“I Think I’m In Love” is perhaps the `oldest’ cut listeners have heard from Wilson in recent times. This song hearkens back to late 50’s early 60’s soul. Charlie does it again, sort of old school and I love it. Taken from the album Love, Charlie 2013. Enjoy.. . ‿ .
Charlie Wilson – I Think I'm In Love
Balthazar Staff Worried About Restaurant’s COVID Response
Balthazar’s outdoor-dining setup this past spring.
Photo: Paul Frangipane/Bloomberg via Getty Images
When the restaurateur Keith McNally reopened his Soho brasserie Balthazar in March, it was widely interpreted as a signal that the pandemic and its disastrous effects on the New York City hospitality industry were coming to an end. In the early months of the virus, one barista at the restaurant had died, and McNally himself had been hospitalized with the virus the previous year. Staff returning to the restaurant rejoiced.
But now, with the Omicron variant surging, some Balthazar workers say the restaurant isn’t doing enough to keep them safe and isn’t making them aware of the extent of a COVID-19 outbreak among staff — at least ten of whom have tested positive, by their own internal count.
On December 15, a Balthazar manager emailed workers to say that two people who had worked on December 7, 8, 9, and 10 had tested positive. “We highly recommend that you get tested, should you need help finding a testing facility, please let us know,” the manager wrote. Two days later, on December 17, the manager emailed workers again, this time to say that “several” more staffers had tested positive and had worked on December 13, 14, 15, and 16.
In a private chat, one worker texted their feelings to colleagues: “‘Several’ meaning ‘if we told you the number we’d be forced to close.’” (The restaurant’s press office hasn’t responded to my emails asking about the situation.)
Another server, who asked to remain anonymous for fear of reprisal, thinks that management needs to be more transparent: “It’s just kind of crazy that they’re trying to downplay this,” this server tells me. “It’s like they don’t care at all — they’re not trying to get us tested or shut down the restaurant for even a day … it’s bizarre.”
After waiting in a three-hour line at a pop-up testing center one recent morning, the server tested negative, then proceeded to work a ten-hour shift.
While numerous restaurants in New York City have closed in recent days, sometimes citing just one or two positive cases on staff, the 300-plus full- and part-time team at Balthazar has continued to work apace. This summer, the restaurant abandoned its temporary plexiglass barriers to return to full dining capacity — 160 to 182 seats indoors, and 120 to 150 outdoors — and has recently been crowded with holiday tourists.
“You’re wearing an N95 you don’t want to take off for ten hours, and they have this Christmas music playing like nothing’s happening,” the server explains. “It’s this weird dystopian world — like a holly jolly time, but we’re all scared for our lives.”
Meanwhile, managers are calling staff to entice them to work more shifts in exchange for the promise of free food. “They ordered pizza and doughnuts and said, ‘We really need you, order anything off the menu,” the server reveals. “They called us over to a corner to eat the free food, which is pretty ironic considering that, you know, it’s this small little corner where everyone would be unmasked to eat their bribes.”
In the group chat, another worker told colleagues, “Pizza or not, they need to at least take tables away, put the partitions back.” This person added, “I mean shit, they got them all detailed, might as well use them.”
The worker also recommended closing the bar: “There’s only three bartenders left anyway.”
Another vaccinated and boosted server at the restaurant, who recently tested positive for COVID and is in quarantine with mild symptoms, says they don’t blame Balthazar for remaining open or workers for continuing to come in. “People don’t want to lose their jobs,” they said. “They’re out of sick hours, and they don’t feel well, but if they’re testing negative, they don’t feel like they have a choice. That’s a common sentiment across the board among service industry people.”
“They’re going to keep working until they can’t,” this server continues. “That’s not necessarily Balthazar’s fault. It’s a systemic problem.”
McNally, for his part, is aware of the situation. He posted about it on Instagram, his preferred mode of communication, on Monday afternoon, sharing an email from a manager who told him more than a third of staff was out for Sunday brunch, but that others had stepped up to fill in.
“Kudos to your staff,” read one reply. “That said, a huge outbreak and passing on the virus is not a good plan going forward. How ARE you going to deal with this??? Are you limiting capacity to help make the restaurant safer for staff and guests? Are you putting together a testing plan? … Lead the way. Other restaurants will follow.”
McNally’s response? That, too, was posted to Instagram: “FUCK OFF.”
