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Will a Democrat-Controlled Congress Save Restaurants?

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A restaurant delivery worker rides through the snow in New York City last month.
Photo: Noam Galai/Getty Images

Since the earliest days of the pandemic, restaurant owners and workers have sought real financial relief to see them through mandated shutdowns, necessary business stoppages, and guidelines that ban — or at least discourage — the public from visiting restaurants at all. Despite the industrywide push, however, actual help has been hard to find.

In October, the House of Representatives passed its version of the RESTAURANTS Act. Part of an overarching $2.2 trillion federal relief package, the grant program — Real Economic Support That Acknowledges Unique Restaurant Assistance Needed to Survive (a.k.a. RESTAURANTS) — would have allocated $120 billion to helping independent restaurants get through the pandemic. But the Senate’s version of the bill went nowhere. It was introduced, a few days after the House bill, by Republican Senator Roger Wicker, and then … it sat there. When Congress finally passed a new relief package in late December — the second-largest relief deal ever, at $900 billion, but also less than half of what the House bill had called for — the RESTAURANTS Act wasn’t included.

This, despite the fact that circumstances have only grown more dire for business owners. More than 110,000 restaurants had closed as of the National Restaurant Association’s most recent count, and that was before winter really set in. By the end of December, the industry still accounted for well over 2 million lost jobs. The package that did pass offered some relief to some restaurants, including a second round of PPP, and it’s appreciated, says Amanda Cohen, the chef and owner of Dirt Candy. It also isn’t enough.

Cohen is one of the leaders of the Independent Restaurant Coalition, which has been advocating for industry-specific aid since the pandemic began. So has the National Restaurant Association, a more established trade group that represents all kinds of restaurants, including chains. The two groups don’t agree on all aspects of the bill, including exactly what types of restaurants would, or should, qualify. But what they unequivocally agree on is the fact that, with Democrats poised to take control of the Senate, and Biden heading to the White House, some version of the RESTAURANTS Act now needs to be passed.

Given the new situation, there is also some degree of hope. “We think the outlook is pretty positive,” Cohen says. The fact that New York senator Chuck Schumer — a co-sponsor of the Senate bill who has repeatedly expressed his support for the industry, and who, it’s probably worth noting, has famously spent more than $8,000 on Junior’s cheesecake over the years — is now incoming Majority Leader is, she says, a very big deal.

“As one of the hardest-hit industries during this pandemic, we must do everything we can to ensure our restaurants and our restaurant workers are protected, otherwise we will shortchange our entire economy,” Schumer said in a statement in August, when he signed onto the bill. “Restaurants can’t wait. Congress needs to act now to pass this important legislation and other critical assistance that struggling small businesses and workers are in desperate need of.”

When the second stimulus package passed without it, Schumer again stressed that the current provisions aren’t enough. “We must do all we can to save restaurants. They are the heart of our Main Streets,” he tweeted. “I will not stop fighting until we pass the RESTAURANTS Act into law to provide the relief that is truly needed.”

Cohen says “a lot of weird things” have happened as a result of the pandemic, “but probably one of the strangest is that I’ve found myself on the phone with Senator Schumer numerous times talking about restaurants.” And his new role is “a pretty big relief for restaurants.” With a Democratic-majority Senate and a sympathetic White House, Cohen says, “We feel pretty good that we can get the bill passed.”

But how that would actually happen, and when, isn’t totally clear. The first step will be for the bill to get reintroduced in both the House and the Senate once Congress is back in session later this month. Everybody is confident about that part. “I’ve no doubt that it will be reintroduced,” says Sean Kennedy, the executive vice-president for public affairs at the National Restaurant Association.

Then there’s the question of what should be in it. It’s been ten months since the pandemic started, and seven since the bill was officially introduced, and this is — potentially — an opportunity to update the legislation to better reflect our current reality. “The depth of the challenge wasn’t fully appreciated at the time,” Kennedy points out. “Are there lessons? Are there changes that need to be made to it?”

Maybe there aren’t. Still, the contents would need to be hashed out. As it stands now, there are substantive differences between the House and Senate versions, each with “unique winners and losers,” Kennedy says, and one way or another, those differences have to be reconciled. (The National Restaurant Association likes the Senate version, which involves chains and franchises in a way the House bill does not.)

