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freddycarterus · 5 months

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I am posting this for notes purposes, because we are going to be contacting many of these companies to pitch SIX Of Crows! ;)

The following companies are looking for new TV pitches for development & production.

Campaign - Production Companies

20th Century Fox Television

20th TV, Fox and MyNetworkTV

2C Media

3 BALL PRODUCTIONS

3 Ball Productions/Eyeworks USA

3 Ring Circus

360Production

40 Partners

720 PR

8790 Pictures,Inc.

ABC Cable Networks

ABC Entertainment

ABC Studios

Abrams Artists Agency

Adept Entertainment

Alan David Group

Alchemy Television

Alchemy Television Group

Alcon Entertainment

Allan McKeown Presents Ltd

Allan R. Smith Productions

Ambush Entertainment

American Media Television

Anne Carlucci Productions, Inc.

APA

Arclight Films

Arjay Entertainment Television

Artist International

Asylum Entertainment

AT IT Productions

Atlas Media Corp

Automatic Pictures

Avalon Television USA

Axelson-Weintraub Entertainment

Banner-Caswell Productions

BBC Worldwide

BCII

Beth Grossbard Productions

Big Cattle Productions

Big Hill Pictures

Boulevard Pictures

Boxing Cats Productions

Boz Productions

Brian Graden Media

Broken Lizard Industries

Buck Productions

Buck Productions Inc.

CAA

Cakehouse Media

Capestany Films

CartoonNetwork

Cataland Films

Cavelight Films

CBS

CBS Entertainment

CBS Films

CBS Interactive

CBS Paramount

CBS Paramount Network Television

CBS Studios International

CBS Television Distribution

CBS Television Studios

Central Artists

Champion Entertainment

Clear Pictures Entertainment

Codeblack Entertainment

Codeblack Films/Lionsgate

Collins Avenue

CoLours TV

cosmic pictures

Creative Chaos Inc.

Creative Convergence

DASH Networks

DatsEntertainment

De Line Pictures

Digital Alchemy Entertainment Inc.

Disney Channel

diverse talent group

Dragonfly Film and TV

E'lan Productions

Echelon Studios

Echo Lake Productions

Echo Production Company, Inc

Edmonds Entertainment

Edward Saxon Productions

Electric Entertainment

Elkins Entertainment

Ellman Entertainment

Enchanted Rock Pictures/MTS Entertainment

Endemol USA

Endgame Entertainment

Ensemble Entertainment

Entertainment Studios, Inc

Epic Level Entertainment

Epiphany Pictures

Espiritus Productions

Evatopia

Eventime Productions

Evolution Entertainment

Eyeworks Belgium NV

Fauci Productions, Inc.

Faultline Films ltd

Film 44

Film Garden Entertainment

Firehorse Pictures

Fireworks Enterprises

Fisher Entertainment Group

Forward Entertainment, llc

Fox Broadcasting

Fox Interactive Media

Fox International Channels

Fox Searchlight Pictures

FOX Sports

Fox Television Studios

Frontlot Productions

FX Network

Generate

Goliath

Grand Productions Inc

GRB Entertainment

Greene & Associates Talent Agency

Greenspan Kohan Mgt.

Handmade Films

Harper Winslow Productions

HBO

HDNet

Here Media

Homerun Entertainment

Honest Engine Films

Hope Enterprises, Inc.

Ideas Unlimited - TV (Denmark)

Idiomatic Entertainment

IKA Collective

Imbroglio Pictures Inc. / Scott & Cooper Entertainment Ventures

Innovative Artists

insomnia media group

Inspire Films and Television

International Creative Management

Intuitive Entertainment

IWV Media Group, Inc.

Jackamo Television Ltd

Jane Street Entertainment

Jeff Ross Entertainment

Jupiter Entertainment

Just SInger Entertainment

Kaplan-Stahler Agency

Ken Ehrlich Productions

Kickstart Productions, Inc.

Kingfish Productions

klasky csupo, inc.

KoldCast TV

Komixx Entertainment

Konigsberg Company

Kritzer Levine Wilkins Griffin Entertainment

Laika Entertainment

Legion Entertainment LLC

Lionsgate

Lionsgate Television

Little Dog Productions

LITTLE STUDIO FILMS

Litton TV

Lucky 8 TV

M Creative Group, Inc.

Madeline Films

Madhouse Entertainment

Madison Road Entertainment

Magical Elves

Magnet Management

Magnolia Entertainment

Mandeville Films Inc

Mandt Bros. Productions

Mango Tree Films

Manville Media

Mark Yellen Productions

Mashaal Media Corp.

Mass Hysteria Entertainment

Matrixx Prod.

Mayhem Pictures

Media 8 Entertainment

MGM

Michael Berk Productions

Michael Grais Prods.

Michael Levy Enterprises

Microsoft Corporation

Moniker Entertainment

Moxie Pictures

MPH Entertainment, Inc.

Mpower Pictures

Mt. Vernon Entertainment

myriad pictures

National Geographic Digital Media

National Lampoon/ Comedy Cocktail

NBC/Universal | Mun2

Neon Television

Network Entertainment Inc.

New Wave Entertainment

Noble Savages

Nu Image

Nu Image / Millennium Films

Nu Image/Millennium Films

Oceanside Entertainment

Ocular Production Inc.

One Entertainment

PalmStar Entertainment

Panic Productions, Inc.

