at the end of the night. She's later seen in photos from the event kissing Justin on the cheek

selena's tweet (x) photos of selena at the event (x)

March 6th:

This is the last time that Selena and Nick Jonas are seen together this year.

March 12th:

During a radio interview with Billy Bush, Justin is asked “who the cutest Disney Channel girl is”

Justin: "Cutest Disney Channel girl? I think probably Selena Gomez."

full video here (x)

March 27th:

Selena and Justin both attend The Kids Choice Awards and pose together for a photo while on the red carpet.

Justin attends the event with (his rumored girlfriend) Jasmine Villegas, his "Baby" music video costar.

justin and jasmine (x)

March 30th:

Justin and Selena hangout together with Selena's family and have a jam session - they each share a tweet about it that evening

justin's tweet (x) selena's tweet (x)

April 10th:

Selena and Nick Jonas have officially broken up People confirms, and says they actually broke up in early March.

Though the couple never publicly confirmed they rekindled their relationship, the source says, “They were an item, but they are no longer together.” According to the source, the Disney Channel stars, both 17, broke up in early March, largely because work was going to keep them apart: Gomez is scheduled to film a movie in Europe this summer, while Jonas is expected to tour with his siblings at the same time.

full article here (x)

April 12th:

Selena does a radio interview on Key 103 while in Manchester and says that Justin is a great friend, and that he’s very protective of her:

Interviewer: When did you last see your mate Justin Bieber? Is he okay?

Selena: Yes he is, he's so funny, I actually don't have my phone out here and he freaked out cause he didn't understand, he's like "oh my god, I can't talk to you, I don't know what you're doing!" I'm like "I'm fine, I'm fine!" He's very protective, is what I've found - it's very funny, he's younger than me but he's been a better friend to me than most of the people my age.

Interview: Cause you guys have gone through similar things I suppose, despite the age difference?

Selena: Yeah but, people who've gone through the same things as me haven't been as supportive as he has been to me - it's been great.

full interview here (x)

May 23rd:

Selena tweets that she's listening to Justin's song Somebody to Love while in the studio

selena's tweet (x)

#jelena #selena gomez #justin bieber #jelena timeline #jelena masterpost #jasmine villegas #nick jonas #nelena #demi lovato

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nigelgodrichproducer · 3 years

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Nigel talks to the Fork

Via Pitchfork:

Ahead of the Coda Collection launch, Godrich talked with us about From the Basement’s revival, live music as “content,” Thom Yorke and Jonny Greenwood’s new band the Smile, and Radiohead’s King of Limbs set.

Pitchfork: What inspired you to release the episodes with the Coda Collection rather than continuing on with YouTube?

Nigel Godrich: I have very mixed feelings about YouTube and streaming generally. When we first started talking about From the Basement in earnest, there was this idea that it’d be an internet-based thing—but this was in 2003, and it wasn’t technically possible. Now, the internet is completely flooded by video content because anyone can do it. So when you get an offer from a larger entity with a proper platform, that’s very appealing.

The pandemic has normalized homemade performance videos for TV broadcasts. It feels like we’ve reached a time when artists have to value the presentation of their live performance even more than before.

Part of the novelty has been watching people film themselves on web chat cameras and doing Zoom conferences and whatnot—because it’s the same technology that everyone uses, so it somehow makes a connection between artist and viewer. It’s both intimate and personal, but also the cheapest and easiest way.

For us, it was always about using the best tools available, fidelity-wise, to make something that has no barrier or wrapper around it. No presenter, no editorial agenda, no other people in the room. From the Basement episodes were meant to be miniature movies, an attempt at making something into an art form. I was trying to create something that was just a cut above the rest, from a technical standpoint.

Most of the episodes were filmed at London’s famed Maida Vale Studios. How did that space feed into the show’s atmosphere?

The room in Maida Vale was so beautifully set up, with a color scheme that’s sort of this olive green. We brought in the red carpet, and the combination of that green and red basically dictated everything we did there afterwards—it gave the show its identity.

Maida Vale itself is very important. The upstairs used to house the BBC Radiophonic Workshop, and the actual studio itself was where all the Peel Sessions were done. It’s just an amazing building. It was originally an ice rink and converted by the BBC when the BBC was very young, in the ’30s. All of these things feed into the legend, and, of course, that draws you to the place. When you walk in the room, you can cut the atmosphere with a knife.

Maida Vale is also very important to me, as I’ve been going there since I was a child. My dad was with the BBC, so I’d go with him on “bring your kid to work” days. I’ve known that place forever.

Ten years on, it’s safe to say that there are a lot of Radiohead fans who love The King of Limbs: From the Basement maybe even more than the original record. What was it like to see how those songs evolved from their recorded versions?

The live performance reflects the state of the art of any particular artist, in that it’s a timestamp of that moment. If you’ve seen Bob Dylan recently, I mean—I sat and watched him for five minutes and when a song finished, I realized, “Oh! That was ‘Tangled Up in Blue’!” Like, you cannot tell what he’s doing. And I say that with the greatest respect. People go down rabbit holes; things change, and for the better.

