Hollywood is slowly getting back to work as feature films, Netflix shows and network programs resume production. The industry has introduced enhanced safety protocols and drastic new measures designed by guilds and unions, along with epidemiologists, to keep incidences of Covid-19 down on sets.
It remains to be seen how sustainable and realistic the steps are over the long term. During the first wave of the pandemic, the industry was caught off guard — and got pummeled. The hope is that with stricter measures, Hollywood will be able to weather future waves.
However, actors are still testing positive, some workers are still unable to return to work because of safety concerns, studios are still having to push movie releases or debut feature films on streaming platforms, and movie theaters are struggling to survive.
HBO announced Wednesday that its tentpole feature "Wonder Woman 1984" will be released simultaneously on HBO Max and in theaters on Dec. 25. With half of theaters out of operation and many people still hesitant to go to the movies, the studio said it couldn't risk a large-scale release for a $200 million film — even though that means the movie won't return big box office numbers.
That change is the latest attempt to regain some sense of normalcy in an industry that finds itself once more in a vulnerable position. The threat of further halts looms large, jeopardizing both the financial success of content scheduled to launch in 2021 and the future of popular content that has already been greenlighted but isn't yet shot, let alone wrapped.
"The production shutdown that happened as a result of people not understanding how to keep people safe during production has had a tremendous negative impact on businesses and the livelihoods of our members and workers all over the industry," said David White, national executive director of the Screen Actors Guild-American Federation of Television and Radio Artists, or SAG-AFTRA.
"The pandemic has led to a great deal of collaboration," White said. "All of us on all sides of the fence needed to figure out how to work together in order to recover and figure out how to get people back to work."
White said figures outside Hollywood also provided key insights. For example, producer Tyler Perry created an isolated bubble at his studios in Atlanta and was able to resume production with a set of very strict quarantine and testing protocols.
The guidelines SAG-AFTRA established are centered on repetitive testing, which is covered by employers. That's especially important because a single test captures only a brief moment of a person's Covid-19 status. The plan also uses zones to limit how many people enter certain areas and come into contact with one another.
"If you're in Zone A, the zone with our performers, you're being tested a minimum of three times a week," White said, citing one example. "The only people able to enter that zone are people being tested at this level."
Other unions, like the International Alliance of Theatrical Stage Employees, have adopted these same protocols to protect their members. A member of that union, who works in the costume department on big-budget films and asked to remain anonymous for fear of retribution, outlined some of the safety measures and said there was a lot of back and forth about who would foot the bill for tests.
"The union was really strict about the fact that we wouldn't go back to work without testing," the union member said. "There's a 'Covid safety officer' at every site where we're working, and all they do is handle Covid-19 questions and concerns. There's regular testing. You have to take a safety course, and you can't take off your mask inside the building for any reason whatsoever, not even to drink water or coffee."
The member said the protocols have created what feels like a safe environment but questioned their long-term applicability.
Already, unique challenges have arisen, especially when Los Angeles experienced extreme heat or poor air quality from fires. Staying hydrated has also become an issue, because a water break requires a trip outside, which is time-consuming. In addition, because people have to eat outside and away from others, workers have to camp out in their cars and run their air conditioners to eat lunch when the air quality is bad or it's very hot, which is expensive.
Recommend The protocols have also meant production has slowed, which is counter to much of how the industry operates, the union member said.
"You can't take off your mask inside the building for any reason whatsoever, not even to drink water or coffee."
"So much of film is rushed and short-notice, where you're calling someone in for last-minute day work," the member said. "The process has been slowed down by necessity. You can't call someone and be like 'we need you to come in tomorrow and get this done,' because they need to be tested and take a safety course, which has impacted our workflow and pace greatly."
The union member also said women and older workers are being adversely affected, because the protocols don't really account for child care needs or the increased vulnerabilities and concerns of older people, who are at greater risk for adverse effects from the virus.
Small businesses are also taking a harder hit from Covid-19, even as Hollywood resumes production, White said. He pointed to catering companies, which traditionally are structured around providing huge spreads of meals at communal stations where food is shared. With the coronavirus, there has been a shift toward separate meals.
"That may be a permanent shift in the way we think about feeding individuals in close quarters, because the pandemic has gone on for so long that there's been a mindset shift," White said. "Once companies make the investment to provide food like that and once people become accustomed to that, companies that aren't equipped to manage that may not come back."
Ultimately, however, White is hopeful that Hollywood and its various components will prove resilient and innovative. He is particularly optimistic given that the Covid-19 recommendations put out by the different guilds and unions are designed to be scaled and adjusted to accommodate different sizes of productions.
Still, some are erring on the side of caution and opting to pursue smaller projects that are set on somewhat isolated locations and have fewer cast and crew members.
That's what Will Packer Productions, which produced "Straight Outta Compton," "Ride Along" and "Girls Trip," is doing. It has identified a few projects, including a small horror film set in New Orleans and an Idris Elba survival thriller, "Beast," that fit the bill.
Only seven people are in the horror film, 90 percent of the movie takes place in one home, and only three locations are used. The shoot should last only about 25 days, and while there are some stunts, there isn't a lot of close in-person contact.
"There are films on our slate that we have examined and taken a hard look at and decided we just can't film it in this climate right now," said James Lopez, president of Will Packer Productions. "We had a musical with a large cast, a lot of singing and dancing, a lot of close contact. When the pandemic hit, that was the very first one we looked at and came to the realization that it's going to be difficult to film until there's a vaccine."
Much still relies on the spread and containment of the virus. As winter approaches, forcing people indoors, and infection rates increase, even careful restarts could be in jeopardy, which could have ripple effects from workers and production companies to studios — and moviegoers.
Armed with our top 10 turkey tips, you'll come out looking like a pro on Thanksgiving Day. Whether you're hosting your first Thanksgiving dinner or your fiftieth, these indispensable tips will help you turn out a terrific turkey.
1. Choose the right type of turkey for you.
Heritage? Organic? Fresh? Frozen? There are lots of choices out there. A heritage turkey is right for you if you want to try an old-fashioned breed of turkey, often leggier and leaner and more flavorful, and don't mind paying a little extra for it. If organics are important, you may already have your eye on a turkey raised according to organic standards, and fed organic feed. If you'd prefer a traditional fresh or frozen bird, pick the healthiest-looking one in the weight range you need, and make sure it looks well fed for its size. And, remember, fresh may not necessarily be better than frozen; frozen turkeys are snap-frozen just after butchering.
2. Figure on 1 to 1 1/2 pounds of turkey per person.
To buy the right size turkey for your party, simply tally up the turkey-eating guests. Add a few pounds on for bones and you've got your turkey weight. For example, 8 people will require a 12 to 14-pound turkey.
3. Cook the turkey on a rack of vegetables.
Create a natural roasting rack for your turkey by layering carrots, onions and celery on the bottom of the roasting pan. Lifting the turkey off the base of the pan helps to increase hot air circulation around the whole bird so that it will get crispy all over. And the vegetables add great flavor to the gravy.
4. Brining keeps it moist.
Brining is an easy, sure-fire way to a moist and flavorful turkey. A typical brining solution contains water, salt, sugar and a variety of spices and aromatics. Just be sure to follow a trusted recipe so you get the right proportion of each.