Paradigm Agency

Paramount Digital Entertainment

Paramount Network

Paul Schiff Productions

Paulist Productions

Phoenix Pictures

Pie Town productions

Planet Grande Pictures

Planet Pictures

Playboy Entertainment Group

Plymouth Rock Entertainment, Inc.

Pogo Pictures

Popular Arts Entertainment

Porchlight Entertainment

Port Magee Pictures, Inc.

PorterGeller Entertainment

POW! Entertainment

preferred artists

Principal Entertainment

Principato Young

Principato-Young Entertainment

PrizmHead Pictures

Rain Management Group

Rainstorm Entertainment

RDF USA

RDS FILM

Red Baron Films

Reel Entertainment

Reid Media Group, Inc.

Revelations Entertainment

Reyes Entertainment

Right Brain Media

ROAR

Rob Gallagher Literary Management

ROBBINS ENTERTAINMENT GROUP

Rudolph Films Inc

S.L Entertainment

SB Productions Inc.

Scream Films (UK Based)

Shatner Universe

ShineReveille International

ShootersTV

Sidney Kimmel Entertainment

Sigh Griffin Management

Slate of Eight Productions

Smash Media

Smoke and Mirrors Creative / Pandemonium Films

Solar Films Inc

Sony Pictures

Sony Pictures International TV

Sony Pictures Television

Sony Pictures Television International

Sony Pictures TV

Sony Television

SPEED Channel

Sports Branded Media

Starz

Starz Media

State Street Pictures

Station3

Storytime Films

Stowaway Films

Telecast productions

Tell Tale Productions

test

The Corsa Agency

THE GERLER AGENCY

The Gersh Agency

The Gersh Agency, L.A.

THE MAK COMPANY

The Sterling/Winters Production Studios

The Televisionaries

The Terminal

The Wolper Organization

The Wolper Organization / WBTV

Thousand Hills Productions

ThunderBall Films, LLC

Touchdown Television

Trevino Enterprises

Trilogy Entertainment Group

TV Guide Network

Twentieth Century Fox Television

Twentieth Television

Underground Films

Underground Films and Management

Union Entertainment

United Talent Agency

Universal Studios

UTA

Valencia Corp

Venture IAB

ViacomCBS

VPR Media

Walt Disney Company

Walt Disney Studios

Walt Disney Studios Motion Picture Production

Washington Square Films

Wayans Brothers Prod.

Weller/Grossman Productions

Wide Angle Productions Group, Inc.

Wildbrain Entertainment

William Morris Endeavor

Wolf Moon Films

Zero gravity

Zero Gravity Management

Zilo Networks Inc.,

Zucker Productions

#six of crows #shadow and bone #campaign

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n0hv6t · 2 years

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Read PDF Frank Lloyd Wright: The Houses -- Alan Hess

EPUB & PDF Ebook Frank Lloyd Wright: The Houses | EBOOK ONLINE DOWNLOAD

by Alan Hess.

Download Link : DOWNLOAD Frank Lloyd Wright: The Houses

Read More : READ Frank Lloyd Wright: The Houses

Ebook PDF Frank Lloyd Wright: The Houses | EBOOK ONLINE DOWNLOAD Hello Book lovers, If you want to download free Ebook, you are in the right place to download Ebook. Ebook Frank Lloyd Wright: The Houses EBOOK ONLINE DOWNLOAD in English is available for free here, Click on the download LINK below to download Ebook Frank Lloyd Wright: The Houses 2020 PDF Download in English by Alan Hess (Author).

Description

Frank Lloyd Wright is not only synonymous with architecture, his name is also synonymous with the American house in the twentieth century. In particular, his residential work has been the subject of continuing interest and controversy. Wright's Fallingwater (1935), the seminal masterpiece perched over a waterfall deep in the Pennsylvania highlands, is perhaps the best-known private house in the history of the world. In fact, Wright's houses-from his Prairie style Robie House (1906) in Chicago, to the Storer (1923) and Freeman (1923) houses in Los Angeles, and Taliesen West (1937) in the Arizona desert-are all touchstones of modern architecture. For the first time, all 289 extant houses are shown here in exquisite color photographs. Along with Weintraub's stunning photos and a selection of floor plans and archival images, the book includes text and essays by several leading Wright scholars. Frank Lloyd Wright: The Houses is an event of great importance and a major contribution to the

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uwmspeccoll · 2 years

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Decorative Sunday

This Decorative Sunday we’re bringing you images from Frank Lloyd Wright The Rooms: Interiors and Decorative Arts, published in 2014 by Rizzoli International Publications in New York City. Including text by Margo Stipe, Curator of Collections for the Frank Lloyd Wright Foundation since 1989, the photography is the work of architectural photographer Alan Weintraub, and the book design is by Zand Gee. Weintraub and Gee have collaborated on over twenty architectural books, including seven books on the work of Frank Lloyd Wright, all for Rizzoli International.

Wright was an early advocate of the “total design” concept, extending the architectural mandate to include interior details like tables, bookcases, murals, and stained glass “light screens.” A Wisconsin native, Milwaukee is home to the Wright designed Bogk House and the Burnham Block, as well as the Annunciation Greek Orthodox Church in Wauwatosa. Southern Wisconsin holds many notable Frank Lloyd Wright homes and buildings, including Taliesin, his primary home and studio, now a Unesco World Heritage Site.

Stipe writes: “Wright believed that all the elements of a house needed to exhibit a consistent grammar. Once the geometry and decorative theme of the house had been determined, all details were designed to support the larger whole, whether art glass, furniture, or lighting.”