When I was a kid, we used to be able to go and buy all sorts of bootleg tapes and concerts. There’d be different versions of, like, your favorite Dead Kennedys song, and it’d be great. We tried to tap into that magic a little bit—like how we captured Fleet Foxes [in 2008] at the time when they were exploding and put a magnifying glass on them. We were lucky to catch them at that moment.

The King of Limbs is an interesting one, because it was a very conscious attempt to do something special: to record the album again, once it had been rehearsed and played live, to show it in a different light. Revisiting the From the Basement set, I love it. I love the way it looks and I’m proud of the way it sounds and the way they’re playing. It’s a very good example of the method working, for a record that was very mechanized and completely different. Because I worked with the band so closely, it also meant that it was very nice for me to be able to see the record through and then watch it become a thing that’s very real and alive.

Can you share any details about the new episodes? Are there any bands you really want to capture this go around?

It generally starts with friends, and then you think about things that would work really well in the format. I’m not 100 percent sure what more I’m allowed to say. When I was looking through all the footage last year, I was reminded how fun it was. It’s really the most fun you can have in a recording studio.

Well, I have to ask you another question about things you’re probably not allowed to talk about, which is your new group with Thom Yorke, Jonny Greenwood, and Sons of Kemet drummer Tom Skinner,

the Smile

Can you share anything more about the album?

I can’t talk about it—it’s just not time yet.

When I was watching the Smile’s Glastonbury stream, I was reminded of From the Basement and those Radiohead webcasts. It felt like a spiritual successor to that type of thing.

That’s what [Thom] was after. Basically, the webcasts were done by me and 10 video cameras I bought off eBay. Some were the kind of cameras you used to use for TV news back in the 1980s. When we were doing In Rainbows, I was so bored and started setting up my own little sort of fantasy TV studio, and it was great because we could then film everything, and I have so much footage from that time. I think he wanted to sort of recreate that—but he paid hundreds of thousands of dollars to somebody to do the same thing I did for nothing, so ironically, it’s quite funny. But all will be revealed regarding the project.

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verdiprati · 4 years

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Mostly Mezzo Mondays: de Negri, Galou, Connolly, Fassbaender, & more

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Emmanuelle de Negri and Delphine Galou are the name that stand out to me on this upcoming live webcast of Handel’s Il trionfo del Tempo e del Disinganno from Ravenna; I’m not familiar (yet) with their co-stars Monica Piccinini and Anicio Zorzi, but if half the cast is de Negri + Galou, it bodes well for the whole. Ottavio Dantone conducts. Livestream Wednesday, June 24 on the Ravenna Festival website.

Sarah Connolly sings the role of Brangäne in a 2014 live performance recording of Tristan und Isolde at Covent Garden; her co-stars include Nina Stemme (in a universally-lauded performance as Isolde), Stephen Gould (Tristan), and John Tomlinson (King Marke). Archival re-broadcast Saturday, June 27 on BBC Radio 3.

Speaking of archival re-broadcasts, here’s a Rosenkavalier going back almost half a century at the BayStaats: Brigitte Fassbaender as Octavian must chose between Claire Watson as the Marschallin and Lucia Popp as Sophie. Conductor: Carlos Kleiber. Saturday, June 27 on BR Klassik.

I don’t often highlight instrumental music in my Mostly Mezzo Mondays posts, but in the past year or so I’ve found a renewed appreciation for Jordi Savall’s fluid conducting style, so I want to bookmark his concert of assorted baroque pieces with the Budapest Festival Orchestra. It was recorded on March 7 this year, shortly before live music performance on the European continent was widely shut down to prevent the spread of the novel coronavirus. Deferred broadcast Monday, June 29 on Bartók Rádió.

#emmanuelle de negri #delphine galou #sarah connolly #nina stemme #opera tag #brigitte fassbaender #lucia popp #claire watson #jordi savall #mostly mezzo mondays

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krispyweiss · 3 years

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Quarter Notes: Blurbs & Briefs from Sound Bites

AOIFE O’DONOVAN WEBCAST AND NEW RECORD ON TAP: Aoife O’Donovan will webcast a pre-recorded concert at 8 p.m. Eastern April 1. The solo concert was filmed in the same studio where the I’m With Her singer/guitarist is working on an as-yet-untitled new LP.

Ticketing info here.

DEAD & COMPANY ARE BACK (VIRTUALLY): Dead & Company are reviving their free One More Saturday Night streaming series with a webcast of their Jan. 19, 2020, concert in Mexico at 9 p.m. Eastern April 3.

CATS IN SPACE: Circles Around the Sun will livestream a virtual concert - dubbed CATS in Space - at 9 p.m. Eastern April 16 with guitarist Scott Metzger stepping into the late Neal Casal’s very large shoes.

