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Ric Ocasek dead at 75: The Cars lead singer remembered as gift to new wave – CNET

September 15th, 2019
33rd Annual Rock & Roll Hall of Fame Induction Ceremony - Show

Ric Ocasek of The Cars performs during the 33rd Annual Rock & Roll Hall of Fame Induction Ceremony at Public Auditorium on April 14, 2018 in Cleveland, Ohio.

Jeff Kravitz

Ric Ocasek, most famous as the founder and frontman of the iconic new wave band The Cars, has died, the New York Police Department confirmed Sunday

He was found unresponsive at his East 19th Street residence in Manhattan on Sunday, according to NYPD reports from. The NYPD didn’t immediately respond to a request for comment.

Ocasek released seven studio albums with The Cars between 1978 and 2011, beginning with their hit self-titled album featuring the singles “My Best Friend’s Girl” and “Good Times Roll.”

Ocasek also released several solo albums, including Beatitude (1982), Fireball Zone (1990), Troublizing (1997) and Nexterday (2005). He was inducted into the Rock & Roll Hall of Fame on April 14, 2018.

Last year, Ocasek and supermodel Paulina Porizkova, his wife of 28 years, announced that they were separating after 28 years of marriage. The pair met while shooting the video for 1984’s “Drive” and had two children together. 

Fans and friends took to Twitter to honor the late rock star Sunday. “He was so kind and his music was a gift to us all,” guitarist Brian Ray wrote. “Thank you for the hooks and the music, Ric.” Added music writer Jason Woodbury, “What a career, what a body of work.”

Originally published Sept. 15, 6:41 p.m. PT. 
Update, 8:29 p.m. PT: Adds more details about Ocasek. 

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‘Game Of Thrones’ Leads Creative Arts Emmy Wins, With ‘Chernobyl’, ‘Free Solo’ & ‘The Marvelous Mrs. Maisel’ – Deadline

September 15th, 2019

Unsurprisingly, given its record 32 Emmy nominations for this final season, Game of Thrones led the charge at the Creative Arts Emmys with a total of 10 wins out of the 18 for which it was nominated this weekend. Heading into next Sunday’s Primetime Emmys show, this bodes well for the HBO epic’s swansong swing for awards,

Notably, GoT picked up fiver win Sunday, the second of the two-night Creative Arts awards, for its controversial “in the dark” episode “The Long Night,” which drew much criticism as fans claimed the gloomy lighting made it physically difficult to determine the action.

In joint second place among the winners so far this year were HBO’s Chernobyl and Nat Geo’s Oscar Documentary Feature winner Free Solo—each picking up seven awards, which suggests the latter, with a total of 19 noms across the board, may do well with in the Primetime competition. It’s up for seven awards next Sunday, including limited series, lead actor, supporting actor and actress, directing and writing.

Amazon’s comedy juggernaut The Marvelous Mrs. Maisel also cleaned up pretty well at the Creative Arts with six wins out of its total of 20. It may well prove a strong competitor at Primetime too, especially given its success last year at that show.

With Game of Thrones and Chernobyl doing so well, HBO is ahead of the game with a total of 25 awards already, while rival Netflix is close behind with 22 overall so far. Amazon Prime Video and National Geographic came third with eight each—the former with Mrs. Maisel, and the latter with Free Solo in its stable.

Among Netflix’s triumphs was Russian Doll, which won three this weekend including cinematography and production design. It had a total of 13 nominations and it remains to be seen whether it will win at Primetime for any of those, which include best comedy series, lead actress and writing for Natasha Lyonne, alongside co-creators Leslye Headland and Amy Poehler.

Netflix is also celebrating a win for limited series casting on When They See Us. Casting directors Aisha Coley and Ashley Ingram dedicated the award to the Central Park Five who allowed their stories to be told on the show, and to director Ava DuVernay.

The Handmaid’s Tale excelled itself too this Sunday by taking home awards in both drama guest categories—which was the limit of its eligibility anyway, given it was reduced to submitting episodes from last year under the “hanging episodes” rule. Cherry Jones said she was “stunned” to win, and declared it “completely absurd” that her category mate Phylicia Rashad didn’t win for This is Us.

While wins in the Creative Arts awards don’t necessarily point toward Primetime successes, it’s hard to imagine the big winners here this weekend won’t be taking home some more gold come next Sunday. In fact, it seems like a given for Game of Thrones at least.