To pass any version of the RESTAURANTS Act, Congress needs to actually vote on it. In theory, that could be done even absent a third relief package. In practice, though, restaurant relief would most likely be part of a larger stimulus bill. Biden hasn’t yet laid out the details of his proposed multitrillion-dollar relief package, but he has said that it includes “rent forbearance and assistance to small businesses.” That gives groups like the National Restaurant Association an opportunity to act: “When we see a larger train like that moving,” Kennedy says, “that’s where we will make the press for the RESTAURANTS Act to be included.” For now, the Independent Restaurant Coalition is focused on making sure that the current plight of the industry is still on lawmakers’ minds.

How the money gets allocated is another sticking point: Precisely because of its flexibility — the grants can be used for pretty much anything restaurants have to pay for, from payroll to rent to food to outstanding debts — the money won’t necessarily trickle down to workers. Unlike PPP, which now requires that at least 60 percent of the funds go toward payroll and that restaurants maintain staffing levels, these grants could go toward anything the restaurant needs to stay afloat, as long as it’s deemed essential by the Treasury Department.

For a lot of restaurant owners, the limitations of PPP just didn’t make sense — they were closed, or open at very partial capacity; they didn’t need staff. What they needed was money to pay rent. The RESTAURANTS Act has the flexibility to do that. But that flexibility is exactly what makes some labor activists skeptical: There’s no guarantee this money would do anything for restaurant workers. That’s why they’d like to see a few tweaks, including some kind of payroll requirement.

“I mean, here’s the thing,” says Ivy Vance, a laid-off restaurant worker in Dallas and an organizer with Restaurant Workers United, as well as the DSA’s national Restaurant Organizing Project. “We’re not against the RESTAURANTS Act. As restaurant workers, we know firsthand that restaurants absolutely need help. And they need direct help right now.” It’s just that right now, she says, it’s structured as “classic trickle-down economics. It’s saying, ‘Okay, we’re gonna give the money to the owners. They know how to best spend their money.’ And maybe from a purely business perspective, yes. But we’re living in a society with no social safety net.”

Kennedy, at the National Restaurant Association, agrees it’s an issue. “It’s been tricky,” he says. “We think that policy-makers generally are moving in the right direction as far as things like stimulus checks. But for us, we need to ensure that these restaurant workers have a restaurant that they can come back to, that the restaurant is going to be able to survive this pandemic, reopen their doors, and bring everybody back onto payroll.”

Cohen, a longtime advocate for industry equity, puts it in starker terms: “Without restaurants, there’s no employment.”



🎥 AVENGERS 4: ENDGAME (2019) | Full Movie Trailer in Full HD | 1080p

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🎥 AVENGERS 4: ENDGAME (2019) | Full Movie Trailer in Full HD | 1080p

After the devastating events of Avengers: Infinity War (2018), the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to undo Thanos’ actions and restore order to the universe.
Directors: Anthony Russo, Joe Russo
Writers: Christopher Markus, Stephen McFeely
Stars: Bradley Cooper, Brie Larson, Scarlett Johansson

#TrailerCity #movie #trailer

‘Insecure’ Is Ending After Season 5, Issa Rae Confirms | Celebrities

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HBO is confirming that Insecure is concluding after season 5.

Amy Gravitt, the Executive Vice President of HBO Programming, released a statement on Wednesday (January 13) praising the show while announcing the news of its ending.

“Issa [Rae] has turned insecurity into an iconic form of comedy,” said Gravitt, according to Deadline. “The show is as incisive as it is heartfelt, and it has resonated strongly with its audience because of the deeply personal work that Issa, Prentice, Melina, the cast and the writers have put into it. This talented team has conceived a brilliant final season for Insecure and we look forward to having many more stories to tell with this singular group of collaborators.”

Show producer and actress Issa Rae also tweeted about Insecure ending after the upcoming and final season.

RELATED: ‘Insecure’s’ Yvonne Orji On Fighting With Issa And Getting ‘Grown-man’d’ In The New Season

“Very excited to film our fifth and final season!” she wrote. “We couldn’t have told a complete story without the tremendous support of our audience and the faith of @HBO. See y’all soon! #InsecureHBO.”