5. Keep the stuffing on the side.
Chances are the Thanksgivings of your childhood featured a stuffing cooked right in the cavity of the turkey. Go ahead and use your family recipe, but we suggest you cook the stuffing in a separate pan. Cooking the stuffing in the turkey can provide fertile ground for the growth of harmful bacteria. In addition, a stuffed turkey will take longer to cook, which could result in drier white meat. Instead, loosely fill the turkey with aromatics such as onions and herbs, and cook the stuffing separately.
6. To tie or not to tie.
To help ensure that poultry cooks evenly, many professional cooks like to truss their birds, which is just a fancy term for tying them up. While it's not a necessary step in cooking a terrific turkey, it can be fun to show off your culinary skills at home. Simply tuck the wings of the turkey under the body and tie the legs together with kitchen string to create a tight package.
7. Rub the turkey with butter or oil.
Before putting it in the oven, make sure the skin of the turkey is as dry as possible, and then rub it all over with butter or oil. For even moister meat, place pats of butter under the skin.
8. Skip the basting.
Basting means more oven door opening, resulting in temperature fluctuations that can dry out your bird. Instead, keep your turkey moist by brining it or by rubbing it all over with butter or oil.
9. Invest in a good meat thermometer.
Check for doneness by inserting an instant-read thermometer in the thickest part of the turkey around the thigh, avoiding the bone. At 165 degrees F, it's done. The turkey will continue to cook as it rests, so the temperature should rise another 10 degrees or so out of the oven.
10. Give it a rest.
To lock in juices, tent your turkey with foil and let it rest for at least 15 to 20 minutes before carving. Be sure you don't cover the turkey too tightly as you don't want the bird to steam under the foil.
Browse our best turkey recipes to find the perfect bird for your Thanksgiving feast.
Subscribe to #MaadHouse for your chance to receive money towards your thanksgiving dinner From, Maad House. We're thankful for everybody choosing Maad House for their source of entertainment.
Those selected will be contacted 11/20-11/22. Happy Holidays and continue to stay safe.
Though Cardi B and Megan Thee Stallion’s “WAP” continues to dominate the internet, many big-name musicians released some of the best new pop music this week. Taylor Swift debuted an exclusive song from her most recent release, Carly Rae Jepsen returned with a few unreleased tracks, and Troye Sivan debuted a smoldering EP.
Each week, Uproxx rounds up the best new pop music. Listen up.
Taylor Swift — “The Lakes”It’s been nearly a month since Taylor Swift dropped her surprise album Folklore and the singer is already back with even more of the best new pop music. Debuting alongside a deluxe album announcement, “The Lakes” was co-written by producer/Bleachers singer Jack Antonoff and boasts atmospheric production and lulling melodies.
Carly Rae Jepsen — “Me And The Boys In The Band”This week was an eventful one for Carly Rae Jepsen, who celebrated the 5-year anniversary of her album Emotion and released three new songs. Two of the tracks were Emotion b-sides by “Me And The Boys In The Band” arrived as a standalone effort. Joyous instrumentals denote Jepsen’s lyrical love letter to touring. “I miss travel and performing and my band mates who over the years have become my adopted brothers,” Jepsen said about the single.
Troye Sivan — “Stud”After making a name for himself with his first two albums, Troye Sivan returned this week with his shimmering EP, In A Dream. The six-track effort features the slow-burning “Stud,” opening with wistful piano and artful auto-tune until a crashing beat arrives and quickly revs-up the song’s energy.
BTS — “Dynamite”K-Pop supergroup BTS shared their first full English-languaged track “Dynamite” this week, and it shattered YouTube’s viewing records. In under 24 hours, the video racked up over 90 million views, breaking the previous record set by the group’s “On” video. In a statement, BTS said “Dynamite” is “made of positive vibes, energy, hope, love, the purity, everything,” and it’s upbeat instrumentals reflect these themes.
Dana Williams — “Stuff”LA singer Dana Williams continues her prolific year with yet another single. Williams takes a long look in the mirror with “Stuff,” showcasing her moving vocals over a wavering guitar. The heartfelt visual alongside the single pays homage to her childhood, inserting adorable home video clips of her growing up.
Blackbear — “If I Were You” Feat. LauvAfter linking up with Charlie Puth for last week’s “Hard On Yourself,” Blackbear returned with the 12-track record Everything Means Nothing. The record includes his smash hit “Hot Girl Bummer,” as well as a number of collaborations — including with breakout star Lauv. The two got together to record “If I Were You,” a buoyant reflection on the confusion that comes with navigating a toxic relationship.
Aluna — “Envious”Aluna, one-half of electronic duo AlunaGeorge, has begun to pivot to a solo career with a handful of recent singles and flex her talent as a songwriter. “Envious” continues a string of strong efforts, boasting an earworm chorus, shimmering harmonies, and club-ready beat drops fit for epic living room dance parties.
Carlie Hanson — “Good Enough”Following her acclaimed EP Junk, Carlie Hanson has shared a handful of introspective pop ballads this year. With “Good Enough,” the singer gets real about struggling with mental health: “I wrote ‘Good Enough’ during one of the darkest periods of my life. My relationship was fizzling, I missed being with my family and friends, and at the time I was on a prescription medication that was really negatively affecting me. […] Fortunately, I was able to find my way out of this depression and push forward by writing about it and coming to terms with my mental health.”
Bazzi — “Crazy”Continuing a prolific 2020, Bazzi is back with the infectious track “Crazy.” Piggybacking on his signature songwriting structure, “Crazy” starts soulful before a hypnotic beat drops and Bazzi flexes his wide-ranging vocals. “Inside this city I see people everyday like you / I know your type I do,” he sings.
Kiiara — “Never Let You”Kiiara has positioned herself as a strong songwriter with a handful of singles over the past few years, gaining notoriety for her hit effort “Gold.” With “Never Let You,” Kiiara reflects on her musical path, wondering what her life would be life if she chose a different career: “A few months ago I was wondering what my life would have been like if I had never picked up a guitar and written ‘Gold.’ That’s what I wrote ‘Never Let You’ about. It’s sort of the grass ain’t greener type of situation. At the end of the day no matter how discouraged I get, I know I can’t imagine doing anything else. Music is all I think about 24/7. It’s my life and it gives me purpose.”
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Jayson Tatum was five years old when Carmelo Anthony entered the NBA, so he literally grew up watching the All-Star forward.
Tatum always has admired Anthony's game, so after 'Melo made NBA history in the Portland Trail Blazers' 124-121 win over the Philadelphia 76ers on Sunday, the Boston Celtics forward had to show him love.
Here's Tatum's Twitter shout-out of Anthony after the 36-year-old moved to 15th on the NBA's all-time scoring list:
Anthony ironically passed Celtics legend Paul Pierce, who racked up 24,021 of his 26,397 career points in Boston.
Tatum called Anthony one of his "top three favorite players" after the Celtics and Blazers met earlier this season, so it's no wonder he was so excited to see the 36-year-old make history (even if it was at Pierce's expense).
Anthony respects Tatum's game, too: He admitted earlier this season he "loves" watching Tatum play and said the 22-year-old is "like a little brother to me."
Tatum might eye Pierce and Anthony on the all-time scoring list one day if he continues to play at a high level.