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Attacks on Saudi oil installations will affect gas prices – Calgary Herald

September 15th, 2019

The price of gas in Calgary is expected to nudge higher this week due to attacks on oil installations in Saudi Arabia on Saturday. Brendan Miller / Postmedia file

It will be a few days before the price of gas in Calgary is affected by Saturday’s attacks on Saudi Arabian oil infrastructure, according to an energy analyst.

But the increase at local pumps, expected Wednesday, shouldn’t break the bank, said Dan McTeague.

Drone attacks on two major oil installations in Saudi Arabia damaged the processing facilities responsible for the majority of the country’s crude output, which will have a large effect on the global energy industry. The loss is so severe, oil and gas prices had already started to rise Sunday on global markets.

However, longtime energy analyst McTeague said the jolt in prices might not shock Canadian drivers when they go to fuel up.

“It just so happened on the same day that prices for gasoline may be heading up, we also move into winter-blend gasoline, which starts Sept. 15. It’s usually good for a three- or four-cent decrease. So if I see prices going up five cents a litre, you may see them drop three or four cents,” said McTeague.

Though it may only be a small increase, McTeague expects gas prices to remain higher than they would have been, since the market remains unstable.

An estimated three to six per cent of the global oil supply was lost as a result of the bombings in Saudi Arabia. If international tensions escalate, “the sky is the limit” for oil prices, according to McTeague, with all eyes on the price of benchmark crude when North American markets open Monday.

He added that since a large majority of Saudi oil is destined for Europe and Asia, the Asian market showed nervousness late Sunday in increasing prices by $5 to $10 a barrel. North America hasn’t appeared as spooked, but United States President Donald Trump wrote on Twitter on Sunday night that his country would tap into oil from its strategic petroleum reserve, if necessary.

McTeague said delays for a new energy pipeline in Canada makes the country vulnerable to these types of “international shocks.”

In a written statement, Alberta’s Ministry of Energy said the events in the Middle East demonstrate why oil and gas from “politically stable sources such as Canada” is important.

With the third-largest oil reserves, Canada can do much to supplant high-risk sources overseas. But our country actually needs to build pipelines to help supply a world economy hungry for reliable sources of energy,” said the statement. 

Robert Skinner, executive fellow with the University of Calgary’s School of Public Policy, said the immediate effects on Alberta’s energy industry might be positive but the long-term implications could hurt the province.

“It will reinforce among Albertans in general and the political leaders in particular that they can continue to rely on oil revenues and one more oil boom, rather than face the realities of the fiscal situation in this province,” said Skinner.

He added that the province needs to quit relying on oil revenues and work to diversify the economy.

“When the price goes up, that’s good for the province’s industry, but to rest your future on other people’s disasters is not exactly a good strategy,” said Skinner.

This is the first time in the history of the oil market that a major player has been hit in this way, so the world is in “new territory,” according to Skinner.

Predictions on how long the market will be affected by the attacks don’t have a precedent, he added.

sbabych@postmedia.com

Twitter: @BabychStephanie

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Federal Election 2019: Conservative Leader Andrew Scheer stands by Conservative candidates | Watch News Videos Online – Globalnews.ca

September 15th, 2019

Andrew Scheer unveiled a universal tax cut for Canadians, while in Surrey in B.C., on day six of the federal campaign. But his pledges are being undercut by controversial comments made by his Conservative candidates, and why he won’t turf them. Mike Le Couteur reports.

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OnePlus 7T leaks paint a complete picture including one sad detail – SlashGear

September 15th, 2019

OnePlus 7T leaks paint a complete picture including one sad detail  SlashGear

With all the high-end phones coming out the past weeks, OnePlus will soon remind consumers that one doesn’t necessarily need to spend so much on a …

View full coverage on Google News

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The Cars’ Ric Ocasek: 17 Essential Songs – Rolling Stone

September 15th, 2019

The Cars were the New Wave band with the purest Top 40 heart, thanks to Ric Ocasek’s vision of combining moody alienation and glossy hooks with a nervy sense of hunger. The band joked that they should’ve called their astonishingly tight 1978 self-titled debut The Cars’ Greatest Hits for good reason, and they kept rolling out precision-tuned new models throughout the Eighties. Ocasek also had success as a producer and solo artist, and when the Cars returned with their brilliantly titled 2011 comeback LP, More Like This, they proved they could rival the many bands — from Weezer to No Doubt and the Strokes — who made classic music in their long, gawky shadow. Here’s an essential list of Ric’s finest moments. Begin shaking it up … now.