See more of our Decorative Sunday posts here.

-Olivia, Special Collections Graduate Intern

#decorative sunday #frank lloyd wright #decorative arts #stained glass #architecture #total design #rizzoli international #margo stipe #alan weintraub #zand gee #interiors #interior design #olivia

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arearchive · 3 years

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John Lautner’s Tyler House, Los Angeles | Photo by Alan Weintraub

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foreverlogical · 3 years

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A "perfect storm" of procedural blockades prevented the investigation and sanctioning of alleged Trump campaign election law violations, regulators said this week.

Why it matters: Legitimate cases are being dismissed. And critics say the Federal Election Commission's inability to crack down on many bad actors has undercut the threat of enforcement, and turned campaign financing into the Wild West.

What's new: The FEC is clearing out a backlog of Trump-related cases. One of them, officially tossed last month, shows how the nation's top political money regulator has been hobbled.

The case stemmed from a December 2015 complaint lodged by a pro-Jeb Bush super PAC.

It alleged that a pair of Trump Organization employees, Michael Cohen and Alan Garten, had illegally used corporate resources to support Trump's presidential campaign.

"The record supports these allegations," declared two of the FEC's Democratic commissioners in a statement on Wednesday.

Both of those commissioners, and their four colleagues, nonetheless voted to dismiss the case.

It wasn't for lack of evidence. Separate criminal investigations, including Robert Mueller's election-meddling probe, provided ample evidence that Trump effectively took illegal corporate contributions by enlisting Cohen and Garten in his presidential campaign.

But the FEC had to wait for those separate investigations to end before taking its own enforcement action.

When that finally concluded, the FEC had just three commissioners — one short of the quorum necessary to take any enforcement action.

By the time a quorum was restored and the FEC actually took up the case, the five-year statute of limitations had run out.

What they're saying: "The commission found itself in the middle of a perfect storm of unique and unfortunate circumstances that prevented it from moving forward in this case," the two Democrats commissioners, FEC chair Shana Broussard and commissioner Ellen Weintraub, wrote this week.

"[A]t the time the commission was finally able to consider and vote on this matter, we were ultimately left with no meaningful enforcement options."

#donald trump #campaign finance #us elections #us news

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ofhouses · 4 years

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744. Bart Prince /// Bradford and June Prince House /// Albuquerque, New Mexico, USA /// 1987-88

OfHouses presents Record Houses, part XV. (Photos: © Kirk Gittings, Alan Weintraub. Source: “Architectural Record Houses of 1989″, Mid-April 1989; FSBO New Mexico.)

#record15 #record houses #bart prince #USA #80s #OfHouses #oldforgottenhouses #www.ofhouses.com #the collection of houses

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juliaknz · 5 years

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John Lautner / Arango Residence Acapulco, Mexico,1973; image © Alan Weintraub/Arcaid /Corbis.

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nyfacurrent · 4 years

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Introducing | Jan Harrison Receives Inaugural Recharge Foundation Fellowship for New Surrealist Art

$5,000 award created for painters living in the U.S. and U.S. Territories who are working in the New Surrealist style.

The New York Foundation for the Arts (NYFA) has announced Jan Harrison as the first-ever recipient of its Recharge Foundation Fellowship for New Surrealist Art. The $5,000 award is supported by funding granted to NYFA by the Gu Family of The Recharge Foundation, a private non-profit organization that aims to promote cross-cultural preservation and create dialogues around visual and jewelry art. Harrison, who lives in Kingston, NY, is a painter and sculptor whose work involves empathy with the animal nature and animal/human interface as it relates to the collective psyche. Since 1979, her art has been connected with the philosophy of deep ecology and is focused on the vulnerability of endangered species.

“We’re thrilled to recognize Jan Harrison with the inaugural Recharge Foundation Fellowship, and are thankful to the Gu Family for their support of individual artists,” said Michael L. Royce, Executive Director, NYFA. “Harrison’s work, while rooted in Surrealist tradition, speaks very much to the present as we navigate complex relationships with nature and our own human struggles to survive. We hope that this award acknowledges her outstanding work and furthers her explorations in the New Surrealist style.”

In Harrison’s work, animals relate to the world within an inner landscape. In her personal and universal myth there is purity, strength, and wisdom in animal nature—an innate state of being compared to our industrialized, human-based society. She also speaks and sings in Animal Tongues, which she has performed in conjunction with her visual art. Her work is included in numerous public and private collections and has been shown in solo and group exhibitions throughout the United States and internationally including Animal.Anima.Animus., which toured to Pori Contemporary Art Museum, Finland; Museum voor Moderne Kunst, Holland; Winnipeg Art Gallery, Canada; and MoMA PS1, New York.

Harrison is the recipient of six grants and fellowships, and has been the subject of many essays and reviews including a chapter in In The Making: Creative Options for Contemporary Art, edited by Linda Weintraub and published by D.A.P. in 2003. Arcana Mundi, a monograph, was published by Station Hill Press in 2001. In 2020, she’ll have a solo exhibition of installation and paintings with a performance of speaking/singing in Animal Tongues at 11 Jane Street Art Center in Saugerties, NY.

"I am deeply honored to be the first recipient of the Recharge Foundation Fellowship for New Surrealist Art. I feel that it is occurring as a result of a lifetime of work, making sacrifices, taking risks to be both strong and vulnerable, perseverance, and being true to my vision,” said Harrison. “I appreciate this fellowship, which will help me to further my work having to do with the animal nature and the psyche," she added.