A tall awning supported by pillars provides shade to the drive-up area and gives the home a feeling of grandeur. A large, circular planter creates a roundabout for cars to abide by as they enter and exit. (PHOTO ABOVE)
Shaquille O’Neal is known for his large stature, imposing basketball skills, and massive car collection. But there’s one other larger-than-life aspect of Shaq’s legacy: his Florida megamansion. The staggering estate includes 31,000 square feet of living space sitting on three acres. It includes a 1,170 square foot great room, a 6,000 square foot indoor basketball court, a 15-feet-deep pool, a 17-car garage, and so much more. Read on to see all that Shaq’s jaw-dropping mansion has to offer.
Pulling Up To The Massive EstateThe gated entrance and massive driveway make it clear right from the start that this is no ordinary house. The vibrant blue roof makes the expansive property standout among lush trees, but it also blends well with the surrounding water.
Investors who owned stocks in the 2010s generally experienced some big gains. In fact, the SPDR S&P 500's (NYSE: SPY) total return for the decade was 250.5%. But there’s no question some big-name stocks did much better than others along the way.
Berkshire’s Difficult Decade: One underperformer of the last decade was Warren Buffett’s Berkshire Hathaway Inc. (NYSE: BRK-A) (NYSE: BRK-B).
Berkshire struggled throughout the past decade to keep pace with a bull market that was led by high-growth, high-valuation tech stocks. Buffett is one of the most iconic value investors of all time, but value stocks have underperformed in a climate of historically low interest rates and skyrocketing corporate debt.
One of Buffett’s best moves of the past 10 years was his decision to go all-in on Apple, Inc (NASDAQ: AAPL) in May 2016. At the time, Apple shares were trading at around $110 per share. Roughly five years later, Apple is now trading at $444 and it’s by far Berkshire’s largest holding, worth around $111.5 billion.
But Buffett also had plenty of missteps in the past decade as well. Buffett invested in airline stocks in 2016 only to sell them all in early 2020 near the market bottom during the COVID-19 sell-off.
Berkshire’s Class B shares started the 2010s trading at around $70 after a 50-to-1 stock split in early 2010. Berkshire hit its decade low of $65.35 in late 2011. Berkshire shares then began a steady march higher over the next three years, peaking at $152.94 in late 2014.
From there, Berkshire spent most of the next two years trading sideways in a wide range of between $125 and $150. The stock finally broke out to the upside in late 2016.
2020 And Beyond: Berkshire ultimately peaked at $231.61 in early 2020, its high point of the last 10 years. However, Berkshire shares were hammered in early 2020 during the broad market COVID-19 sell-off, and the stock dropped to as low as $159.50, its lowest point since 2017. While the stock has since rebounded to around $210, it has still delivered underwhelming overall performance over the past 10 years.
In fact, $1,000 worth of Berkshire stock in 2010 would be worth about $2,614 today, assuming reinvested dividends.
Looking ahead, analysts expect Berkshire’s climb to resume in the coming months. The average price target among the three analysts covering the stock is $223.45, suggesting 6.7% upside from current levels.
President Barack Obama meets with Warren Buffett in the Oval Office in 2011. Official White House Photo by Pete Souza.
Hard Rock/Metal band from Jacksonville FL has been making waves in the music world. They have played with many headlining acts throughout the eastern region of the United States. Surviving September played along side Bands like Godsmack, The Offspring, A Day to Remember, of Mice and Men, Beartooth, Stone Temple Pilots, Soil, Flaw, Scream Blue Murder (UK), 10 years and many others. Their NEW single and music video "PREY" available on all streaming platforms and YouTube. Check out their new Website www.survivingseptember.com
Main Stage Feature - Cruzer Ur Ameshi
Cruzer Urameshi is an upcoming music producer. Cruzer was Born in Columbus, Georgia. Cruzer grew up around music and became really fond of producing at the age of 16. Already at 23 Years of age Cruzer already produced for dozens of artists as well as a few big named artists such as Shoreline Mafia, HotBoy Turk, Lil Davy, ChecktheStar, Oppo ,& his group BLVCKTRIVD. Cruzer is currently out in the Pacific Northwest and has been on a strong run. Cruzer became a heavy influencer within the music culture including the producer community. He has had such an impact that a lot of people have begun to call him a “Super Producer” in the making. Cruzer has a lot of projects already on all major platforms.
Cruzer's most recent project is 1000 Days Later with his team BLVCKTRIVD that Cruzer executive produced. The project has been a real success. Cruzer is also working on his next solo project called Cruzer 64. The reasoning behind the name is that Cruzer came into the music game making an impact that will be remembered years to come as the Nintendo 64 video game console is to the video game world also among pop culture today as one of the greatest video games that are still enjoyable to this day. Cruzer and his fans believe that his productions are timeless and will be enjoyable in 10 years as it is now comparable to the Nintendo 64 today. Cruzer knows his journey has been a great ride and he has learned a lot so far. Cruzer feels that this is only the beginning of it and there’s so much more success to come to him, his audience, team, and fans.
Twitter : https://twitter.com/Cruzer3x
Instagram : https://www.instagram.com/Cruzer3x/
BeatStore : https://traktrain.com/cruzer96
FaceBook : https://www.facebook.com/Cruzer3x
Justin Bieber and a boy band called One Direction are some of the biggest names in modern music. So, not surprisingly many people assume that most music buyers are tweens or teens. But the 45+ age group is actually the largest music buying demographic according to a Consumer Trends survey by the Recording Industry Association of America (RIAA). Tweens and teens are the smallest. You may think that much of that 45+ music is probably being bought for children or grandchildren. Without a doubt some is. But much of what's being purchased is called catalog music. A lot of this is music from the 60's, 70's, 80's and 90's rather than newer acts. In 2012, catalog acts like Guns N' Roses, Queen, The Beatles and Whitney Houston were outselling new acts. Younger people mostly buy singles because they have far less disposable income. The Jezebel.com article "Who's Buying Music, Is It You?" points out:
"...teenagers don’t buy as many tunes as people think, accounting for only seven percent of CD sales and just 12 percent of downloads — that means adults are buying Taylor Swift and Ariana Grande albums. Also, dudes used to buy most of the digital downloads, but now women buy around 54 percent of digital albums."
Record labels have become what the book The Song Machine calls "global hit factories manufacturing the songs that have everyone hooked." They may have a lot of younger people hooked, but older buyers are often being ignored. You may be wondering why the recording industry largely markets music to a younger demographic (mainly 14 to 24 year olds) rather than the demographic that actually buys the most music. There are a few different reasons for this.
Adele Has Sold Millions of Albums with Music that Appeals to Older Music Buyers Older Music Buyers Can Be Set in Our Ways Taste in music is often established in our younger years. So, many people prefer the music that was around when they were children and young adults. It's easy to malign the likes of One Direction and Justin Bieber today. But many highly respected acts like The Beatles and Elvis started out doing music with mass appeal before producing great works like Hey Jude and Suspicious Minds.
The fact is many older music buyers don't actively go out looking for new artists. Older people are far less likely to listen to the radio, where most new artists are broken. If they aren't willing to buy the music of younger artists, labels have less reason to appeal to a more mature demographic.
However, the success of Adele may have labels rethinking their assumptions about who will buy new artists. Adele's music is aimed at older music buyers. Yes, older music buyers can be very set in our ways and we often don't actively go looking for new artists. But it is likely that older people will buy the music of younger artists if the record companies can just find a way to reach us. However, that also proves to be a challenge.