However, after this story was first published, management from McNally’s restaurants sent a note to employees to announce a new mandatory testing policy:
PUBLIC MEMO TO ALL STAFF
Effective immediately, in the interest of everyone’s health and wellbeing, the restaurants are instituting a weekly COVID testing policy for all employees. Your personal health information is of the utmost importance to us and will be kept in confidence in line with Hippa/privacy guidelines. We will have a testing company on site this Thursday, December 23rd, and once a week thereafter TBD. We will be offering the PCR test which has a relatively quick turnaround time and possibly a rapid test when appropriate. You may take a test at a facility of your choosing or test on site at Balthazar or Morandi. Regardless of where you take the test, everyone must have it done and submit the result weekly (for clarity, your test date must be no more than every 7th day from your last test date).
This story has been updated to include information relating to the restaurants’ new testing policy.
Hollywood Undead – Undead live in Munich 2020
Hollywood Undead – Undead live in Munich 2020
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Find Out Which Dance Pop Contestants Make Jessalynn Siwa’s XOMG
OMG, it’s the final countdown on Siwas Dance Pop Revolution—which means we’ll finally know which contestant(s?!) will join Jessalynn Siwa mega girls group.
During an exclusive sneak peek at the two-part season finale, airing Tuesday, Dec. 28, Jessalynn gives feedback to the three XOMG POP frontrunners.
“First thing I want to tell you is, tonight was phenomenal,” Jessalynn begins, as daughter JoJo Siwa agrees that the girls’ performance was “magical.”
Jessalynn continues, “As much as I was worried about taking some sassy girls and doing a ballad, it was pretty amazing. Dallas, Kinley and Tinie-T, please step forward.”
Then Jessalynn gives individual feedback on the trio of mini stars.
“Kinley, I think you are a phenomenal dancer but we’re going to have to work on your singing,” Jessalynn notes. “Tinie-T, you didn’t have a part tonight. I wish you did and I think your mom wished you did too. You weren’t prepared this week, but what you did, you did good. When it was your time to sing, you sang. You remind me a lot of JoJo in your glass is half full. It’s a cool trait to have.”
No Way Home & the Nobility of Second Chances
At the end of The Dark Knight, Joker is captured by a SWAT team and presumably thrown into captivity, left to rot in Arkham Asylum until he dies or breaks out. And while the outcomes can slightly differ, punishment in other comic book movies across the spectrum is usually similar, if not more fatal.
Villains don’t usually get a second chance. But Spider-Man: No Way Home changes that by offering that redemptive arc to its classic antagonists as well as its heroes, too.
The film doesn’t initially play this hand as it first starts off as something more traditional: capture the bad guys. But the second half of that plan — sending them back to their own universe — is where Tom Holland’s Peter Parker breaks tradition by realizing the cruelty inherent to it since doing so will essentially kill them. Doctor Strange is against this effort since “their sacrifice means infinitely more than their lives,” according to him.
RELATED: Spider-Man Films Ranked Following No Way Home
Strange’s words would feel right at home in most other comic book movies where the goal starts and stops at containing the villain. Parker refuses that cruelly simple and pragmatic approach, opting to go one step further and save them, which is not out of line for Spider-Man. After all, Parker tried to warn Vulture of his volatile suit at the end of Homecoming and pulled his smoldering ass from the wreckage quickly after.
But it’s the manner in which he’s trying to save them that makes all the difference: He’s trying to help them before saving them in a way that could not only benefit the person in question but also save more lives down the line. By fixing Doc Ock’s brain chip, giving Green Goblin and Lizard their antitoxins, draining Electro’s energy, and using lights (a callback to the particle test facility lights in Spider-Man 3) to turn Sandman into a normal man, he’s addressing the underlying cause of their issues and setting them up to be less troublesome in the future. Looking at the root of the problem is a more forward-thinking and less cruel way to look at punishment, which is what rehabilitation should be as it sets them up to get the second chances they didn’t get in their previous films.
This more progressive way to look at justice is idealistic, yet is still far too rare in the genre. There are many examples of typical prisons in these films that do more harm than good, but the previously mentioned Arkham Asylum is the most egregious example. It’s a hellish dump that’s never meant to help anyone and only serves as a glorified torture facility for those housed inside. There’s a cyclical nature of crime and imprisonment that comic book movies don’t seem to always address, if ever.
RELATED: Kevin Feige Confirms Next Spider-Man Movie Is in Early Development
If Bruce Wayne was serious about actually solving Gotham’s crime problem, he’d probably be better off funding more social programs and facilities like this instead of paralyzing poor people and perpetuating the cycle. The cycle does allow for a never-ending supply of stories and while brawling with these baddies can be visually engaging, it doesn’t appear to be the way to address the issues with the systems that create criminals. However, it’s not surprising that these American-made characters in American-made films have such a barbaric view of the subject matter, given how the United States has the highest rate of incarceration in the world and generally treats its prisoners terribly.