Lorin Gu, Founding Partner of Recharge Capital and a member of NYFA’s Board of Trustees, said of the award: “Harrison’s work is both entrancing and prescient. We’re excited to help support her artistic practice through the Recharge Foundation Fellowship, and look forward to seeing more of Harrison’s work in the future.”

Find out about additional awards and grants here. Sign up for our free bi-weekly newsletter NYFA News to receive announcements about future NYFA events and programs.

Images: Jan Harrison, BALANCE, 2015, Photo Credit: Nancy Donskoj; Jan Harrison, FOUNDLING, 2015, Photo Credit: Nancy Donskoj; and Jan Harrison, Photo Credit: Alan Baer

#surrealist art #surrealistart #surrealism #painting #recharge foundation #rechargefoundation #fellowship #loringu #lorin gu #announcement #instagram #jan harrison #janharrison #new surrealism #newsurrealism #new surrealist art #newsurrealistart

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germanpostwarmodern · 11 months

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In view of his present-day popularity it seems odd that John Lautner throughout his sixty years in architecture was largely misunderstood by contemporary critics and colleagues. And although since his passing in 1994 a number of books have been published about him there are few that are as comprehensively illustrated as the present volume: Alan Hess‘s and Alan Weintraub’s „The Architecture of John Lautner“, published in 2000 by Rizzoli. The book brings together Hess’s long-term research into Lautner’s architecture and Weintraub’s sensible staging of the architect’s fantastic buildings.

With the book Alan Hess aimed to explain Lautner whom he had gotten to known personally and who in turn explained his buildings to the author in a number of interviews. Although the volume first and foremost features 25 of Lautner’s buildings in comprehensive photographic spreads Hess’s three chapters on the architect and his work are equally noteworthy: divided into early, middle and late years Hess follows Lautner‘s development from a FLW disciple to the creator of spatial sculptures.

Lautner’s career as an independent architect began in the 1940s and 1950s with the design of small and medium-sized houses, unconventional, highly original and characterized by a great deal of spatial freedom for its inhabitants. Simultaneously Lautner also designed numerous roadside restaurants and coffee shops that today represent high points of California’s „Googie“ architecture.

In the 1960s Lautner then designed some of his most iconic buildings, namely the Elrod, Chemosphere and Silvertop houses, with which he mated emblematic outside and liberated living on the inside.

With his late work Lautner then entered a phase of increased extravagance: through daring concrete constructions and a spectacular play with a given site’s topography Lautner created some of his most breathtaking houses, among them the Arango Marbrisa House.

This Hess/Weintraub book again is a great visual treat that through Alan Hess’s diverting overview of Lautner’s career also provides comprehensive insights into the master’s work. What is unfortunately absent are plans and sections, a practice known from other publications of the duo that nonetheless continues to frustrate.

#john lautner #monograph #california modern #architecture #usa #architecture book #book #mid century modern

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avengersendgamemovie-blog · 5 years

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How do you watch Avengers Endgame Online?

[b]Avengers: Endgame [/b]is an upcoming American superhero film based on the Marvel Comics superhero team the Avengers, produced by Marvel Studios and set for distribution by Walt Disney Studios Motion Pictures.Watch Free Avengers Endgame Full Movie 2019 Online or Download HD Film on Your PC, TV, MAC, iPad, iPhone, Mobile, tablet and Get trailer, cast, release date, plot, spoilers info It is set to be the direct sequel to 2018's Avengers: Infinity War, a sequel to 2012's Marvel's The Avengers and 2015's Avengers: Age of Ultron, and the 22nd film in the Marvel Cinematic Universe (MCU). The film is directed by Anthony and Joe Russo with a screenplay by Christopher Markus and Stephen McFeely and features an ensemble cast of actors from previous MCU films.

The film was announced in October 2014 as Avengers: Infinity War – Part 2. The Russo brothers came on board to direct in April 2015, and by May, Markus and McFeely signed on to script the film. In July 2016, Marvel removed the title, referring to it simply as Untitled Avengers film. Filming began in August 2017 at Pinewood Atlanta Studios in Fayette County, Georgia, shooting back-to-back with Avengers: Infinity War, and ended in January 2018. Additional filming took place in the Downtown and Metro Atlanta areas and New York. The title was revealed in December 2018. How long will it be?

Get your butts ready – it looks like we could definitely be in for a three hour trip to the cinema. In a recent interview with Empire Magazine, the Russo Brothers spoke about how they’re struggling to cut down the length as the April release of Infinity War draws ever closer.

According to the pair, “There’s a high probability that this movie will clock in at around three hours. It’s a big movie with a lot of story.”

Joe Russo previously admitted on Instagram that “the running time on Avengers 4 is currently sitting right at three hours. We’ll see if that holds.”

Although that seemed up in the air, it seems they’re definitely sticking to their guns.

Speaking to Collider’s Steve Weintraub, Joe Russo said that early test screenings are reacting positively to the lengthy run time.

“I think the studio is down with what the best story is. Right now, we think the movie is playing well and we’ve had great responses from our test audiences and we’re feeling very good about where it is. We’re still doing work to it. We’re not done with it. Again, this is a culmination film of 22 movies, it’s a lot of storytelling to work into it. Emotion is an intrinsic part of that to us,” he explained.

[quote]“When you have to tell a really complicated story and you want strong emotional moments with the characters, it just requires a certain amount of real estate. This one, in particular, feels like three hours worth of real estate.”[/quote]

Although it sounds like a test for the strongest of bladders, Coming Soon’s Alan Cerny says that there could be an intermission to break things up. A welcome loo break no doubt, but could it also be a chance for us to have a good old cry as some of our favourite Avengers bite the dust? Who knows.