It's Easier to Market to Younger People It's much easier for record labels to target younger audiences than older audiences. Older people are busier with jobs and families. They have a wide variety of interests and listen to less music radio. Younger people can easily be targeted through pop radio stations, entertainment shows, advertisements during television shows aimed at teens, online sources aimed at teens, and teen magazines. Labels can target a large youth audience through limited media outlets. This isn't possible with older audiences. It's much harder to pinpoint the best way to target music to older listeners. Younger people are also more susceptible to marketing techniques than older people. Again, the success of Adele would prove that it's not impossible to market music to an older demographic.
Younger People Attend More Concerts Younger people are much more likely to attend concerts, so record labels aren't as dependent on record sales to make money from artists that are popular with younger audiences. They can make money from artists in many different ways. Younger people are more likely to purchase merchandise like posters, t-shirts, books and other products.
Risks for the Music Industry Many record labels have done away with artist development departments as they have focused more on creating acts aimed at tweens and teens. There is a concern that newer artists won't have the longevity that many earlier acts like The Beatles, The Rolling Stones, Michael Jackson and Madonna have had. If record companies don't invest more in developing their acts and ensuring they stay for the long haul, there might not be a big catalog market in the future to keep the music industry afloat.
A group like One Direction may never get to create their own Hey Jude (assuming that they have that creative ability in them) if they can't grow up with their fans. As people get older they want quality. Labels need to ensure that artists grow and mature with their audiences by moving them away from bubble gum mainstream music to more meaningful songs. The Beatles quickly moved from mainstream songs like Love Me Do to more grown up songs like Eleanor Rigby. If artists don't do that, they will likely fade away as their fans grow and mature. Considering the demographics that actually buy music, artist development needs to once again become a priority.
DJ Chubby Chub Exclusive with Justice Lane.
Justice lane - For everybody listening, we have DJ Chubby Chub on the line with us right now! We know you been in the game for awhile now, so when was the moment you decided you wanted to be a DJ?
DJ Chubby chub - It was very odd, around the time I started dj-ing when I lived in The Bronx, I didn’t really know I wanted to be a DJ, I just loved music. I would have to say when I was outside in a park and I seen a DJ from the area and he was entertaining the crowd, and that made me think, “I need to be apart of this.”
Justice lane - Wow! And how long ago was that?
DJ Chubby chub - I’d say about 20, 25 years ago
Justice lane - So today, why do you think a lot of DJ’s have moved away from co-signing artists or breaking new music?
DJ Chubby chub - I don’t think a lot of DJ’s have moved away from it, I just think a lot of DJ’s haven’t found the right people that they wanna co-sign.
Justice lane - With that being said, you’re 50 Cent’s official tour DJ - How did you link up with 50?
DJ Chubby chub - Well there was an audition and I went and that’s how I got it (laughs) you know I already had a release with him, and I was breaking his music in Boston and on the radio, I was one of the first people that was doing that before a lot of people were. I was just playing mixtape cuts.
Justice lane - I know you’ve seen the music industry music style change and from a DJ perspective, what do you think about it, and being in the game for 20 years, how do you feel about it?
DJ Chubby chub - I mean, hip hop is different, it’s definitely different from nineties hip-hop, it’s a different lifestyle. Back then it was different for every other reason, it was more lyrical and more being a teacher to the rap game, now it’s more “this is a lifestyle” and it’s more having fun and partying and people are dancing, you know you can't really take away from what used to be and what is now.
Justice lane - Thank you joining me, I hope everybody’s listening, especially with the knowledge that you have. What would you tell other DJ’s looking to come up to be successful to where you are today?
DJ Chubby chub - The best thing is being yourself and always knowing that you’re happy with you and what you present and what you’re going to give the world and what you offer is what stands by what you create.
Justice lane - Do you have any advice for artists about how they would go about having a DJ like yourself breaking their record and getting their music to someone like you?
DJ Chubby chub - Don’t stop - keep sending your music out to every DJ, every DJ has his own ear and eventually someone is gonna say “you have what it takes” and if you don’t and they don’t get right back to you, don’t stop, keep going. A lot of people give up, they think cuz they make one record that’s what they have is that one record, it’s not true. You gotta keep coming up with different songs, you gotta come up with creative thoughts about what you want people to hear about and who you are as an artist.
Justice lane - Very True. I see that one of your mentors has been (coming up with DJ Clark Kent??) do you have any other DJ’s or inspirational people that when you first started you looked up to or wanted to work with?
DJ Chubby chub - When I grew up, there was DJ’s like Grandmaster Flash, everybody wanted to be Flash, everybody wanted to be like Kid Capri, everybody wanted to have their own style, and I was surrounded with a lot of Dj’s like SNS , Craig G, (Dower?) , doing what they were doing and we was doing all together at the same time was mixtapes, but as far as a lot of DJ’s , I look up to a lot of DJ’s because every DJ has their own niche and their own gift of what they brought to the table as being a DJ. Not everybody is going to say they played off records, not everybody is gonna say they had turntables, but every DJ has their own gift they just gotta know what to give to people, you can't play for yourself you gotta play for the people. And me personally, I play for women, you need to play for women more than anything (Laughs)
Justice lane - Well thank you, thank you (Laughs)
Justice lane - Before I let you go, please tell us all where we can find you on social media for you and 50’s movement?
DJ Chubby chub - All social media @djchubbychub holla at me!
Justice lane - Any shoutouts you would like to give?
DJ Chubby chub - I would like to give a shout out to you Justice, thanks for having me on the show, and shout out to everybody that’s tuned in and rocking out, we appreciate you and make sure everyday counts!
Justice lane - Thank you! Yes and everybody tuned in, make sure to check out DJ Chubby Chub and his movement!! I support you and 50 and the movement with it. feel free to come back so we can keep the fans updated. Thank you again for joining me!!
DJ Chubby chub - You’re welcome, thank you for having me!
The Vehicle Assembly Building, or VAB, at NASA’s Kennedy Space Center in Florida, is the only facility where assembly of a rocket occurred that carried humans beyond low-Earth orbit and on to the Moon. For 30 years, it also served as the final assembly point for space shuttles to external fuel tanks and solid rocket boosters.
The iconic facility serves as the central hub of NASA’s premier multi-user spaceport, capable of hosting several different kinds of rockets and spacecraft at the same time. Whether the rockets and spacecraft are going into Earth orbit or being sent into deep space, the VAB will have the infrastructure to prepare them for their missions.
The VAB was constructed for the assembly of the Apollo/Saturn V moon rocket, the largest rocket made by humans at the time. The last structural beam was positioned in the VAB in 1965. The interior construction, including the construction of the extensible work platforms, was completed in 1966. The building is located 3.5 miles from Launch Pad 39A and 4.2 miles from Launch Pad 39B.
The tallest portion of the VAB is called the high bay. There are four high bays, two on the east side, and two on the west side of the building. Each has a 456-foot-high door, enabling rockets to be stacked vertically and then rolled out to the launch pad.
Combining established capabilities with modern needs is the primary goal as the world’s most famous landmark of space exploration is being upgraded to support NASA’s 21st century launch complex.
pictures credits: iFM Magazine (Justice Lane)
article credits: https://www.nasa.gov/content/vehicle-assembly-building
The crawler-transporters, formally known as the Missile Crawler Transporter Facilities, are a pair of tracked vehicles used to transport spacecraft from NASA's Vehicle Assembly Building (VAB) along the Crawlerway to Launch Complex 39. They were originally used to transport the Saturn IB and Saturn V rockets during the Apollo, Skylab and Apollo–Soyuz programs. They were then used to transport Space Shuttles from 1981 to 2011. The crawler-transporters carry vehicles on the Mobile Launcher Platform, and after each launch return to the pad to take the platform back to the VAB.