Deadline reports that all of season 5’s scripts are completed and production will begin later this month. Alongside Rae, the show features Yvonne Orji (Molly), Jay Ellis (Lawrence), Natasha Rothwell (Kelli) and Amanda Seales (Tiffany).

Insecure, which was renewed for another season in May 2020, was co-created by Issa Rae and Larry Wilmore and relays the trials and tribulations of Issa’s love life, friendships and life in Los Angeles.



funk comme on aime – G.f

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12 Mouthwatering Fish Recipes

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Insecure: Season Five to End Issa Rae TV Series on HBO – canceled + renewed TV shows

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Insecure TV show on HBO: ending, no season 6

(HBO)

Last May, HBO renewed the Insecure TV series for a fifth season, and today, the cable channel announced that would also be the final season. Created by star Issa Rae and Larry Wilmore, Insecure follows a group of characters as they evaluate their relationships in an effort to figure out who and what comes with them in the next phase of their lives.

The fifth and final season of Insecure is scheduled to begin production later this month and is set to debut later in 2021. The fourth season finished airing in June 2020 and starred Rae, Yvonne Orji, Jay Ellis, Natasha Rothwell, Amanda Seales, and Alexander Hodge.

Here’s the announcement from HBO:

HBO’s INSECURE To Conclude With Upcoming Fifth Season

The EmmyÂŽ-winning HBO comedy series INSECURE will conclude with its upcoming fifth season, it was announced today by Amy Gravitt, Executive Vice President, HBO Programming.

“Issa has turned insecurity into an iconic form of comedy,” said Gravitt. “The show is as incisive as it is heartfelt, and it has resonated strongly with its audience because of the deeply personal work that Issa, Prentice, Melina, the cast and the writers have put into it. This talented team has conceived a brilliant final season for INSECURE and we look forward to having many more stories to tell with this singular group of collaborators.”

The series stars EmmyÂŽ, Golden Globe and NAACP Image Award nominee Issa Rae who heads the ensemble cast, and the new season will continue to follow our favorite characters as they evaluate their relationships, both new and old, in an effort to figure out who and what comes with them in this next phase of their lives. The fifth and final season is scheduled to begin production later this month and is set to debut later this year.

INSECURE’s fourth season, which debuted on HBO last spring, was acclaimed by critics and fans alike. A.V. Club called it “by far INSECURE’s best season,” Hollywood Reporter praised the season as “funny as ever,” IndieWire hailed the series as “quietly groundbreaking” and Decider highlighted the season as “nimble and introspective.”

The fourth season received nine EmmyÂŽ nominations including for Outstanding Comedy Series, Outstanding Lead Actress in a Comedy Series (Issa Rae) and Outstanding Supporting Actress in a Comedy Series (Yvonne Orji). The series won an EmmyÂŽ for Single-Camera Picture Editing For a Comedy Series.

Season four series regulars included Issa Rae, Yvonne Orji, Jay Ellis, Natasha Rothwell, Amanda Seales and Alexander Hodge.

INSECURE was created by Issa Rae & Larry Wilmore; executive produced by Issa Rae, Prentice Penny, Melina Matsoukas, Michael Rotenberg, Dave Becky, Jonathan Berry, Amy Aniobi and Jim Kleverweis.

What do you think? Do you enjoy the Insecure TV series on HBO? Are you sorry to hear that the show is ending, that there won’t be a sixth season?

Taja Sevelle – Prince's philanthropy and mentorship (Interview)

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Taja Sevelle was one of the first artists on the Paisley Park record label. She recorded the Prince-penned “Wouldn’t You Love To Love Me?” (on her self-titled 1987 release); Prince’s version was on the recently released Prince ‘Originals’ album.

Sevelle spoke with The Current’s Andrea Swensson about Prince’s mentorship and his fervent belief and support in her second career: urban farming.

Prince & The Revolution – When Doves Cry (Official Music Video)

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“When Doves Cry” from ‘Purple Rain’ (1984)
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Purple Rain remains one of history’s most important, indisputable, and influential albums, but you’ve never heard it like this before. Purple Rain Deluxe boasts the official 2015 Paisley Park Remaster of the original tapes overseen by Prince himself in addition to a new ‘From The Vault & Previously Unreleased’ disc with 11 unheard gems from the storied vault. This is Prince’s final word on his definitive masterpiece.