Ticketing info here.

PROBLEM CHILD: Happy 66th birthday to AC/DC’s Angus Young.

3/31/21

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spacetimewithstuartgary · 6 years

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Asteroid Day 2018 On 30 June 1908, 110 years ago, a 40 m asteroid struck the Earth over Tunguska, Siberia. Destroying an area of forest the size of Greater London, this was the most significant impact event in Earth’s recent history. Now recognised by the United Nations as Asteroid Day, 30 June marks a global opportunity to raise awareness of the threat and opportunity posed by the numerous rocky bodies traversing space. Since 2009, ESA has played a leading role in the global hunt for risky asteroids and comets – known formally to astronomers as near-Earth objects (NEO) – and is currently developing cutting-edge widefield telescopes that will have the ability to scan the entire sky in just 48 hours. ESA also carries out crucial analysis as part of its Space Situational Awareness (SSA) programme and mobilises observatories and astronomers worldwide through its SSA NEO Coordination Centre at the Agency's ESRIN facility in Italy. Each year, Asteroid Day is broadcast live across the globe with a packed programme that brings together astronauts, rock stars and scientists. Highlighting our potentially vulnerable place in space, the live event also describes the many ingenious and yet not-far-from scifi potential solutions to these dangerous roaming rocks. Each year hundreds of regional events also take place, with 78 countries so far having hosted concerts, community events, lectures and much more. This year, ESA will participate in the following 2018 Asteroid Day activities: On 29 June at 18:00 CEST, a public ‘infotainment’ event will be held at the Technical University Darmstadt. With the overall theme of asteroid risk and mitigation, topics will include the AIM successor mission, ESA’s ‘Fly-Eye’ Telescope currently under construction in Italy, and the latest news on the NASA mission “Osiris Rex” – currently on its way to asteroid Bennu. The difficulty of detecting small asteroids will also be demonstrated with observational data from the Teide observatory in Spain (event held in German). On 30 June, the European Southern Observatory (ESO) and ESA team up to co-produce a packed webcast, streamed live from the new ESO Supernova Planetarium and Visitor Centre in Munich, from 13:00 CEST. The programme will highlight some of the most recent activities in the global hunt for risky asteroids, as well as conversations with ESA planetary scientists, asteroid experts and a variety of guest presenters. Fascinating insights into the 2013 Chelyabinsk event will be presented, as well as discussions around the possibility of one day sending humans to asteroids. Watch live via esa.int/asteroidday.

#space #science #Astronomy #astrophysics #planetary science #asteroids #ESA #physics

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cladeymoore · 4 years

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Bitcoin’s Uncoupling from “Uncorrelated”

By Mike Co and Shawn Dejbakhsh

TLDR: Although Bitcoin has recently sold off alongside the S&P 500, based on historical data, recent positive correlation may be temporary.

From an Economist article dated Nov. 18th, 2007, just prior to the Financial Crisis:

“INSTITUTIONAL investors have been looking for ‘uncorrelated’ assets ever since the equity bear market of 2000–2002. They realised that they made too big a bet on the stockmarket and wanted to diversify. But neither government bonds nor cash offered the level of returns they desired.”

Uncorrelated assets move independently of major stock market indices, potentially giving opportunity for savvy investors to “beat the market.” For years, Bitcoin has widely been considered an “uncorrelated” asset. By and large this has been statistically true. As evidence, by using a statistical method called a Correlation Coefficient, Bitcoin’s price has moved independently of the U.S. S&P 500 for much of its history. However, more recently Bitcoin has sold off alongside the S&P 500 in positive correlation.

As a quick primer, a correlation of 1.00 means that two asset prices move in concert, or are positively correlated. A correlation of -1.00 indicates that two asset prices move in opposition, or are negatively correlated (i.e. BTC sells off while the S&P rises or vice versa). Bitcoin’s historical correlation with the S&P 500 swings wildly between 1.00 and -1.00, seemingly positively correlated at times then negatively correlated during others. That means BTC has been largely uncorrelated with major stock market indices throughout its history.

As an example of two positively correlated assets in traditional markets, look to the S&P 500 versus the Dow Jones Industrial Average:

As an example of two positively correlated assets in cryptocurrency markets, look to Bitcoin versus Ethereum:

While there have been brief periods of negative correlation, Ethereum’s price generally moves in concert with Bitcoin.

Last week, global markets buckled and Bitcoin sold off aggressively alongside the S&P 500. Across traditional markets, exchanges around the world halted trading to stem selling. Whereas Bitcoin’s peer-to-peer protocol has operated at 99.98% uptime since its creation on January 3, 2009. Further, Bitcoin’s spot market liquidity is global, decentralized, and runs 24/7.

This year has proven tumultuous for global markets, and BTC’s year-to-date returns are currently -13.2% while the S&P 500 is -25.1%. Notably, Bitcoin is significantly more volatile than the S&P 500. However, by measuring 10-day volatility, the S&P 500 has recently spiked to levels that rival Bitcoin’s typical range. S&P 500 volatility has increased substantially in recent days, and so has BTC.