No Way Home obviously doesn’t delve into the criminal justice system but instead channels Parker’s nobility in trying to help these tortured souls. It’s also a more gentle touch that fits with him being the “friendly neighborhood Spider-Man” and meshes with Marvel’s newer approach to villains in the Marvel Cinematic Universe.
The MCU has moved away from forgettable baddies, like those seen Guardians of the Galaxy or Thor: The Dark World, and toward more sympathetic or realistic ones, most of whom could have been heroes if certain events were just a bit different. Black Panther’s Killmonger, Homecoming’s Vulture, and even Thanos to some degree have all been part of Marvel’s stronger effort to create more nuanced antagonists that aren’t just caricatures with primitively heinous motives. No Way Home just takes that initiative a step further and tries to put those characters on the path to recovery, something Marvel also showed more of in Falcon & The Winter Soldier with Bucky’s arc after his traumatizing time as the Winter Soldier.
Redemption also breaks the fourth wall in the movie, too, as it’s impossible to not also apply those redemptive themes to both Andrew Garfield and Tobey Maguire. Maguire’s trilogy notoriously ended on a sour note as the third film is almost unanimously regarded as the worst of the three, which also apparently had a rough and tiring production process that also played a role in canceling the ill-fated fourth entry. Garfield didn’t even get the privileged trilogy treatment since the reception to The Amazing Spider-Man 2 was so overwhelmingly negative and an experience the actor has been vocal about in the years since.
Given how both stories ended prematurely and on stunning lows, seeing the two come back offers closure they might not have otherwise gotten. They get to hang up their live-action Spidey suits (for the time being, at least) on a well-received Spider-Man movie that was likely less of a headache to actually be a part of. Some of this redemption is even in the text of the film, as Maguire repeatedly tells Garfield that he is “amazing” and Garfield is given yet another shot to save someone who is falling to their doom. Audiences also get to revel in their return and get the bad tastes of those two previous films out of their mouths, but the casting choice seems primarily designed to benefit those actors who were caught up in a toxic system.
Aunt May finally tells Holland’s Parker the “With great power…” line in No Way Home and even though it took some time, it makes sense that this is the film that espouses those iconic words. No Way Home was the film that most definitively showed how Spider-Man could use his great power with great responsibility by not only saving civilians, but the ones putting those civilians in danger and giving a more humane and often unseen solution that fits Spider-Man’s altruistic moral compass.
Your EDM Q&A: Noveliss and Dixon Hill Team up to Bring Music to the I Ching [Video]
Beatmaker Dixon Hill and rapper Noveliss have both been making waves in their own right, in their home city of Detroit and the hip hop scene at large. A touring artists with an MF Doom tattoo and a love of philosophy, Noveliss (Jarred Douglas) splices hard-hitting subjects with peaceful pronouncements and has been releasing well-crafted, Asian philosophy-tinged work since 2018. Dixon Hill is a lover of vintage mods and funky melodies, Dixon Hill’s put out a number of game-changing releases both solo and working with other artists. They came together recently in a collab that rivals any indie hip hip release out there, the recently released album, Book of Changes.
While both subject matter and sound on Book of Changes would lead some listeners to tag this album “conscious rap,” the work is also fun, danceable and works as a piece of music that’s not just about its content. That said, the content also happens to be quite expansive. You couldn’t really come away from this album without clocking some serious insight, and you wouldn’t want to.
Without drawing too many parallels with Wu Tang (and specifically Rza, his various meditations, his book The Tao of Wu and the Ghost Dog soundtrack), it seems both Noveliss and Dixon Hill wanted to work together on their interpretation of the famous I Ching of Chinese tradition, also known as the Book of Changes. With funky, semi-lofi beats from Hill and articulate, thought-provoking flows from Douglas, it seems the pair are modernizing the ancient text and contextualizing it for the modern era, and it’s none too soon with current events as they are.
Normally when introducing artists to our readership, YEDM likes to do a new artist spotlight or some other short form, but it was clear with these two artists and the quality of the record that they have a lot to say, and we wanted to hear it. We sat down with Noveliss and Dixon Hill to talk about Book of Changes, “conscious rap” and why, with this album, it just clicked.
How did the two of you come to work together on the Book of Changes album?
Noveliss: Dixon reached out to me and I checked out his work and was instantly excited to see what we could come up with.
DH: I had a connection to Detroit through my work with Guilty Simpson and I started reaching out to other emcees from ‘the D’ that I respected. I sent a batch of beats to Nov via email, having been a fan of his since the early days of Clear Soul Forces. I would periodically hear his voice in my head while making beats. He was quick to get to work, and the rest is history.