“My Best Friend’s Girl” (1978)

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One of Ocasek’s earliest Cars compositions, and one of his greatest, “My Best Friend’s Girl” showed his love for Fifties rock & roll, particularly Buddy Holly and Carl Perkins, with the song’s wiry guitar part and youthful sense of infatuation and angst. “Nothing in that song happened to me personally,” he said later. “I just figured having a girlfriend stolen was probably something that happened to a lot of people.” The second single from the band’s debut LP, it hit the Top 40, offering a slick New Wave twist on classic-rock tropes as Ocasek tossed off playfully surreal references to “suede blue eyes” and “nuclear boots.” As he later recalled, “At some point, I realized my lyrics didn’t include the words ‘My Best Friend’s Girl.’ So I pulled out the lyrics someone had typed up and added a chorus in the margin in pen: ‘She’s my best friend’s girl / She’s my best friend’s girl / But she used to be mine.’” J.D.

“Moving in Stereo” (1978)

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Already the sexiest song the Cars would ever record, thanks to an uncharacteristically slithery groove and an insinuating rhythm guitar part, “Moving in Stereo” would hold a special place in Gen-X iconography, after its instrumental soundtracked the infamous moment in 1982’s Fast Times at Ridgemont High where Judge Reinhold fantasizes about Phoebe Cates rising from a swimming pool. It went to reappear, usually in parodic fashion, in various other soundtracks, including a recent Stranger Things trailer. Benjamin Orr sang the lounge-lizard–y vocals, but Ocasek (who wrote it with keyboardist Greg Hawkes, which made it the only song on the Cars’ debut not solely written by Ocasek) took over in live performances after Orr’s death. B.H.

“Just What I Needed” (1978)

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“Sometimes good time can be the hook itself,” Ocasek told Rolling Stone in July, explaining why he insisted on Weezer using a click track on 1994’s Blue Album, which he produced. “Just What I Needed” (written by Ocasek but sung by Benjamin Orr) is obvious proof of that philosophy, with its chugging eighth-note guitars marching along in crisp perfection; that, along with omnipresent synth riffs, is one of the reasons why The Cars sounds like one of the first album of the 1980s despite being released in 1978. A rawer demo version of “Just What I Needed” — a song Ocasek apparently wrote in the basement of a commune he was living in — broke the Cars in the first place when Boston radio started playing it in 1977. B.H.

“Good Times Roll” (1978)

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Though it seems to share a sentiment with a slew of vintage rock and R&B tunes, “Good Times Roll” distances itself from the care-free mood of, say, Shirley and Lee’s 1956 hit “Let the Good Times Roll” with its hard-edged midtempo strut, blaring backing vocals, and Ocasek’s stylized singing. Even at this early stage in the Cars’ career, Ocasek was already committed to puncturing as many pop clichés as he could. “That was my song about what the good times in rock ‘n’ roll really mean, instead of what they’re supposed to be,” he once said. “It was kind of a parody of good times, really. It was kinda like not about good times at all.” H.S.

“You’re All I’ve Got Tonight” (1978)

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Ocasek and the Cars walked a fascinating line between shiny power pop and total weirdness; “You’re All I’ve Got Tonight” is in both places at once, with a whole lot going on in its four minutes and 14 seconds, from the Queen-ly backing vocals (thanks, no doubt, to a shared producer in Roy Thomas Baker), a flanged drum intro, a freaky harpsichord-like keyboard part in the first verse, and a monster chorus. Ocasek’s echoey vocals and self-loathing lyrics have a certain nerdy desperation that presaged other unconventional frontmen; Billy Corgan sounded completely at home with the song when the Pumpkins covered it circa 1995. B.H.