Manufacturer Marion Power Shovel Company
Also called Missile Crawler Transporter Facilities
Model years 1965
Engine 2 × 2,050 kW (2,750 hp) V16 ALCO 251C diesel engines
2 × 750 kW (1,006 hp) generators, driven by two 794 kW (1,065 hp) engines, are used for jacking, steering, lighting, and ventilating.
Transmission 16 × traction motors, powered by four 1,000 kW (1,341 hp) generators
Length 40 m (131 ft)
Width 35 m (114 ft)
Height Adjustable, 6 to 8 m (20 to 26 ft)
Curb weight 2,721 t (6,000,000 lb)
Missile Crawler Transporter Facilities
U.S. National Register of Historic Places
Location Kennedy Space Center, Florida
MPS John F. Kennedy Space Center MPS
NRHP reference No.99001643
Added to NRHP January 21, 2000 The two crawler-transporters were designed and built by Marion Power Shovel Company using components designed and built by Rockwell International at a cost of US$14 million each. Upon its construction, the crawler-transporter became the largest self-powered land vehicle in the world. While other vehicles such as bucket-wheel excavators like Bagger 293, dragline excavators like Big Muskie and power shovels like The Captain are significantly larger, they are powered by external sources.
The two crawler-transporters were added to the National Register of Historic Places on January 21, 2000.
The crawler-transporter has a mass of 2,721 tonnes (6 million pounds) and has eight tracks, two on each corner. Each track has 57 shoes, and each shoe weighs 900 kg (1,984 lb). The vehicle measures 40 by 35 meters (131 by 114 ft). The height from ground level to the platform is adjustable from 6.1 to 7.9 m (20 to 26 ft), and each side can be raised and lowered independently of the other. The crawler uses a laser guidance system and a leveling system to keep the Mobile Launcher Platform level within 10 minutes of arc (0.16 degrees; about 30 cm (1 ft) at the top of the Saturn V), while moving up the 5 percent grade to the launch site. A separate laser docking system provides pinpoint accuracy when the crawler-transporter and Mobile Launch Platform are positioned in the VAB or at the launch pad. A team of nearly 30 engineers, technicians and drivers operate the vehicle, centered on an internal control room, and the crawler is driven from two control cabs located at either end.
A crawler-transporter carrying Discovery travels the ramp to Launch Pad 39B. The vehicle's back end can be raised, keeping the Shuttle and the MLP level.The crawlers were overhauled in 2003 with upgrades to the Motor Control Center, which houses the switchgear and electrical controls of all of major systems on board; a new engine and pump ventilation system; new diesel engine radiators; and replacement of the two driver cabs on each vehicle (one on each end). As of 2003, each crawler had 16 traction motors, powered by four 1,000 kW (1,341 hp) generators, in turn driven by two 2,050 kW (2,750 hp) V16 ALCO 251C diesel engines. Two 750 kW (1,006 hp) generators, driven by two 794 kW (1,065 hp) engines, were used for jacking, steering, lighting, and ventilating. Two 150 kW (201 hp) generators were also available to power the Mobile Launcher Platform. The crawler's tanks held 19,000 liters (5,000 U.S. gal) of diesel fuel, and it burned 296 liters per kilometer (125.7 U.S. gal/mi). Due to its age and the need to support the heavier Space Launch System and its launch tower, in mid-2012 one of the crawlers was undergoing an upgrade involving "new engines, new exhausts, new brakes, new hydraulics, new computers", to increase its lifting capacity from 5.4 to 8.2 million kg (12 to 18 million lb).
The crawlers traveled along the 5.5 and 6.8 km (3.4 and 4.2 mi) Crawlerways, to LC-39A and LC-39B, respectively, at a maximum speed of 1.6 kilometers per hour (1 mph) loaded, or 3.2 km/h (2 mph) unloaded. The average trip time from the VAB along the Crawlerway to Launch Complex 39 is about five hours. Each Crawlerway is 2 m (7 ft) deep and covered with Alabama and Tennessee river rock for its low friction properties to reduce the possibility of sparks. In 2000, NASA unearthed and restored an Apollo-era segment of the Crawlerway to provide access to High Bay 2 in the VAB in order to provide protection from a hurricane for up to three Shuttles at the same time.
Kennedy Space Center has been using the same two crawlers, now nicknamed "Hans" and "Franz", since their initial delivery in 1965. In their lifetime, they have traveled more than 5,500 km (3,400 mi), about the same driving distance as from Miami to Seattle.
Photo Credits: iFM Magazine (Justice Lane)
First it was just a few displaced shows in Asia and Europe — then came the toppling of global music-tech conference SXSW, desert bacchanal Coachella, and tour dates for everyone from Pearl Jam to the Rolling Stones to Post Malone to Billie Eilish. North America’s largest concert promoters AEG and Live Nation suspended all their shows; major arenas and underground clubs alike were forced to their doors. By mid-March, the coronavirus pandemic had effectively put the multibillion-dollar concert industry on indefinite pause and brought cataclysmic knock-on effects into the rest of the music business as well.
As the crisis continues to spill over into the operations of record labels, venues, streaming services, booking agencies, tech startups, and other companies in the various corners of the music industry, we’re committed to in-depth reporting and analysis from every angle.
The Week the Music Stopped:
It was the beginning of March when Don Smiley started planning for the worst. As the chief executive of Milwaukee’s Summerfest — which calls itself “the world’s largest music festival,” attracting 900,000 people over 11 days each year — Smiley was confronting a tidal wave of reports about the outbreak of COVID-19 in the U.S. With the news darkening, he began to seriously consider dismantling the event’s entire meticulous plan. In its 52-year history, Summerfest — which was set to include performances by artists from Justin Bieber to Guns N’ Roses this year — had never been canceled or postponed.
In March, COVID-19 wiped concerts and festivals off the calendar — and that was just the beginning. Inside the unprecedented week that threw the music industry into crisis.
The Orrin G. Hatch-Bob Goodlatte Music Modernization Act (Music Modernization Act) is the most significant piece of copyright legislation in decades and updates our current laws to reflect modern consumer preferences and technological developments in the music marketplace. The law is organized into three key titles, outlined below: Title I--Music Licensing Modernization Act; Title II--Classics Protection and Access Act; and Title III--Allocation for Music Producers Act. The Copyright Office has been active in executing its duties under the MMA, including:
On July 8, 2019, the U.S. Copyright Office named Mechanical Licensing Collective, Inc. as the designated Mechanical Licensing Collective (MLC) under Title I of the MMA.
On September 24, 2019, the Office issued a notice of inquiry regarding implementation regulations for the new blanket section 115 “mechanical” license. Following this notice, the Office plans to publish multiple notices of proposed rulemaking, each focusing on one or more of the regulatory categories discussed in the initial notice.
On December 6, 2019, the Office held an all-day educational symposium to kick off a public study to determine the best practices that the MLC may implement to effectively identify copyright owners and unclaimed royalties of musical works while encouraging copyright owners to claim royalties and ultimately reduce the occurrence of unclaimed royalties, as directed by the MMA.
Entertainment law is a broad term used to cover the areas of law necessary to provide legal service to persons in the entertainment industry such as artists, producers, musicians, writers, publishers, managers, filmmakers, photographers, and game companies.