Noveliss, East Asian culture and philosophy seem to feature heavily in your work and you both have an interest in I Ching and other philosophical guides. Aside from the obvious Wu Tang influence, what is the draw for you of these texts and ideas?
Noveliss: As a longtime student and practitioner of Martial Arts, I’ve always been interested in Asian philosophy and the spiritual nature of martial arts, sometimes even more than the physical side of it. I’m always interested in reading something or practicing something that can lead me to a better version of myself.
DH: Wu-Tang is for the children.
Dixon’s style contains quite a bit of funk and melody, which is a little more smoothed out than previous Noveliss offerings and it seems to give Book of Changes a more peaceful outlook. Was it a conscious decision to smooth out the edges with more funk and lofi vibes?
DH: When I make beats, a lot of different styles and influences tend to come out of me. In one day I may make something quiet and introspective and the next beat is aggressive and rash. When I was picking beats to send to Nov for the project, I was more concerned with how his flow would match with the beat and whether or not the beat gave him enough space to be creative. I find that when you keep this in mind the beats tend to naturally fall into place and later you discover the thread that unifies them after the lyrics are added.
It was a conscious decision to sit down and make beats, but after that I’m reacting to sounds and working on instinct; it is only after the fact that I can put a label on it and tie the beat’s identity to any sort of vibe.
Noveliss: The sound of this project was all Dixon Hill, as well as the idea to tie it all into the I-Ching or the Chinese Book of Changes. We both share a mutual interest in these philosophies and it was dope to stumble upon that during the process of making this.
How did the songwriting process go in terms of working together?
Noveliss: Noveliss on the pen, Dixon Hill on the sound. We were subconsciously on the same page before we even discussed the central theme of the project. The beats he was sending and the stuff I was writing just matched up perfectly. Some of the songs required me to open up some of my books and refresh my memory. My favorite example is, in the song “Feng Shui,” the entire song is based on the five forces concept of feng shui.
The “metal” force of feng shui has been described as the “sinking sunset.” I have a line in the song that reads “Internal growth, he swam to the sinking sunset, eight Immortal Sword, his studying wasn’t done yet…” that ties in my connection to the metal force which would be my studying of the sword. I’m extremely proud of the way this song was written.
DH: The process was smooth from a production standpoint. I trusted Nov to take care of his verses, because he takes his craft seriously. The only time I asked him to re-do a verse was when he told me he knew he could better. I could tell he was pushing himself and that makes me feel good because I know he was taking the project as seriously as I was.
On the flipside, Nov respected my production decisions and allowed me to get creative with the concept. Every song is a puzzle and there are always challenges when trying to make a project feel complete but this project represents us at our absolute best because we had the freedom to experiment. Nov left some spaces on “Feng Shui” so I ended up singing a hook. That was never the plan, but that’s what happened. The process just felt natural.
Noveliss, you seem to have a knack for being able to speak about heavy subjects but balancing it with philosophy or spiritual ideas. How important is it for you to get your ideas out in this way? Is this a balance you feel you like to strike in your own life/experience?
Noveliss: Absolutely, everything is connected. I always try to provide a perspective of learning from each experience and applying everything to achieving the best version of yourself. Balancing these heavy subjects through the lens of spiritual nature or philosophy is just connecting the dots, trying to make sense of things we really don’t understand.
Speaking of heavy subjects versus spiritual balance, as both of you seem to be on the indie edge of hip hop, how do you feel about the whole “conscious rap” genre or style? Do you think it needs to be labeled as such? Do you have any criticism of the current mainstream hip hop culture/subject matter/sound?
Noveliss: In my opinion, there is no such thing as “conscious rap.” To be conscious? Like what does that label even mean? To me, it implies that being aware of the world around you, and sharing your view is rare in hip hop and that’s just not true. Sure, we might not like what other people talk about or how they get their message out but it’s all “conscious,” whatever it is.
DH: Labeling music is a marketing decision. When we label a piece of music we essentially negate the nuance and details of it. It is convenient to corral music styles into genres, but it doesn’t get to the bone of what we actually experience when we hear any particular piece of music. Its very easy for rap music to become too self-referential or stagnant by way of its own traditionalism, and the more artists that ascribe to genres of hip hop the more we as listeners tend to get bombarded with the same repackaged content.