“Let’s Go” (1979)

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Ocasek didn’t keep all his good songs for himself. He gave this 1979 single, about a free-spirited girl who won’t settle down, to bassist Benjamin Orr to sing. The track, with hand claps, a futuristic synth line, and dual guitar mastery, became their first Top 20 hit, and the first single for their second album Candy-O. The band again worked with Queen producer Roy Thomas Baker, but Ocasek said they tried for a rawer approach than on their first album. “Well, some of the things on that first album that we thought were a little slick, we toned down on the second, like on the background vocals,” Ocasek said. “On the second album, it was easier to say, ‘Roy, let’s not do the multi-tracked harmonies this time.’” P.D.

“Candy-O” (1979)

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“We started out wanting to be electric and straight-ahead rock, and it kind of turned into an artier kind of thing,” Cars keyboardist Greg Hawkes once said of the way the band fine-tuned its sound in the early days. Case in point, “Candy-O.” The song takes just a handful of elements — an icy New Wave pulse, a bare-bones, almost blues-like structure, and boldly abstract lyrics — and turns them into two-and-a-half minutes of captivating minimalist pop. Benjamin Orr tells the title character “I need you so” (a line originally sung as “fortissimo”) amid a rush of cryptic imagery (“Purple hum, assorted cards / Razor lights you’ll bring / All to prove you’re on the move …”), as Hawkes’ sci-fi synth arpeggios and Elliott Easton’s squealing guitar leads leap out of the mix. No simple love song, the end result sounds more like the product of a dark fixation, one reason the Melvins’ 1989 cover of the tune seems entirely fitting. Ocasek provided a small clue as to the song’s unsettling mood when he once said of the title, “The ‘O’ stands for ‘obnoxious.’” H.S.

“Dangerous Type” (1979)

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Ocasek uses repetition for maximum impact in “Dangerous Type”: He runs through the four-line hook 10 different times in four-and-a-half minutes. Ocasek’s keen grasp of pop-music architecture sometimes gave him pause. “I feel cold sometimes about what’s going on,” he told Rolling Stone in 1980. But, he continued, “we’re not what you’d call a free-form jam band. We try to be precise and tight, but that doesn’t make our music ‘stiff or ‘calculated.’ My way of songwriting — even if it seems overly obsessed with form and structure — is just as emotional to me as soul music may be to someone else.” E.L.

“Shake It Up” (1981)

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The Cars took a somewhat more experimental detour with their 1980 LP Panorama, but they were back in their endearingly slick comfort zone with 1981’s Shake It Up, especially its title track. “Yes, the big return to pop,” Ocasek mused at the time. “Shake It Up” is the Cars’ finest New Wave dance-party jam, a simple, irresistible tune gliding along on a bloopy keyboard line. “I’m not proud of the lyrics to ‘Shake It Up,’” Ocasek later said. Surprisingly, considering how breezy and tossed off the song feels, the Cars actually labored over the tune for years before landing on a version they liked. And it was a good thing they did. “Shake It Up” peaked at Number Two on the charts. J.D.

“I’m Not the One” (1981)

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“I’m Not the One” was a deep cut from Shake It Up, never a single, but it became so beloved by fans, it was included on the Cars’ 1985 Greatest Hits. It’s the quintessential Ocasek combination: doom and gloom, wrapped up in a pop melody. “My taste was to always go for that mix, even back in the Sixties,” Ocasek told Vanity Fair’s Marc Spitz. “I obviously was a huge fan of Dylan, but my other favorite band was the Velvet Underground. I always went for the left side of the music brain, too. I loved the Velvet Underground and the Carpenters.” “I’m Not the One” also made a memorable appearance in the Adam Sandler movie Billy Madison, in the scene where he gets a valentine from his principal. R.S.

“Jimmy Jimmy” (1983)

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While Ocasek scored hit after hit with the Cars, he explored a darker, more personal vibe on his first (and best) solo album, Beatitude. “Jimmy Jimmy” has the experimental edge of the records Ocasek was producing for artists like Bad Brains, Suicide, or Romeo Void. He dropped Beatitude in early 1983, in the lag time between Shake It Up and Heartbeat City. “Jimmy Jimmy” goes for an extremely Suicide-ish electronic pulse, as Ocasek narrates the tale of a troubled teenage boy who doesn’t want to go home and take out the garbage. (“Are you depressed or something? You look spaced out.”) It made only a minor MTV splash, but it’s the finest moment from Ocasek’s solo work. R.S.