While entertainment law primarily involves intellectual property issues such as trademarks, copyrights, and the rights of publicity and privacy, the practice of entertainment law also frequently touches on issues in employment/labor law, corporate law, torts, securities law, insurance law, First Amendment law, and international law.
Why should you hire an entertainment lawyer?
Entertainment lawyers handle the unique legal needs of individuals and businesses involved in the entertainment industry. If you have a contract you need reviewed or drafted involving art, motion pictures, music, theater, book publishing, photography, and/or video games, it’s wise to work with an entertainment lawyer to ensure the contract is clearly drafted, reflects your agreed upon deal points, and serves your best interests.
Lawyers who do not have a current understanding of these industries may well feel like you are speaking to them in a different language and/or fail to identify critical issues potentially leaving their entertainment clients with either a raw deal, or no deal at all.
What do entertainment lawyers do?
Most entertainment lawyers are transcriptional lawyers who spend the bulk of their time drafting, reviewing, and/or negotiating contracts for their clients to ensure the contracts reflect industry standard and/or agreed upon terms, provide appropriate compensation, and protect intellectual property. A good entertainment lawyer will also spend time explaining how the industry works to new clients so that they can avoid bad deals as well as costly disputes to try to get out of them.
Many entertainment lawyers act as general counsel for established artists and companies who have a regular need for advice on how to secure rights to third party content to avoid copyright/trademark infringement (e.g., optioning a book for a screenplay, acquiring music for film soundtrack) and how best to exploit/protect their brand (e.g, licensing their name, image, or content to distributors, merchandisers, sponsors, etc.).
Some entertainment lawyers may also “shop” clients to try to secure deals with industry players (e.g., artists to record labels, TV show concepts to networks, screenplays to studios). It is important to be cautious in entering into such representation arrangements, especially if the lawyer promises you a deal in exchange for a shopping fee. Unless the lawyer controls the label, studio, etc. (and the ethics of that are murky at best), then it’s unlikely that he/she can follow through with such promises no matter how much money you pay him/her.
In the music business, connections rule the day.
Entertainment lawyers are some of the most connected professionals in the industry. An established entertainment lawyer can streamline your demo direct to the decision-makers… but too often, musicians overly rely on the role of lawyer in “shopping” the music deal. A lawyer’s connections alone will usually never get you a record deal (of course, there are exceptions). First and foremost, the music industry is a business – if you cannot prove that you will be a return on a business’s investment, it is very unlikely that a lawyer can get you a deal. The lawyer does, however, play an integral role in a musician’s career – and this does include introducing the musician to record label executives when the musician has some leverage.
I get at least one e-mail or demo submission every week (usually more) from a band or musician asking me to shop them to a major label. There are plenty of lawyers that will agree to shop an artist for a fee – in this case, shopping merely means submitting the artist’s demo along with a letter from the attorney on official letterhead. We do not do this. Our law firm does not shop.
Artists need to understand that connections or talent alone will never equate to a record deal. Record labels want to see independent record sales, real MySpace numbers (or other online music sites), a touring schedule, merchandise sales, and general media buzz (whether it be from local sources or via online social networking). The role of the lawyer (along with the manager) is to assist you in developing these components into a viable and sustainable business – we are here to form a business entity for you, protect your intellectual property, negotiate license deals, create a solid infrastructure for you from which to take your career to the next level, and yes, get you in front of label executives.
But consider this: if a lawyer has the option to “shop” an existing client that has developed a relationship with the lawyer OR shop an artist that only wants to be shopped, the answer seems obvious. Maintaining and protecting one’s reputation is crucial in this industry, and that means being extremely selective about when it makes sense to leverage contacts for a client. So the next time you think about sending a lawyer your creative materials to be “shopped”, think instead about sending your statistics and sales numbers.
Music is about creativity; the music business is about spreadsheets and returns.
One thing all entertainment attorneys do not do—despite the popular myth—is seek out and secure record deals for artists—a process known as “shopping” an artist to record labels. It is true that some entertainment attorneys perform this service, but very few succeed in getting their clients signed to a deal.
An Orbital ATK Cygnus cargo ship arrived at the International Space Station early Thursday (May 24) to deliver more than 3 tons of science gear and supplies — and some goodies for astronauts, too.
NASA astronaut Scott Tingle captured the uncrewed Cygnus spacecraft using the space station's robotic arm at 5:26 a.m. EDT (0926 GMT). It was attached to the an Earth-facing port on the station's Unity module about 3 hours later. The spacecraft is packed with 7,385 lbs. (3,350 kilograms) of science experiments, equipment and basic supplies, like clothing and food, for the station's Expedition 55 crew. But it contained some extra treats for the astronauts, too.
"There's always goodies on board," Kirk Shireman, NASA's space station program manager, told reporters after Cygnus launched into orbit. "We try to fly something that each crew member likes. So, I'm sure there's something for them to look forward to."
(May 21) from NASA's Wallops Flight Facility in Virginia using an Antares rocket (also built by the company). It is the ninth of 11 cargo delivery missions for NASA by Orbital ATK under a $2.9 billion resupply contract. Dulles, Virginia-based Orbital ATK named this Cygnus the S.S. J.R. Thompson after J.R. Thompson, a NASA veteran and Orbital ATK executive who died last November.
Among the science gear delivered by Cygnus is the Cold Atom Laboratory, which will use lasers to create the coldest spot in the universe on the station. Another experiment includes a sextant to test how the centuries-old navigation tool could be used to navigate spacecraft in an emergency. And an experiment called Biomolecule Extraction and Sequencing Technology will study how long-duration spaceflight affects the DNA of astronauts, plants and microbes.
The Cygnus spacecraft will remain linked to the space station until July, when it will be packed with 3 tons of trash and commanded to intentionally burn up in Earth's atmosphere. Before it burns up, the spacecraft is expected to deploy several tiny satellites, called cubesats, as part of its mission, Orbital ATK representatives have said.
Orbital ATK is one of two commercial companies with NASA contracts to deliver cargo to the International Space Station under the space agency's Commercial Resupply Service 1 program. The other company is Hawthorne, California-based SpaceX, which has flown 14 of 20 planned missions with its Dragon capsules and Falcon 9 rockets for NASA under a contract worth just over $3 billion.
NASA has also picked Orbital ATK, SpaceX and Sierra Nevada Corp. to supply the space station under its new Commercial Resupply Services 2 program.
The International Space Station is currently home to six astronauts and cosmonauts making up the Expedition 55 crew. In addition to Tingle, the crew includes NASA astronauts Drew Feustel and Ricky Arnold, Russian cosmonauts Oleg Artemyev and Anton Shkaplerov (who commands the mission) of Roscosmos, and Japan Aerospace Exploration Agency astronaut Norishige Kanai.
Editor's note: This story was updated at 9:31 a.m. EDT to include the successful berthing of the Cygnus spacecraft at the space station.
Email Tariq Malik at firstname.lastname@example.org or follow him @tariqjmalik. Follow us @Spacedotcom, Facebook and Google+. Original article on Space.com.