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Welcome to the Official Prince YouTube channel – celebrating the life, creative works and enduring legacy of Prince Rogers Nelson. Prince’s fearless creative vision, musical virtuosity, and wildly prolific output graced the world with one of the most universally beloved bodies of work of all time. Prince’s hit songs ‘Purple Rain’, ‘When Doves Cry’, ‘Kiss’, ‘Raspberry Beret’, and ‘Little Red Corvette’ are just a small sample of his revolutionary blend of rock, funk, R&B and new wave pop that shattered barriers and empowered millions. In the 1980s, Prince made history by being one of the first black artists to have their videos in heavy rotation on MTV. The Prince Estate is proud to present these groundbreaking videos alongside all of Prince’s releases to inspire and educate fans and celebrate Prince in his totality. Subscribe to the channel and check back for new additions, including music videos, performance clips, official Prince playlists, announcements, and more!

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Harry Lennix Reveals He is Martian Manhunter in Zack Snyder’s Justice League

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Harry Lennix reveals he is Martian Manhunter in Zack Snyder’s Justice League

There’s been a lot of back and forth as to what exactly fans can look forward to seeing in the infamous forthcoming Zack Snyder’s Justice League miniseries, but Harry Lennix has cleared up one detail to Collider with the revelation he will indeed appear as the extraterrestrial superhero Martian Manhunter.

RELATED: Rumor: Zack Snyder’s Justice League Blu-ray Arriving in March?

Lennix confirmed that when he was first cast in the debut DC Extended Universe project, Man of Steel, as General Swanwick, he did not know he would continue the role past one film, let alone the character’s real identity and that though he learned of the real plans with Justice League, he still didn’t get a chance to read the script as “they were still being developed and they keep all of that under lock and key.” Given his schedule conflicts with his role on NBC’s The Blacklist, he never properly filmed his scenes as Manhunter, but once Warner Bros. greenlit the extra shooting for the new miniseries cut of the project, Lennix confirmed he has shot the necessary footage for the role.

Zack Snyder’s Justice League will reportedly cost around $70 million in order to properly finish the editing and visual effects of the director’s original vision, as well as the additional photography. The original post-production crew is also expected to return along with the cast members to record additional dialogue for the cut. 

It was revealed at DC FanDome that the movie will release on HBO Max in 2021 by being broken up into four one-hour parts that will also be released as one four-hour film.

Fueled by the hero’s restored faith in humanity and inspired by Superman’s selfless act, Justice League sees Bruce Wayne enlist the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg, and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.

Justice League, which features a screenplay from Chris Terrio from a story by Snyder and Terrio, stars Ben Affleck as Batman, Henry Cavill as Superman, Gal Gadot as Wonder Woman, Jason Momoa as Aquaman, Ezra Miller as The Flash, Ray Fisher as Cyborg, Willem Dafoe as Nuidis Vulko, Jesse Eisenberg as Lex Luthor, Jeremy Irons as Alfred Pennyworth, Diane Lane as Martha Kent, Connie Nielsen as Queen Hippolyta, with J.K. Simmons as Commissioner Gordon, and Amy Adams as Lois Lane.

RELATED: New Zack Snyder’s Justice League Images From the Upcoming Film!

Released in November 2017, the film earned mixed reviews from critics and audiences alike, praising the action and performances from Gadot and Miller while criticizing every other aspect of the film, namely the inconsistent tone that many fault Joss Whedon (The Avengers) for after taking over directorial duties from Snyder. With a large budget of $300 million and a break-even point of $750 million, the film is considered a box office bomb having grossed only $658 million.

Zack Snyder's Justice League



New Artist Spotlight: David Thompson Takes His Synth Pop Seriously With ‘The Wall’

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The resurgence of indie synth pop in the late 00s and early 10s was sort of a breath of fresh air in a musical climate that prior to that had been pretty strictly divided between pop, EDM and Indie. Acts like M83, Cut/Copy, Hot Chip. Phantogram and even the Yeah Yeah Yeahs took the new synths and mods that had been developed for EDM and pop and ran with them. Moog was once again installed to its rightful place at the top of the synth Pantheon and it looked like the fusion of indie rock and EDM was going to blast off through the 2010s.