What is the title and release date for Avengers 4?

The film – which is currently going by the title Untitled Avengers Sequel – will be released in the UK on April 26, 2019, and in the US on May 3, 2019.

As for the title, Mark Ruffalo teased fans that he’d accidentally revealed it during a recent appearance on Jimmy Kimmel Live!

“I trust that you will cut my spoiler slip on the show tonight. That was “off the record” homey. Please don’t get me in trouble with Marvel (Barry) again. DM me back”, he wrote.

Ruffalo, of course, is known for letting the cat out of the bag – having inadvertently revealed the Infinity War ending a year before it was released.

When the footage aired, it saw Ruffalo’s admission being bleeped. But has he revealed it? Probably not – we think he’s having one over on the fans here.

The Russo brothers were seemingly in on the joke too, telling Mark he’s fired…

<strong>Is Avengers 4 the second part of Infinity War?</strong>

Nope.

Originally, Infinity War was set to be released in two parts – Part 1 and Part 2 – but on May 4, 2016 the Avengers directors Joe and Anthony Russo revealed that this was no longer the case. The first film will retain the title Infinity War, while the second – aka Avengers 4 – is currently untitled.

“The movies are two very different movies,” Joe Russo said earlier this year. “The intention is we will change it; we just haven’t come up with the titles yet. But yes, we will change it.”

Do we have any idea of the plot for Avengers 4?

Details on the plot of the new film are scarce at present, but the events of Avengers 4 will surely pick up from where Infinity War leaves off next year – especially given that Avengers 4 is being treated as a sequel.

However, an official synopsis has provided a few cryptic clues.

After the devastating events of Avengers: Infinity War (2018), the universe is in ruins due to the efforts of the Mad Titan, Thanos,” the synopsis reads.

“With the help of remaining allies, the Avengers must assemble once more in order to undo Thanos’ actions and restore order to the universe once and for all, no matter what consequences may be in store.”

So, it’s the rescue effort that we expected it to be. Still, that’s one mammoth task.

At the end of Avengers: Infinity War, we saw Thanos (Josh Brolin) successfully collecting all six infinity stones, and managing to complete his grand plan: removing half of the universe’s population from existence. As he did this, we saw him get rid of Black Panther, Spider-Man, Scarlet Witch and Star-Lord, amongst others. The sequel will undoubtedly deal with the loss of all the heroes, and that massive cliff hanger we were left on.

In June 2018, Popbuzz reported that Marvel Studios shared two featurettes to fans at CineEurope in Barcelona – one from Avengers 4 and one from the upcoming Captain Marvel movie. If what has been reported is true, Tony Stark (Robert Downey Jr.) and Scott Lang (Paul Rudd) have a discussion in the film about multiple realities. This suggests that Ant-Man will have a sizeable part in the movie. But this was all according to a Reddit user who watched the featurettes. Believe what you will.

A new interview with Robert Downey Jr., meanwhile, could have revealed a spoiler for the upcoming movie. Eagle-eyed fans on Twitter have noticed the background in a recent video interview with the actor is suspiciously similar to that of Shuri’s lab in Infinity War.

#Avengers endgame #avengers endgame watchavengersendgame

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bthenoise · 5 years

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Congrats To The Grammys For Finally Getting Their Rock & Metal Category Figured Out

Following a pretty up-and-down rollercoaster ride the past few years, the Recording Academy has seemingly gotten their stuff together when it comes to their rock and metal categories.

After dealing with an embarrassing year last year where Avenged Sevenfold publically called out the prestigious institution for their lack of support to the metal community, apparently, someone at the Academy was paying attention as this year’s nominees might be one of their best in quite some time.

For Best Metal Performance, the Grammys see a lot of new faces including Between The Buried And Me, Deafheaven, High On Fire and Trivium as well as scene staples Underoath (Underoath were previously nominated back in 2006 for Best Short Form Music Video).

As for Best Rock Performance, previous nominees like Arctic Monkeys, Cris Cornell (rest in peace) and Halestorm are accompanied by the likes of Greta Van Fleet and, surprisingly and well-deserved, FEVER 333.

Another fantastic nomination comes in the Best Rock Song category. Sandwiched between well-known household names like Ghost, Twenty One Pilots, and St. Vincent is Bring Me The Horizon and, for the second time, Greta Van Fleet.

All in all, as much as we bash on award shows for their lack of support towards our hard rock and metal community, this year the Grammys got it right. Were there other artists that deserved a nomination? Of course there were. But considering how things have been in the past (Leonard Cohen Best Rock Performance 2018, Beyonce Best Rock Performance nominee 2017, Tenacious D Best Metal Performance 2015, etc.), we’ll take it.

To check out the full list of nominees to prepare you for the 61st annual Grammy Awards which will take place on Sunday, February 10th, be sure to look below.