Despite its volatility, Bitcoin’s virtues may become more apparent as the world enters uncharted economic, monetary, and fiscal territory. Bitcoin as a globally accessible, permissionless, and scarce asset may yet prove its worth.

If Bitcoin’s historical chart is a reliable indication, recent bouts of positive correlation with the S&P 500 are likely temporary. On the other hand, if S&P 500 correlation sustains for an extended period hereafter… Bitcoin will enter uncharted territory.

Endnotes

The Economist: “The New Small Thing” (November 18, 2007)

Investopedia: “Correlation Coefficient” (February 19, 2020)

Bitcoin Uptime (Accessed March 19, 2020)

This website contains links to third-party websites or other content for information purposes only (“Third-Party Sites”). The Third-Party Sites are not under the control of Coinbase, Inc., or its affiliates (“Coinbase”), and Coinbase is not responsible for the content of any Third-Party Site, including without limitation any link contained in a Third-Party Site, or any changes or updates to a Third-Party Site. Coinbase is not responsible for webcasting or any other form of transmission received from any Third-Party Site. Coinbase is providing these links to you only as a convenience, and the inclusion of any link does not imply endorsement, approval or recommendation by Coinbase of the site or any association with its operators. The opinions expressed on this website are those of the authors who are associated persons of Coinbase. Information is provided for general educational purposes only and is not intended to constitute investment or other advice on financial products.

Unless otherwise noted, all images provided herein are the property of Coinbase.

Bitcoin’s Uncoupling from “Uncorrelated” was originally published in The Coinbase Blog on Medium, where people are continuing the conversation by highlighting and responding to this story.

from Money 101 https://blog.coinbase.com/bitcoins-uncoupling-from-uncorrelated-764771e09f32?source=rss----c114225aeaf7---4 via http://www.rssmix.com/

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lindsay36ho · 4 years

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The Thelonious Monk Journey – Interview with pianist Jed Distler

Fearless Monk is an album completely dedicated to compositions of the great jazz icon Thelonious Monk by pianist Jed Distler, whose insights as classical music critic have been held in high regard by both musicians and fellow writers for decades.

It’s easy to get the notion that American pianist Jed Distler is everywhere. Called by the New York Times; ”a witty, genial and adventurous pianist and composer”, Distler has premiered works by Frederic Rzewski, Lois V Vierk, Wendy Mae Chambers, Simeon ten Holt to name a few. He also launched a project with all the songs of the jazz icon Thelonious Monk in a unique concert and has also conceived ”100 Portraits for Virgil”, the first complete performance of all the Virgil Thomson piano portraits in a one-day multimedia festival. We also know Jed Distler as an ardent radio host and producer at ”Between the Keys” at WWFM.org.

At the last fall edition of Cremona Music, Piano Street’s Patrick Jovell was happy not only to hear Distler perform from his Thelonious Monk album ”Fearless Monk: 29 Songs by Thelonious Monk”, but also to sit down and talk to the multifaceted musician.

Piano Street: Jed, you have a background in jazz and contemporary classical music and as a composer. You were asked by legend Bill Evans to transcribe his solos for publication and you also produced a book with Art Tatum transcriptions. So when approaching Thelonious Monk’s material, which was the driving force in you; the pianist, composer or the transcriber?

Jed Distler: That’s a great question. Let me give you a little context: The Evans and Tatum books were straightforward, note-for-note transcriptions taken from recordings, as accurately as I possibly could do them at the time. When I transcribed Evans’ solos for French pianist Jean-Yves Thibaudet’s 1997 release Conversations with Bill Evans, it was a mixture of straight ahead transcriptions with selections that used Bill’s voicings, yet were more freely edited in terms of structure and duration. In that case, my experience as an arranger was just as important to my transcribing skills. By contrast, I did NO transcribing whatsoever for my Monk project, although I do retain Monk’s original voicings in certain instances, albeit as the basis to embellish or embroider with my own material, such as in Locomotive or Coming on the Hudson. So what was the driving force? Overall, the composer in me, in terms of the big picture (pacing, running order, etc.). Yet each song on the CD and in my performances hopefully showcase a different side of me. For the most part I’d say that the composer in me dominates, or, more accurately composer/arranger, certainly in the songs where there is no improvising in the traditional “theme and variation” template. Within these, I might improvise embellishments differently each time, but the basic structure is notated, or, at the very least, fully formed in my little brain.

PS: Since you completed your Monk project in 2012 it has taken you all over the world for performances. However, your way into Thelonious Monk´s music and playing style has not been straight or born from an ambition to absorb and imitate the artist. Can you tell us about your fascinating journey?