While the afore-mentioned bands are still around and making great stuff, indie synth pop sort of plateaued around 2010 and the scene split again or rather, a lot of the synth and electronic artists started working with pop music and indie rock, while more accepting of synth intervention, went back to analog somewhat. It seems the precedent was set, however, and it was only a matter of time before indie synth was back up and running. This year seems to be that time, and it makes sense when you think about it; pretty tough to get an entire orchestra into your shelter in place, whereas synths are portable and easily disinfectible.

Philadelphia artist David Thompson’s career has followed the trajectory of indie synth in terms of a timeline, although not necessarily the purpose. An installment on the Philly indie scene between 2012 and 2014 with his band Big Tusk, Thompson put away his synths to take up the human rights causes he’s passionate about in a more meaningful way. He founded the Philly Tenants Union and Philly Workers for Dignity in that time, working to help improve living and working conditions around his home city. He began releasing work again in 2017 with another local band and just recently went solo. His new EP The Wall is his second solo release.

Both Thompson’s human rights work and this EP were started before COVID hit, but now they have even more significance and are downright prophetic. Both tenants and workers need help more than ever with all the shutdown and housing crises, and similarly The Wall strikes a whole new tone with recent events. With its title track presumably about Trump’s failed xenophobic wall project and all the things it represents in the sociopolitical climate of the last four years, Thompson pulls no punches lyrically in this EP. It’s not subtle and it’s not meant to be. “Time” discusses the prison that is work-a-day life for many people while “This Goon Cant” “Clair” and “Obsession” are more personal but still hint at time lost because of the current times.

So with all those stark lyrics and messages, where’s the synth pop? Why, it’s right along with said lyrics. Channeling his inner Duran Duran, Kraftwerk and Cut/Copy, Thompson mushes the lyrics together with upbeat, complex and sometimes slightly eerie synth work. “Time” has a nostalgic “Girls on Film”-style beat but also channels Thompson’s other major musical influence, classical hymns. In fact, Thompson says most of the tracks on The Wall have classical influence to them but in “Time” it’s definitely front and center. As an avid choir participant, the church organ-like keys are a fun secondary melody in “Time” and they add a sort of goth Joy Division-like undertone.

Next up on the EP is the title track which arguably has the biggest contrast between lyrics and music. Almost unbearably cheerful the synths in “The Wall” screech away as the chorus literally talks about the “dirty work” of the wall. It’s likely meant to seem fake, strained and a bit fearful, just like the climate in the US ever since that wall was threatened. “The Goon Cant” was co-written by Michael Muller and has probably the most pensive musical work on The Wall. It’s lyrically the most introspective as well so it makes sense. Presumably about his own personal failings, there seems to also be a ting of politics there as well, as the lyrics conjure up thoughts about the dangers of demagoguery and the confusing legacy the Baby Boomers left for the younger generations.

Bringing up the rear on The Wall are two more personal tracks. “Clair” is a surprising 70s rock-style bop that conjures up Elvis Costello in general tone or even The Mamas and The Papas when it comes to synths. This track shows even more of Thompson’s compositional range, as he had TV Pole Shine‘s Howe Pearson on guitar and clearly designed the track around said extraordinary guitar work. Finally “Obsession” bounces right back to ultra-synth as it bops around some pretty dark lyrics about internet “stalking” and living in the past. The contrast is back and the music is meant to be futuristic as a commentary on the current state of human connection.

One almost feels guilty for dancing along to the infectiously poppy tracks on The Wall, but it’s quite clearly meant to be a danceable guilt trip. Or, if you’re a more glass half full type, perhaps it’s meant to remind us to dance and enjoy music, art and love even with everything that’s going on in the world and in our own hearts. We can still connect to ourselves, after all, and synth pop is a great way to get there. In the meantime, acts like David Thompson are contributing to indie synth pop 3.0 with clean, technically sound work and no matter what the point, we’re definitely here for it.

The Wall is out now and can be purchased on Bandcamp or streamed on Spotify.



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