Best Rock Performance

“Four Out Of Five” —Arctic Monkeys “When Bad Does Good” — Chris Cornell “Made An America” — The Fever 333 “Highway Tune” — Greta Van Fleet “Uncomfortable” — Halestorm

Best Metal Performance

“Condemned To The Gallows “— Between The Buried And Me “Honeycomb” — Deafheaven “Electric Messiah” — High On Fire “Betrayer” — Trivium “On My Teeth” — Underoath

Best Rock Song

“Black Smoke Rising” — Jacob Thomas Kiszka, Joshua Michael Kiszka, Samuel Francis Kiszka & Daniel Robert Wagner, songwriters (Greta Van Fleet) “Jumpsuit” — Tyler Joseph, songwriter (Twenty One Pilots) “MANTRA” — Jordan Fish, Matthew Kean, Lee Malia, Matthew Nicholls & Oliver Sykes, songwriters (Bring Me The Horizon) “Masseduction” — Jack Antonoff & Annie Clark, songwriters (St. Vincent) “Rats” — Tom Dalgety & A Ghoul Writer, songwriters (Ghost)

Best Rock Album

Rainier Fog — Alice In Chains M A N I A — Fall Out Boy Prequelle — Ghost From The Fires — Greta Van Fleet Pacific Daydream — Weezer

Record Of The Year

“I Like It” — Cardi B, Bad Bunny & J Balvin “The Joke” — Brandi Carlile “This Is America” — Childish Gambino “God’s Plan” — Drake “Shallow” — Lady Gaga & Bradley Cooper “All The Stars” — Kendrick Lamar & SZA “Rockstar” — Post Malone Featuring 21 Savage “The Middle” — Zedd, Maren Morris & Grey

Album Of The Year

Invasion Of Privacy — Cardi B By The Way, I Forgive You — Brandi Carlile Scorpion — Drake H.E.R. — H.E.R. Beerbongs & Bentleys — Post Malone Dirty Computer — Janelle Monáe Golden Hour — Kacey Musgraves Black Panther: The Album, Music From And Inspired By (Various Artists)

Song Of The Year

“All The Stars” — Kendrick Duckworth, Solána Rowe, Al Shuckburgh, Mark Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA) “Boo’d Up” — Larrance Dopson, Joelle James, Ella Mai & Dijon McFarlane, songwriters (Ella Mai) “God’s Plan” — Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) “In My Blood” — Teddy Geiger, Scott Harris, Shawn Mendes & Geoffrey Warburton, songwriters (Shawn Mendes) “The Joke” — Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile) “The Middle” — Sarah Aarons, Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael Trewartha & Anton Zaslavski, songwriters (Zedd, Maren Morris & Grey) “Shallow” — Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper) “This Is America” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)

Best New Artist

Chloe x Halle Luke Combs Greta Van Fleet H.E.R. Dua Lipa Margo Price Bebe Rexha Jorja Smith

Best Pop Solo Performance

“Colors” — Beck “Havana (Live)” — Camila Cabello “God Is A Woman” — Ariana Grande “Joanne (Where Do You Think You’re Goin’?)” — Lady Gaga “Better Now” — Post Malone

Best Pop Duo/Group Performance

“Fall In Line” — Christina Aguilera Featuring Demi Lovato “Don’t Go Breaking My Heart” — Backstreet Boys “‘S Wonderful” — Tony Bennett & Diana Krall “Shallow” — Lady Gaga & Bradley Cooper “Girls I Like You” — Maroon 5 Featuring Cardi B “Say Something” — Justin Timberlake Featuring Chris Stapleton “The Middle” — Zedd, Maren Morris & Grey

Best Traditional Pop Vocal Album

Love Is Here To Stay —Tony Bennett & Diana Krall My Way — Willie Nelson Nat “King” Cole & Me — Gregory Porter Standards (DELUXE) — Seal THE MUSIC…THE MEM’RIES…THE MAGIC! —Barbra Streisand

Best Pop Vocal Album

Camila — Camila Cabello Meaning Of Life — Kelly Clarkson Sweetener — Ariana Grande Shawn Mendes — Shawn Mendes Beautiful Trauma — P!nk Reputation — Taylor Swift

Best Alternative Music Album

Tranquility Base Hotel + Casino —Arctic Monkeys Colors — Beck Utopia — Björk American Utopia — David Byrne Masseduction — St. Vincent

Best Rap Performance

“Be Careful” — Cardi B “Nice For What” — Drake “King’s Dead” — Kendrick Lamar, Jay Rock, Future & James Blake “Bubblin” — Anderson .Paak “Sicko Mode” — Travis Scott, Drake, Big Hawk & Swae Lee

Best Rap/Sung Performance

“Like I Do” — Christina Aguilera Featuring Goldlink “Pretty Little Fears” — 6LACK Featuring J. Cole “This Is America” — Childish Gambino “All The Stars” — Kendrick Lamar & SZA “Rockstar” — Post Malone Featuring 21 Savage

Best Rap Song

“God’s Plan” — Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) “King’s Dead” — Kendrick Duckworth, Samuel Gloade, James Litherland, Johnny McKinzie, Mark Spears, Travis Walton, Nayvadius Wilburn & Michael Williams II, songwriters (Kendrick Lamar, Jay Rock, Future & James Blake) “Lucky You” — R. Fraser, G. Lucas, M. Mathers, M. Samuels & J. Sweet, songwriters (Eminem Featuring Joyner Lucas) “Sicko Mode” — Khalif Brown, Rogét Chahayed, BryTavious Chambers, Mike Dean, Mirsad Dervic, Kevin Gomringer, Tim Gomringer, Aubrey Graham, John Edward Hawkins, Chauncey Hollis, Jacques Webster, Ozan Yildirim & Cydel Young, songwriters (Travis Scott, Drake, Big Hawk & Swae Lee) “Win” — K. Duckworth, A. Hernandez, J. McKinzie, M. Samuels & C. Thompson, songwriters (Jay Rock)