JD: When I was 14, a friend and I spontaneously went into New York City, and went to the Village Vanguard purely by chance, no planning at all. It happened that Thelonious Monk was performing. I only knew Monk’s music casually from a few recordings, and they had not particularly impressed me. We descending the Vanguard’s staircase. My only memory of Monk’s playing that night was that he seemed diffident, uninvolved, plunking a few notes here and there. It basically went in one ear and out the other. The following year, however, I heard his earliest trio recordings for the Prestige label, and I loved them right away. I never aspired to play like Monk, but many aspects of his composing and pianism intrigued me, and still do. I definitely went about my Monk project looking for ways to reimagine each song, although, in certain cases, I do play them pretty close to how he did. However, I certainly did LEARN each Monk composition “straight” before I went about arranging, or, more accurately, “de-ranging” it!

PS: Can you tell us about the journey?

JD: Back in 2011 my first wife died after a long illness. During her last months, I thought about how I would continue on, trying to reinvent my personal and musical life. I deliberately regressed, growing my hair, traveling, and, most importantly, going back to my youthful roots in jazz, which I had never really done in public since focusing on contemporary classical music as both performer and composer. I started sitting in at local jam sessions to see if I could still play jazz. To my surprise, I could hold my own, but what was coming out was not the usual derivative “fake Bill Evans, fake Oscar Peterson, fake… well everybody” of my past. Instead, I seemed to be merging jazz song structures and jazz time keeping with my own compositional voice. It felt great and sounded fresh, at least to me! So I decided that I needed to make a big artistic statement as a performer that would get attention, after those last few years of enforced retreat. I remembered a three-CD set by Alexander von Schlippenbach called Monk’s Casino, where he and his musicians basically played Monk’s complete songs. I thought to myself, why don’t I play the complete Monk in a single solo piano concert?

PS: So, how did you approach the material?

JD: I started working on a few songs, and gradually I began putting my arrangements together as a continuous entity, where one song flowed into the next, with one intermission. I didn’t improvise on each and every song, of course. Some songs lasted but a few seconds, but that would buy me time to stretch out and improvise on certain songs where I thought it would be nice to do so, such as Blue Monk and I Mean You. In one instance, I took (I think) six blues “heads” and I simply played each one straight at a fast tempo, once or twice through, connecting them in medley style. That took care of six “songs” in a couple of minutes! PS: How did you work while in recording the album?

JD: For recording my Monk interpretations, however, producer Virko Baley wanted to approach my project a different way. Rather than think about reproducing my complete Monk evening as I’ve done it in concert, he suggested that I record each song individually, although certain “medleys” were retained. In the process, I spontaneously rethought my approach to certain compositions. Most of them amount to short arrangements, almost like bagatelles, although there are a few vehicles for more extended improvisation. We wound up with a good two and a half hours of music, from which Virko asked my to select around 77 minutes worth for a single CD; the remainder we could offer as download extras. So not only did I select my particular favorites, but I also put a lot of thought into running order, amount of time between selections, and so forth; in other words, creating a smaller version of my Monk program, and with a different overall trajectory. I performed this smaller version for a High Definition live concert webcast from Las Vegas as an adjunct to the studio recording (which also took place at Doc Rando Hall at the University of Nevada in Las Vegas), albeit with a few additions and re-orderings.

PS: I guess this has created an opportunity to create different sized concert programs.

JD: Yes, so now when I perform my solo Monk program, I have several options: either all the songs, or half of them but often in longer renditions… it still adds up to 90 minutes of music onstage. Or in a recital, I might include a twenty minute Monk group alongside contemporary classical selections. Although my interpretations speak for themselves, if you check out my Fearless Monk CD, my booklet essay describes them in detail. Some pieces are specific stylizations: for example, I treat Monk’s “Reflections” in the manner of a loping swing ballad in the manner of pianist Ellis Larkins, while “Brilliant Corners” is all brooding left hand tremolos and the melody slowly sung out in the manner of one of the darker Shostakovich Preludes. On the other hand, “Criss-Cross” imitates no one, it’s pure Jed Distler abstraction! “Let’s Cool One” is transformed into a silly children’s television theme that quickly materializes into some frighteningly intense counterpoint. I impart very different characters to three blues selections: “Misterioso” is all polyrhythmic counterpoint, “Blue Monk” maintains a basic shuffle rhythm against lots of quirky syncopations, while “Straight, No Chaser” is just me letting loose, starting with a single improvised line to which another eventually is added, and the textures slowly fill out and build. In certain ways I’ve used Monk to create my own autobiography at the piano, reflecting my creative life as well as the music that shaped me growing up. Except I’m still growing up at 63!

PS: You are very creative person and we will have a chance to hear more about you as a radio person and critic here on Piano Street in the near future. Which projects are you working on now?