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Glancy Kelly is an artist with a very innovative take on his R&B sound. On one hand, is music is inspired by legends like Trey Songz and Mario, while on the other, he also channels the spirit of innovative artists such as Miguel or Frank Ocean, to name a few. One of his most recent single, “Who Knew,” is a sultry and outspoken composition, which blurs the lines between emotional lyricism and the artist’s energetic delivery. It is not surprising that the artist has been on the radar for some of the world’s top A&R people and record labels executives! He even turned down a few offers to be a songwriter for other major artists, because he deeply believes in the potential of his sounds. “Who Knew” is a perfect song for Glancy’s vocals, and no other singer would have been able to capture the track’s expression in such a personal way.
Following the success of his other single, “Tell Me,” this song is yet another banger with a catchy, sexy vibe.
Find out more about Glancy Kelly and listen to “Who Knew,” which is now available on Spotify:
(Texas) – Like many who need an escape from the harsh realities of life, Glancy Kelly turned to music at an early age as a salve for his various difficult experiences. As soon as he learned how to write he began creating songs and lyrics about things he was going through as a kid. It wasn’t long before he was experimenting with rap, and as he began to learn more about music – from playing drums to learning multiple other instruments – he began to develop a deep passion for the art of music making.
Today Kelly is ready to showcase his body of work to the world with the release of his album “Now or Never.” It’s an album that explores a variety of musical styles – from hip-hop to R&B to soul and pop.
“It kind of represents all parts of me,” Kelly said. “I’ve been working on it for the last two years and I’m ready to see how far I can go with it. I had a couple of major artists wanting to buy a couple of my songs – like ‘Hold On To Me’ and ‘My Life’ – but I wanted to keep them for myself. I figured I’m not getting any younger and it’s time to put this album and those songs out to the world now or I’m never going to do it.”
This isn’t the first time Kelly has attempted to enter the music industry. In fact, he’s has modest success for a few years, including a short stint in the early rounds of the FOX reality show American Idol.
“While I consistently received praise from the producers, I never moved past the non-televised portion of the contest,” he said. “It was a wake-up call for me. I have these ideas and content that break the convention mold of ‘filler’ lyrics, and I realized that I was going to have to make my own dreams come true. That’s why I put out ‘Hold On To Me’ a couple of years ago. The positive response has been overwhelming. My followers on Soundcloud just exploded, and some of the heavy-hitters in the music industry began to take notice.”
And now he’s ready to take that positive momentum and use it to promote this new album, “Now or Never.” He said he hopes the album connects with people on a personal level. He said he hopes they see an original voice in the industry who has a unique story to tell – one that almost anyone can connect with on some level or another.
“Not only did I learn a lot of instruments as a kid, but I also taught myself how to sing,” he said. “I’ve been singing now since I was 17 or 18. A lot of people have vocal coaches, but I didn’t have that and I taught myself to sing. I just kept practicing, trying to be good at it. I really believe that all you need is a steady tone and the ability to hold a note and you can do some things in this industry.”
“Now or Never” is available for purchase on iTunes, Spotify and other digital media sites. Fans who want to sample more of Kelly’s music can visit his Soundcloud page, or check out some of his music videos on YouTube. Fans can also follow him on social media @glancysinger on Twitter and Instagram and www.facebook.com/glancykellyofficial
What are the TEA TOPICS for today or this weekend??
We have suggestions for:
Things to do to keep kids entertained since they're out of school due to the Coronavirus.
Single men (father's), balancing work and the kids during the Coronavirus. #VentHour
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Last night we didn't get to speak about places to travel.
How to entertain yourself, your family during the Coronavirus lock down.
Random Social Media Trending Topics.
Tea Time - News Trending Topics Gossip Report.
What is social distancing..
The hottest albums for 2020..
Things people can do to keep their immune systems strong..
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"You can find love, fear, friends, enemies, violence, dancing, sex, demons, angels, loneliness, and togetherness all in the After Hours of the night.” —The Weeknd
Ever since The Weeknd emerged in 2011 with the mysterious and mesmerizing House of Balloons, the Toronto native has kept us on our toes: There was a trio of druggy, lo-fi R&B mixtapes, the Top 40 cake-topper “Can’t Feel My Face,” and the glossy, Daft Punk-assisted rebirth that came with 2016’s Starboy. On After Hours, his fourth studio album, the singer returns to early-era Abel Tesfaye—the fragile falsetto, the smoky atmospheres, the whispered confessions. But here, they’re bolstered by some seriously brilliant beatmaking: muted, shuffling drum ’n’ bass (“Hardest to Love”), whistling sirens and staccato trap textures (“Escape From LA"), and flickers of French touch, warped dubstep, and Chicago drill that have been stretched and bent into abstractions. It’s as if Tesfaye spent the past four years scouring underground warehouse parties for rhythms that could make his low-lit R&B balladry feel hedonistic, thrilling, and alive (and the above statement he sent Apple Music about the album seems to confirm that). When the album does lift into moments of brightness, they’re downright radiant: “Scared to Live” is sweeping and sentimental, fit for the final scene in a romantic comedy, and “Blinding Lights”—a Max Martin-produced megahit boosted by a Mercedes-Benz commercial—is about as glitzy, glamorous, and gloriously ’80s as it gets.
Recording Academy Asks Congress To Assist Music Community, Particularly Freelancers, Impacted By Coronavirus
As the music industry reels from the impact of the coronavirus pandemic, the Recording Academy today appealed to Congress to “protect our nation’s musicians, performers, songwriters, and studio professionals,” particularly “self-employed gig workers,” who are impacted by the loss of income due to concert cancellations and other hardships.
The upshot of the letter, addressed to Senate leaders Chuck Schumer and Mitch McConnell and House leaders Nancy Pelosi and Kevin McCarthy, reads:
“As Congress considers emergency steps to provide critical support to American workers and families, it must extend such support to self-employed gig workers like those in the music community. Including these non-traditional workers in a stimulus package will give hundreds of thousands of individuals and their families the financial assistance they need during this crisis.
“These music makers generally work as self-employed freelancers or independent contractors,” it continues. “They work from project to project, and are not engaged in typical employer-employee relationships. They do not have the benefits of an employer-provided safety net such as sick leave or health care. And they are not eligible for unemployment benefits. Music is the original ‘gig economy.’” The letter, dated Tuesday, is signed by acting Academy president/CEO Harvey Mason Jr.
While numbers and dollar amounts are not immediately available, the music industry has been battered by the pandemic, with nearly all tours and festivals cancelled and postponed, and the labels were further impacted Tuesday when Amazon announced that it is prioritizing its incoming inventory for the next several weeks and will stop accepting new shipments of vinyl and CDs.
The Academy’s charitable wing, MusiCares, on Tuesday announced the COVID-19 Relief Fund to help people in the music industry affected by coronavirus (COVID-19) outbreak and subsequent cancellation of thousands of music events. According to the announcement, the fund, administered through MusiCares, will be used to directly support those in the music community with the greatest need. To establish the fund, both the Recording Academy and MusiCares have contributed an initial donation of $1 million each, totaling $2 million. Additionally, all Recording Academy Chapters have committed to fundraising in their local communities.
What kind of recipe do you want? Fast? Fresh? Fancy? Whipped up from the ice-covered recesses of your freezer?
Friends, whatever magic you need to make, look no further than this seafood stew. Loosely based on cioppino, a San Francisco specialty that’s based on an Italian soup, this dish is hearty, healthy and versatile. You can carefully curate the ingredients for a special occasion, or throw it together before a weeknight baseball practice. Make it once, and you’ll realize that the possibilities, and varieties, are infinite.