Best Rap Album

Invasion Of Privacy — Cardi B Swimming — Mac Miller Victory Lap — Nipsey Hussle Daytona — Pusha T Astroworld — Travis Scott

Best Music Video:

“APES***” — The Carters, Ricky Saiz, video director; Mélodie Buchris, Natan Schottenfels & Erinn Williams, video producers “This Is America” — Childish Gambino, Hiro Murai, video director; Ibra Ake, Jason Cole & Fam Rothstein, video producers “I’m Not Racist” Joyner Lucas & Ben Proulx, video directors; Joyner Lucas, video producer “Pynk” — Janelle Monáe, Emma Westenberg, video director; Justin Benoliel & Whitney Jackson, video producers “Mumbo Jumbo” — Tierra Whack Marco Prestini, video director; Sara Nassim, video producer

Best Music Film:

“Life in 12 Bars”— Eric Clapton, Lili Fini Zanuck, video director; John Battsek, Scooter Weintraub, Larry Yelen & Lili Fini Zanuck, video producers “Whitney” — (Whitney Houston), Kevin Macdonald, video director; Jonathan Chinn, Simon Chinn & Lisa Erspamer, video producers “Quincy” — Quincy Jones Alan Hicks & Rashida Jones, video directors; Paula DuPré Pesmen, video producer “Itzhak”— Itzhak Perlman, Alison Chernick, video director; Alison Chernick, video producer “The King” — (Elvis Presley), Eugene Jarecki, video director; Christopher Frierson, Georgina Hill, David Kuhn & Christopher St. John, video producers

#The Grammys #Underoath #FEVER 333 #Bring Me The Horizon #Between The Buried And Me #The Fever 333

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tlatollotl · 6 years

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Conventional wisdom holds that prehistoric villagers planted corn, and lots of it, to survive the dry and hostile conditions of the American Southwest.

But University of Cincinnati archaeology professor Alan Sullivan is challenging that long-standing idea, arguing instead that people routinely burned the understory of forests to grow wild crops 1,000 years ago.

"There has been this orthodoxy about the importance of corn," said Sullivan, director of graduate studies in UC's Department of Anthropology in the McMicken College of Arts and Sciences. "It's been widely considered that prehistoric peoples of Arizona between A.D. 900 to 1200 were dependent on it.

"But if corn is lurking out there in the Grand Canyon, it's hiding successfully because we've looked all over and haven't found it."

Sullivan has published a dozen papers outlining the scarce evidence of corn agriculture at more than 2,000 sites where they have found pottery sherds and other artifacts of prehistoric human settlement. He summarized his findings in a presentation last month at Boston University.

Sullivan has spent more than two decades leading archaeological field research to Grand Canyon National Park and the region's Upper Basin, home to the 1.6-million-acre Kaibab National Forest.

When you think of the Grand Canyon, you might picture rocky cliffs and desert vistas. But the Upper Basin, where Sullivan and his students work, is home to mature forests of juniper and pinyon trees stretching as far as you can see, he said.

"When you look down into the Grand Canyon, you don't see any forest. But on either rim there are deep, dense forests," he said.

On these high-elevation plateaus, Sullivan and his students have unearthed ceramic jugs adorned with corrugated patterns and other evidence of prehistoric life. Sullivan is particularly interested in the cultural and social practices of growing, sharing and eating food, also called a foodway.

"What would constitute evidence of a corn-based foodway?" he asked. "And if experts agree it should look like this but we don't find evidence of it, that would seem to be a problem for that model.”

Like a detective, Sullivan has pieced together clues firsthand and from scientific analysis to make a persuasive argument that people used fire to promote the growth of edible leaves, seeds and nuts of plants such as amaranth and chenopodium, wild relatives of quinoa. These plants are called "ruderals," which are the first to grow in a forest disturbed by fire or clear-cutting.

"It's definitely a paradigm-threatening opinion," Sullivan said. "It's not based on wild speculation. It's evidence-based theorizing. It has taken us about 30 years to get to the point where we can confidently conclude this."

Lab analysis identified ancient pollen from dirt inside clay pots that were used 1,000 years ago before Sullivan and his students found them.

"They've identified 6,000 or 7,000 pollen grains and only six [grains] were corn. Everything else is dominated by these ruderals," Sullivan said.

The corn itself looked nothing like the hearty ears of sweet corn people enjoy at barbecues today. The ears were puny, about one-third the size of a typical cob, with tiny, hard kernels, Sullivan said.

So if prehistoric people were not growing corn, what were they eating? Sullivan found clues around his excavation sites that people set fires big enough to burn away the understory of grasses and weeds but small enough not to harm the pinyon and juniper trees, important sources of calorie-rich nuts and berries.

Evidence for this theory was found in ancient trees. Raging wildfires leave burn scars in growth rings of surviving trees. In the absence of frequent small fires, forests would accumulate vast amounts of underbrush and fallen timber to create conditions ripe for an inferno sparked by a lightning strike. But examinations of ancient juniper and ponderosa pine trees found no burn scars, suggesting big fires are a relatively new phenomenon in Arizona.

"To me that confirms there weren't massive fires back then," Sullivan said.

Sullivan also studied the geologic layers at these sites. Like a time capsule, the stratigraphicanalysis captured the periods before and after people lived there. He found higher concentrations of wild edible plants in the period when people lived there. And when people abandoned the sites, the area they left behind saw fewer of these plants.