JD: As a pianist, I’m embarking on a cycle where I perform each of Mahler’s symphonies and major works in piano four-hand transcriptions, each symphony with a different collaborator. This should take me around ten years to accomplish, God-willing. I just had a first reading of a new chamber opera called Tools, and my librettist Luigi Ballerini and I are now making revisions and looking for presenters. The big piano composing project is a series of 1,827 Bagatelles of various lengths, with each bagatelle dedicated to a different pianist, composer/pianist, or close colleague. I’ve completed around 400 so far, but the project will be presented complete in 2027, to mark the 200th anniversary of Beethoven’s death, hence the 1,827 amount, corresponding to 1827, the year of Beethoven’s death. The pieces can be played separately or together, in any combination, small or large. I consider the Bagatelle project my gift to our piano community, as a way to connect everyone. As I get older I seem to be befriending more and more pianists, composer/pianists, piano mavens, piano connoisseurs, piano concert presenters, piano label producers and piano manufacturers, and I want everyone I meet to get to know and love each other!

Resources

Listen to the album at bandcamp.com: Fearless Monk: 29 Songs by Thelonious Monk

Jed Distler’s piano piece “Birthday Bagatelle” from 250 Piano Pieces for Beethoven:

from Piano Street’s Classical Piano News https://www.pianostreet.com/blog/articles/the-thelonious-monk-journey-interview-with-pianist-jed-distler-10251/

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welovefunassyi · 7 years

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Current and Upcoming Funassyi Events, Week of September 12, 2017

Here’s the latest roundup of Funassyi related events and so on. Check back every week for a new update.

Funassyi 5 Year On Earth Anniversary Project

More details in in this post.

Live events/appearances by Funassyi

September 18: Charesupo (Challenge Sports) event to promote the Tokyo 2020 Para Olympics, Tokyo International Forum; 13:00, 14:00 and 15:30 (official site)

September 30: Kumamoto Chara Fes at Kumamoto Castle Ninomaru Hiroba, Kumamoto, Kyushu (official site). Note that the festival itself is on September 30 - October 1

October 22: Gotouchi Chara Haku in Nikone, Gifu (official site). With Funagoro and Funyassyi. Note that the festival itself is on October 21-22. Funassyi will be there on the 22nd only, but Funagoro and Funyassyi will be there both days. Stage location/times not announced yet.

October 29: Funassyiland Nagoya Halloween event at Wink Aichi, 7th floor; 13:00 and 15:30 (details on Funassyiland site) . Get an entry sticker for the drawing for seats for every 2,000 yen worth of purchases at any permanent Funassyiland store from now until October 1st

November 18: 2018 Funassyi Calendar 5th Anniversary event at Toho Cinemas Screen 4, Lalaport Tokyo Bay, Funabashi; 14:00 (details on official calendar site). Reserve either the wall or desktop calendar from any Funassyiland between now and October 22nd to receive an entry sticker for the event seat drawing

November 26: World Chara Summit in Hanyu, Saitama (official site). Note that the festival will be on November 25-26, but Funassyi will be there on the 26th only. Both Funagoro and Funassyi will be there on both days.

Live events/appearances by Funagoro and/or Funyassyi

These are appearances by Funagoro and Funyassyi only.　Since there are Funagoro and Funyassyi fans too, I’ve listed all of their appearances here, so some may duplicate the listings above.

September 17: Funassyiland Funabashi - Funagoro only

September 23: Funassyiland Funabashi - Funyasshi only

October 21-22: Gotouchi Chara Haku in Hikone (see above) - both Funagoro and Funyassyi

November 25-26: World Chara Summit in Hanyu (see above) - both Funagoro and Funassyi

TV, Radio, Live Webcasts, Movies, Music

Music: Available now: Spring 2017 Ketsugobou Tour DVD (release date: May 26). 274ch member order page. Also available from CDJapan, Amazon Japan, Funassyiland web store.

Music: Available now: Arukunashi Charamel CD Single (double-A side; on 274ch site also available now from Amazon Japan, CDJapan etc.

Online - Official music video for Charamel (details)

Online - Official music video for Arukunashi (video link)

Online - Available for viewing now : Untouchable Shibata’s Animal Research Team program in 4 parts on 360.tv (details). Note that Funassyi will also be on the show and/or providing narration for the second season.

Movie: November 3: Last Cop The Movie, on Blu-Ray and DVD. Available fore pre-order now (Amazon Japan link to the various editions)

Special shopping events and exhibitions, restaurants etc.

The Funassyi livery train has been extended until December 30!! Funassyi livery train, Shin Keisei Railway (details; official page on Shin Keisei Railway site).

August 3 - December 30 The Misato station has been re-done in a Funassyi theme. In addition, in-station announcements are in Funassyi’s voice. Funassyi livery trains also has Funassyi-voice announcements during this period.

Until supplies last : 2017 Funassyi Funabashi Pear Boxes now available for preorder (details)

Apps, stickers and games

Funassyi themed calculator skin exclusive to 274ch members (details here; for iOS and Android, although some users have reported problems downloading the app for Android outside of Japan.)