Start by procuring a pound and a half of seafood. My family enjoys a thrifty trio of shrimp, bay scallops and cod; feel free to experiment with clams, salmon or any other sea-yummies that your people enjoy. The fresher the fish, the tastier the stew, so if you have access to just-caught fish, great. If frozen items are the best you can do, that’s great, too. I’m particularly fond of frozen shrimp, which are inexpensive, full of lean protein, and easy to keep on hand. In all of my test recipes, the only fish that floundered was thawed tilapia; it tasted just dandy but didn’t hold its shape while simmering.
While you’re grabbing the fish, pick up a little jar of clam juice (often found in the same aisle as canned tuna). It costs less than a latte and adds a wallop of umami flavor to the stew. You only need a splash for this recipe; use the remainder in linguine with clam sauce, clam chowder or a clam dip. Clam juice is also the not-so-secret ingredient in bloody mary cocktails. If you’re still not convinced you need it, skip the clam juice all together and add a bit of brine from a jar of capers to get the salty job done.
Simmer the fish in a sauce made from dry white wine and canned whole tomatoes. I find it deeply satisfying to break up the tomatoes by squeezing them until they pop. If you’d rather keep your hands clean, use your cutting shears to chop up the tomatoes. Let the tomatoes simmer 10 minutes or more before adding the fish, and you will be rewarded with a thicker, velvety stew. Sometimes you don’t have any minutes to spare, and that’s OK. If you skip the simmer, your stew will simply be more brothy. Serve it with a hunk of bread and act like that’s part of the plan.
Because the recipe is so accommodating, you can personalize it with your favorite flavors. Add a crumbled slice of turkey bacon. Throw in some chopped potato. And fresh spinach. More spice. Less spice. Serve the whole thing over rice! As a more-is-more person, I’ve done all of these. But I have to say, my favorite version is the recipe you see here. It’s a simple recipe, made without pretense or pressure. Who doesn’t need a little magic like that?
Weeknight Cioppino (Seafood Stew)
Weeknight Cioppino (Seafood Stew)
Per serving: Per serving, made with 1/2 pound shrimp, 1/2 pound bay scallops and 1/2 pound cod: 256 calories (percent of calories from fat, 13), 33 grams protein, 19 grams carbohydrates, 1 gram fiber, 3 grams fat (trace saturated fat), 129 milligrams cholesterol, 571 milligrams sodium.
When you’re always stuck in an office, or running between meetings, the easy way to get some food into your system is either by ordering junk, or eating something out of a vending machine. For people who are always on the go, healthy eating can be quite the challenge, especially when they’re on a tight budget. The good news is that there are ways to cut down on spending when eating healthy. Whether it’s meal planning or adequate prepping, these tips will help you eat a nutritious diet- while also keeping your grocery bill low.
1. SAY NO TO JUNK FOOD It’s over. End it. No more “I’ll start dieting tomorrow,” or “I’ll just have one cookie.” By cutting out junk food from your diet, not only will you save lots of money, but your sugar cravings and mood swings will plummet before you know it.
2. DON’T GO SHOPPING WHEN YOU’RE HUNGRY The worst thing you can do to your wallet and waistline is shopping when you’re hungry. Impulse buying when you’re hungry makes everything look more appealing, delicious, and crave-worthy.
3. FRESH VERSUS FROZEN Fresh fruits (especially berries) and vegetables are usually in season only a few months per year, which renders them rather expensive. If you’re looking to shake your meals up, don’t shy away from choosing frozen over fresh produce. While fresh produce is favored by many, quick-frozen produce is usually just as nutritious and cheaper for off-season foods.
4. GROW YOUR OWN If you’re lucky enough to have a small backyard, growing your own herbs, sprouts, tomatoes, and onions will not only save you money at the store, but will also elevate your senses.
5. BULK IT UP Found something you enjoy eating at a super sale? Check the expiry date and stock up. Whether they’re canned beans, corn, instant oats, or your favorite brown pasta that’s always out of stock, buying in bulk quantities will save you money in the long run.
Related: Five Essential Foods To Fight Fatigue And Boost Your Work Day
6. EAT AT HOME OR PACK YOUR LUNCH Ordering food or eating out is very expensive, especially if you’re hosting company dinners, or having meetings over lunch. By packing meals, impulse shopping, hunger pangs, weight gain, and fatigue will all be a thing of the past.
7. PLAN AND PREP The golden rule to healthy eating is meal planning and prepping. By scheduling your weekly meals, planning grocery lists far in advance, and pre-cooking your lunches at home, making it a habit to plan ahead will save you from eating out at the last minute.
8. COOK FOR FOUR Cooking large portions will save you both time and money. Frozen, single-portion leftovers are optimum for those days when you don’t even have the energy to get out of bed and walk over to the fridge.
9. SWITCH UP YOUR PROTEINS Meat can be a great source of protein, but it could also be quite expensive. By switching up your protein sources with legumes, hemp seeds, eggs, or fish, you’ll be balancing out your budget, while still getting the nutrition you need. Most of them also have a long shelf life, and are therefore less likely to spoil quickly.
10. CLIP THEM COUPONS You know, those tiny little flyers that you find on your doorstep and immediately throw away? Maybe don't do that anymore- coupons are a great way to save money on both food and detergents. Whether they’re actual coupons or voucher codes on an app, start clipping.
Lakers forward Anthony Davis has achieved a handful of goals during his collegiate and professional playing careers. However, there are other goals that he would like to still accomplish and not all are necessarily on the court. Let's take a look:
An NBA All Star? Check.
NBA first team? Check.
Win Olympic gold medal? Check.
NCAA national champion? Check.
NBA champion and MVP? Pending.
An official ambassador for a brand that aligns with his goals and ambitions? Check.
Davis is partnering with First Entertainment Credit Union as part of an overall partnership between the Lakers and First Entertainment.
"This is something that is home for me, something that relates to me," said Davis. "It helps me learn about financially literacy, how to spend my money, invest in — a lot of things people don't know about."
Davis is the first official ambassador in First Entertainment's 53-year history.
"We wanted to become more than just a word of mouth, we wanted to expand the brand in SoCal," said Amondo Redmond, chief marketing officer at First Entertainment. "Doing research, I knew I wanted AD. I got a sense how much L.A. Loves him. He was the best that reflects the brand."
The collaboration is a big step for Davis' overall goals to immerse himself in the L.A. Community and entertainment space. He will spread the word on financial literacy and the entrepreneurial benefits of working with First Entertainment.
"A lot of people can go broke and don't know how to spend money. We make mistakes, we spend, but we are able to learn from those mistakes," said Davis. "I want people to be smarter with their money. I want to share my experience with others. I want to leave them a lot of knowledge on financial sense."
For First Entertainment, although clients must reside in Los Angeles County, the addition of Davis will allow the financial institution to expand its brand outside of the county and allow it to work on creative projects with the Lakers.
"This is one of the biggest partnerships we've ever had," said Redmond. "We will be creative with everything we work on with AD and hopefully see an impact."
This partnership is more than another accolade added to Davis' resume. It's more about outreach and helping the community.
"If I can reach one person on financial literacy, I've done my job. If you give them knowledge, you feel better about yourself," said Davis. "If I can help at least one person with their financial literacy, I feel good about myself. My goal is to give them knowledge and First Entertainment can help me do that."
"AD is not just a face, but an informant of financial literacy," said Redmond. "You don't see other athletes doing that in the community."
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