But it was only this year that Sullivan found contemporary evidence supporting his theory that prehistoric people generated a spring bounty by setting fires. Sullivan returned to the Grand Canyon last spring to examine forest destroyed by a massive 2016 fire. Touched off by a lightning strike, the blaze called the Scott Fire laid waste to 2,660 acres of pines, junipers and sagebrush.

Despite the intensity of the forest fire, Sullivan found edible plants growing thick everywhere underfoot just months later.

"This burned area was covered in ruderals. Just covered," he said. "That to us was confirmation of our theory. Our argument is there's this dormant seed bed that is activated by any kind of fire."

Archaeologists with the National Park Service have found evidence that corn grew below the rim of the Grand Canyon, said Ellen Brennan, cultural resource program manager for the national park.

"It does appear that the ancient people of the Grand Canyon never pursued corn agriculture to the extent that other ancestral Puebloan peoples did in other parts of the Southwest," Brennan said. "In the Grand Canyon, it appears that there continued to be persistent use of native plants as a primary food source rather than corn."

The National Park Service has not examined whether prehistoric people used fire to improve growing conditions for native plants. But given what is known about cultures at the time, it is likely they did, Brennan said.

The first assumptions about what daily life was like in the Southwest 1,000 years ago came from more recent observations of Native Americans such as the Hopi, said Neil Weintraub, archaeologist for Kaibab National Forest. He worked alongside Sullivan at some of the sites in the Upper Basin.

"Corn is still a big part of the Hopi culture. A lot of dances they do are about water and the fertility of corn," he said. "The Hopi are seen as the descending groups of Puebloan."

While native peoples elsewhere in the Southwest no doubt relied on corn, Weintraub said, Sullivan's work has convinced him that residents of the Upper Basin relied on wild food—and used fire to cultivate it.

"It's a fascinating idea because we really see that these people were highly mobile. On the margins where it's very dry we think they were taking advantage of different parts of the landscape at different times of the year," Weintraub said.

"It's been well documented that Native Americans burned the forest in other parts of the country. I see no reason why they wouldn't have been doing the same thing 1,000 years ago," he said.

UC professor Alan Sullivan holds a pottery sherd recovered from an archaeological site in Arizona. Credit: University of Cincinnati

The area around the Grand Canyon is especially dry, going many weeks without rain. Still, life persists. Weintraub said the forest generates a surprising bounty of food if you know where to look. Some years, the pinyon trees produce a bumper crop of tasty, nutritious nuts.

"In a good year, we didn't need to bring lunch in the field when we were out at our archaeological surveys. We'd be cracking pinyons all day," Weintraub said.

Weintraub recently studied the forest burned in last year's big Scott Fire. The exposed ground was thick with new undergrowth, particularly a wild relative of quinoa called goosefoot, he said.

"Goosefoot has a minty smell to it, especially in the fall. We actually started chewing on it. It was pretty pleasant," Weintraub said. "It's a high-nutrient food. I'd be curious to know more about how native peoples processed it for food."

UC's Sullivan said this prehistoric land management can teach us lessons today, especially when it comes to preventing devastating fires.

"Foresters call it 'the wicked problem.' All of our forests are anthropogenic [man-made] because of fire suppression and fire exclusion," Sullivan said.

"These forests are unnatural. They're alien to the planet. They have not had any major fires in them in decades," he said. "The fuel loads have built up to the point where you get a little ignition source and the fire is catastrophic in ways that they rarely were in the past."

The National Park Service often lets fires burn in natural areas when they do not threaten people or property. But increasingly people are building homes and businesses adjacent to or within forests. Forest managers are reluctant to conduct controlled burning so close to population, Sullivan said.

Eventually so much dry wood builds up that a dropped cigarette or unattended campfire can lead to devastating fires such as the 2016 blaze that killed 14 people and destroyed 11,000 acres in the Great Smoky Mountains or the fires in California this year that killed 40 people and caused an estimated $1 billion in property damage.

"It's a chronic problem. How do you fix it?" he asked. "The U.S. Forest Service has experimented with different methods: prescribed burning, which creates a lot of irritating smoke, or thinning the forest, which creates a disposal problem."

Fire also seems to increase the diversity of forest species. Sullivan said vegetation surveys find less biodiversity in forests today than he found in his archeological samples.

"That is one measure of how devastating our management of fire has been to these forests," he said. "These fire-responsive plants have basically disappeared from the landscape. Species diversity in some cases has collapsed."

Today, federal land managers conduct controlled burns when practical to address this problem, even in national parks such as the Grand Canyon.

"The fire management program for Grand Canyon National Park seeks to reintroduce fire as a natural agent of the environment," the park's Brennan said. "That is to reduce ground fuels through prescribed fire, mechanical thinning, and wildland fire."

Scientists also are studying how to adjust forest management techniques in the face of climate change, she said.

"Program managers are working to understand how climate change affects forest management and how to restore forests to the point where fire can follow a more natural return interval given a particular forest type," she said.

Climate change is expected to make wildfires more frequent and severe with rising temperatures and lower humidity. Meanwhile, public lands are under increasing pressure from private interests such as tourism and mining, putting more people at potential risk from fire, Sullivan said.

"Rather than create more uranium mines or establish more tourist cities in our forests, it's better to spend our money on addressing 'the wicked problem,'" Sullivan said. "Unless we solve that, all of these other ventures will only add to the severity of the risks."

#archaeology #native american #first nations #maize #corn #farming #grand canyon #history #fire #southwest #us southwest #puebloan #ancestral puebloan

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