New illustrated Funassyi sticker set for the LINE app - they are adorable! Only available in Japan at the moment unfortunately. (link)

Available now: Funassyi stickers for iMessage (the Messages app), iOS only - but available worldwide! (link to US App Store - check your local App store)

Available now : Minna de Aemen Funassyi themed noodles from Yamasa

Available now: Taiwan/Chinese version Funassyi LINE stamps (check in your LINE app; not available outside of Taiwan though)

2018 Funassyi Calendar

Official site. Available for preorder from the Funassyiland online store now; available in early October from other sources such as CD Japan and Amazon Japan.

274ch.com

274ch.com, Funassyi’s official streaming video channel/fan club, is the main outlet for Funassyi’s video appearances. Videos are uploaded every couple of days, and are very funny, with Funassyi appearing far more loose and relaxed than he is on broadcast TV. Highlights include a cooking show, Funassyi imitating various Japanese entertainers (his imitation of Beat Takeshi aka Takeshi Kitano is priceless), Funassyi going camping, Funassyi going go-cart racing, and much more. There are also frequent live streams of The Pear doing interviews and so on.

There are also fan-exclusive meets with Funassyi, and fan-exclusive concerts too, such as the upcoming Zetsu Bushaa Tour (see schedule above).

Membership is 600 yen per month or 6,000 yen per year. You can now join from outside of Japan too, although the site is in Japanese only (and so is customer support and so on). Details here. You will most likely need a Japanese mailing address to receive materials from the site for now.

Note: Sometimes someone at the streaming video provider seems to turn on IP checking/blocking of non-Japanese IPs. If you can’t access the videos, just wait a few hours and it will usually get fixed.

274ch official Instagram account

Link here

Photo source - from the gotouchi chara festival in Susaki

Last but not least...

I know the updates here have become rather scarce. The thing is, I have some serious health problems which make it hard to sit at my desk for extended periods - and I find it very hard to update Tumblr via my phone. I will try to update here at least once a week, but if you are on Facebook please join the We Love Funassyi group, which is quite active, with many enthusiastic Funatomo. See you there!

#funassyi #funasshi #funagoro #funyassyi #ふなっしー #calendar #monday update #sometimes it's a tuesday update

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uacboo · 7 years

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SANTA MONICA, Calif. and VANCOUVER, British Columbia, Feb. 8, 2017 /PRNewswire/ – Lionsgate (NYSE: LGF.A, LGF.B) today reported revenue of $752 million, net loss attributable to Lionsgate shareholders of $(31) million or basic net loss per common share of $(0.19), adjusted net income attributable to Lionsgate shareholders of $34 million or adjusted basic EPS of $0.21, and adjusted OIBDA of $84 million for the third quarter of fiscal 2017 (quarter ended December 31, 2016).

The quarter’s reported results included 23 days of operations from the combined entity following the December 8, 2016 close of Lionsgate’s acquisition of Starz.

“We’re pleased to report increased profits across our film, television and media networks divisions as well as another strong revenue performance from our Television Group,” said Lionsgate Chief Executive Officer Jon Feltheimer. “We’ve just completed one of our busiest and most productive quarters ever as we continue to scale our global content platform and integrate Starz into our operations. Our strong film and television offerings are now complemented by our Starz premium network that is becoming a "must-have” value proposition for the digital age.“

Revenue of $752 million for the quarter grew 12% from the prior-year quarter driven by solid gains in Television Production and the acquisition of Starz.

Segment profits at Motion Pictures increased 55% as reductions in direct operating expenses and distribution and marketing costs more than offset the decline in revenue from the prior year quarter. Television Production segment profits increased 117% due to strong revenue and lower distribution and marketing costs.

The Company’s wide release of the blockbuster La La Land, which earned a record-tying 14 Academy Award nominations and has grossed over $270 million to date at the worldwide box office, occurred after the close of the December 31 quarter. The financial impact of the film’s performance will be reflected in future quarters.

Net loss attributable to Lionsgate shareholders for the quarter of $(31) million or basic net loss per common share of $(0.19) on 161.4 million weighted average number of common shares outstanding compared to net income attributable to Lionsgate shareholders of $41 million or basic EPS of $0.27 on 149.5 million weighted average number of common shares outstanding during the prior year quarter.

Adjusted OIBDA of $84 million for the quarter increased from adjusted OIBDA of $24 million in the prior year quarter. Adjusted net income attributable to Lionsgate shareholders of $34 million or adjusted basic EPS of $0.21 for the quarter compared to adjusted net income attributable to Lionsgate shareholders of $55 million or adjusted basic EPS of $0.37 in the prior year quarter.

Net loss and basic net loss per common share in the quarter was largely attributable to $52 million in restructuring and other costs in the quarter primarily associated with Lionsgate’s acquisition and integration of Starz, including $22 million of severance costs and $27 million of transaction-related costs. The quarter also included a $28 million loss on extinguishment of debt in connection with the Starz transaction financing. In addition, the quarter included a $20 million gain on Lionsgate’s investment in Starz stock.