Hip Hop has always been a style of music that represented creative freedom for me and I find that most of the time, hip hop that is labelled “conscious rap” captures that freedom more often for me. I think if you step outside of the commonly accepted subject matter of hip-hop you tend to hit peoples ear’s with something fresh, and sometimes that just gets boiled down to “conscious rap”. Rap that encourages people to look at their world differently is exciting and should be celebrated for its courage and its detail, not labeled for convenience sake. Oh yeah….and mainstream music is mostly garbage.
Dixon, how was this project different for you and how did you adapt your style? Was it easier or more difficult to incorporate your beloved vintage equipment on this album?
DH: This project was different in a few key ways. Noveliss was great to work with, like I said before, he takes his craft seriously and I feel he reacts to the mood of my beats accurately.
I have had situations where I send an introspective beat to someone and they come back with a verse about sending dick pics, and I think to myself “were we listening to the same beat?” That was never a problem with Nov.
As far as arranging the album, the process fit easily into my trajectory as an artist. My last instrumental album (Holodeck Beats: Program 3) I made a conscious effort to tie the beats together with a narrative, and have the album feel like a complete whole with nice bookends and transitions. Book of Changes was a full realization of that same goal and part of that was the wealth of raw materials I had and the environment in which I was working. I still rocked with my tape machines and old gear for sure, but I was isolated in a cabin in the desert, with no internet, completely locked in on the album and the I Ching concept.
What’s up next for each of you? Any plans to work together again?
DH: I always have music in the works. Some collabs are on the horizon although I cannot say too much yet. I would love to work with Nov again, I think we can continue to make great music together. He was a great collaborator and I am proud of what we made.
Noveliss: Hopefully getting back to touring, always working on more stuff. Definitely would love to work together again, I think there’s something here that doesn’t exist elsewhere.
Book of Changes is out now and can be streamed or purchased on multiple platforms here. Check out other work from Noveliss and Dixon Hill by clicking on their respective names.
Teena Marie Warm As Mommas Oven Video
Passion Play CD 1994
Directed By: Randee St. Nicholas
“Here she comes and her passion ends the play”
Wm. Shakespeare
Joy Spring/ Jazz flute quartet
Joy Spring by Clifford Brown
クリフォード・ブラウンの名曲ジョイ・スプリング。
小島のり子フルート、大橋祐子ピアノ、澁谷盛良ベース、海老澤幸二ドラムス。
2021年12月、渋谷KO-KOのライブにて。
好きな曲で、ライブでもたまにやります。ワクワク感を楽しんでいただければ嬉しいです。
録音機材がドラムス寄りだったので、ちょっとドラム大きめかもしれません。ご容赦を。
Noriko Kojima(flute) Yuko Ohashi(piano) Moriyoshi Shibuya(bass) Kohji Ebisawa(drums)
புளியோதரை & உருளைக்கிழங்கு மசாலா | Lunch Box Combo Recipes | CDK 656 | Chef Deena's Kitchen
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Tempering
INGREDIENTS | தேவையான பொருட்கள்
Boiled Rice – 1 Cup
Tamarind – 1 Lemon Size
Peanuts – 2 tbsp
Cashew Nuts – 10 No’s
Gram Dal – 1 tbsp
Urad Dal – 1 tbsp
Dry Red Chilli – 3 to 4 No’s
Turmeric Powder – A Pinch
Chilli Powder – 1/2 tsp
Asafoetida – A Pinch
Curry Leaves – As Required
Coriander Leaves – As Required
Mustard – 1/4 tsp
Salt – To Taste
Gingelly Oil – For Cooking
Puliyodharai Masala
Coriander Seeds – 1 1/2 tsp
Urad Dal – 2 tsp
Gram Dal – 2 tsp
Black Pepper Seeds – 1/2 tsp
White Sesame Seeds – 1 tsp
Fenugreek – 1/2 tsp
Dry Red Chilli – 7 to 8 No’s
Curry Leaves – As Required
Asafoetida – A Pinch
Salt – To Taste
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Hello!! My Name is chef Deena from the popular Adupangarai show in Jaya TV Viewers must have seen me in Zee Tamil shows as well. My Culinary journey as a trainee to become an Executive Chef is incredible. My experience in the culinary field is for more than fifteen years and my USP is Indian cooking !! Apart from being a TV cookery host, my experience lies mainly with being employed in some of the major star hotels across the country especially the Marriott group.
Chef Deena Cooks is my English Youtube Channel! Practical, simple recipes are my forte and using minimal easily available ingredients is my hallmark. Rudiments of cooking and baking are taught from scratch and any amateur cook can learn to make exciting dishes by watching my channel! Also, Cooking traditional foods, Easy cooking Recipes, Healthy Snacks, Indian curries, gravies, Baking and Millions of other homemade treats.
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