Motion Picture segment revenues of $440 million declined 13% despite strong box office performances from Tyler Perry’s Boo! A Madea Halloween and Hacksaw Ridge, compared to a prior year quarter that included The Hunger Games: Mockingjay Part 2. Additionally, Hacksaw Ridge was recorded on a net fee basis rather than gross revenue based on the Company’s distribution agreement. Segment profit improved 55% driven by reductions in direct operating expenses and distribution and marketing expenses. Segment profit margins increased from 6.5% to 11.6% in the quarter. Motion Picture segment profit on a combined pro forma basis (reflecting the integration of Starz for all periods) grew 67% in the quarter.

TV Production segment revenues increased 39% to $229 million, the second highest total ever, driven primarily by an increase in television deliveries including episodes of Orange is the New Black, the new series Dear White People and the three-hour musical event Dirty Dancing. Segment profit increased 117% to $26 million as higher revenues were further bolstered by a decrease in distribution and marketing expenses. Segment profit margins improved to 11.4% from 7.3% in the quarter. TV Production segment profit on a combined pro forma basis (reflecting the integration of Starz for all periods) grew 93% in the quarter.

Media Networks reported revenues of $85 million and segment profit of $33 million, representing segment profit margins of 39%. Results were not comparable due to the acquisition of Starz on December 8, 2016. On a combined pro forma basis (reflecting the integration of Starz for all periods) the segment grew revenues 3% in the quarter. Direct operating expenses on a combined pro forma basis were down 21% primarily related to original programming timing, driving combined pro forma segment profit up 94%.

Lionsgate’s backlog, or already contracted future revenue on the licensing of film and television product not yet recorded, was $1.4 billion at December 31, 2016.

Lionsgate senior management will hold its analyst and investor conference call to discuss its third quarter fiscal 2017 financial results at 5:00 PM ET/2:00 PM PT today, Wednesday, February 8. Interested parties may listen to the live webcast by visiting the events page on the Lionsgate corporate website or via http://services.choruscall.com/links/lgf170208fsetOE9d.html. A full replay will be available later this afternoon, February 8, through Wednesday, February 15, by clicking the same link.

ABOUT LIONSGATE

Lionsgate (NYSE: LGF.A, LGF.B) is a vertically integrated next generation global content leader with a diversified presence in motion picture production and distribution, television programming and syndication, premium pay television networks, home entertainment, global distribution and sales, interactive ventures and games and location-based entertainment.

With the acquisition of Starz, Lionsgate adds to its portfolio of businesses the flagship STARZ premium pay network serving nearly 25 million subscribers and the STARZ ENCORE platform with over 31 million subscribers. The combined company will operate five over-the-top (OTT) streaming services and the STARZ app delivering content directly to consumers.

The Company’s feature film business spans eight labels and includes the blockbuster Hunger Games franchise, the Now You See Me and John Wick series, the critically-acclaimed box office hit La La Land, which earned a record-tying 14 Academy Award® nominations, Hacksaw Ridge, Tyler Perry’s Boo! A Madea Halloween, CBS Films/Lionsgate’s Hell or High Water, Roadside Attractions’ Manchester by the Sea, Codeblack Films’ breakout concert film Kevin Hart: Let Me Explain and Pantelion Films’ Instructions Not Included, the highest-grossing Spanish-language film ever released in the U.S.

One of the largest independent television businesses in the world, Lionsgate’s slate of premium quality series encompasses nearly 90 shows on more than 40 different networks. These include the ground-breaking Orange is the New Black, the fan favorite Nashville, the syndication success The Wendy Williams Show, the hit drama The Royals, the acclaimed Casual, the breakout success Greenleaf and hit Starz series including Outlander, Black Sails, Survivor’s Remorse and Power, the second highest-rated premium pay television series of 2016.

Lionsgate’s home entertainment business is an industry leader in box office-to-DVD and box office-to-VOD revenue conversion rates. Lionsgate handles a prestigious and prolific library of more than 16,000 motion picture and television titles that is an important source of recurring revenue and serves as a foundation for the growth of the Company’s core businesses. The Lionsgate, Summit Entertainment and Starz brands are synonymous with original, daring, quality entertainment in markets around the world. www.lionsgate.com

Source: prnewswire.com, information supplied by Lionsgate. Variety and other entertainment publications also reported on this, the Variety article features a JC pic: https://www.google.com/amp/variety.com/2017/film/news/lionsgate-earnings-starz-la-la-land-1201981740/amp/?client=safari

#lionsgate #Starz #profits #earnings #summit entertainment #Jon Feltheimer #outlander #lala land

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welovefunassyi · 7 years

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Current and Upcoming Funassyi Events, Week of September 4, 2017

We’re back! Now that summertime is over, I am going to try to get back to a regular posting schedule here. ^_^;

Here’s the latest roundup of Funassyi related events and so on. Check back every week for a new update.

Funassyi 5 Year On Earth Anniversary Project