“Magic” (1984)

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“Magic” was the second single from the Cars’ quadruple-platinum Heartbeat City, and it’s perfectly engineered for radios. Everything here is at once brutal and elegant: A massive three-chord guitar riff and a hammering keyboard line vie for the listener’s attention; a second guitar jangles in the distance; the bass pops cheerfully in support; Ocasek sings staccato, drilling lines, not wasting a single syllable; backing vocals flare softly behind it all. The Cars spent six months in England laboring over Heartbeat City, perfecting the mix of elements. ”It sounds contradictory that you could work on something for 12 hours to capture spontaneity,” guitarist Elliot Easton said, ”but there you go. We would keep at it until it sounded live — or alive.” E.L.

“You Might Think” (1984)

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The first single from the Cars’ 1984 LP Heartbeat City, helmed by AC/CD and Def Leppard producer “Mutt” Lange, “You Might Think” was another immediate smash, with Ocasek turning creepy obsession into MTV bubblegum. The song’s video remains an experimental classic of the form, winning the Video of the Year award at the 1984 VMAs, where it beat out Michael Jackson’s “Thriller.” Though its clever use of computer animation was striking at the time, the band wasn’t too hot on the idea of a miniature Ocasek appearing in the clip stalking the object of his affection, played by model Susan Gallagher. In Craig Marks and Rob Tannenbaum’s oral history I Want My MTV, director Chris Stein recalled taking the idea to the band. “I met the Cars and told them, ‘The band’s in the medicine chest, and then on a bar of soap, and Ric’s a fly,’ and one of them said, ‘Why don’t we all just play on a turd in the toilet bowl?’ That was the prevailing attitude.” J.D.

“Drive” (1984)

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The Cars made their name with chugging guitar-pop, but their biggest hit in the States is actually this melancholy synth-laden ballad. Penned by Ocasek and sung by bassist Benjamin Orr, “Drive” reached Number Three on the Hot 100 in 1984. Lange’s production here is swoony and spacious, with sharp drums puncturing a haze of keyboards. All those drum sounds were played into a computer, according to an interview with The Chicago Tribune, and then fed into the tracks as samples. The success of “Drive” was perhaps predictable — this track is masterfully vague, offering up a series of rhetorical questions that made it perfect for, well, anything: “Who’s gonna pick you up when you fall? / Who’s gonna hang it up when you call? / Who’s gonna pay attention to your dreams? / And who’s gonna plug their ears when you scream?” “Drive” had repercussions for Ocasek outside of music: While shooting the single’s video, he met the model Paulina Porizkova, who starred in the clip, and they married in 1989. But the track resonated in ways that Ocasek wasn’t always comfortable with. “I heard the London symphony do [it],” he said in a 1997 interview, “and that was weird.” E.L.

“Tonight She Comes” (1985) 

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The Cars had already released five albums and solidified their legacy by 1985, when Elektra released their Greatest Hits LP. The band chose to include one new song with the release, “Tonight She Comes,” a quietly contagious synth stomper that Ocasek had been planning to keep for himself. “I was in the middle of recording my solo album,” Ocasek said later, “and it was one of the songs that I didn’t use in the solo album at that point. That was like a one-off single that we just all came together and did.” Putting it on the Greatest Hits compilation turned out to be the right move: The song became a Top 10 hit, one of their best-charting singles ever. Elliot Easton’s fiery guitar solo impressed Steve Vai so much that he transcribed it for Guitar Player magazine in 1986, and even interviewed Easton about it. P.D.

“Emotion in Motion” (1986)

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Ocasek didn’t enjoy as many hits as a solo artist, despite making several strong albums on his own. But this delicate single from his 1986 LP This Side of Paradise, which made into the Top 15., can hold its own with any Cars tune. Spare and pretty, with an openheartedly soulful vocal, it’s a tender, unguarded ballad in which he pledges thanks and devotion to a new love. He was beginning his relationship with Porizkova at the time, and the song’s yearning melody and sweet lyrics of devotion reflect a sense of romantic bliss anyone could envy. J.D.

“Free” (2011)

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Twenty-four years after their previous album, the Cars reconvened in 2011 for what would be their final one. Bassist-singer Benjamin Orr had died in the interim, a huge loss, but in so many ways, the Cars’ sound was pristinely preserved. Nowhere is that more evident than “Free.” Over hand claps and laser-beam synths, Ocasek delivers quick-tongued lyrics about time travel and stepping outside “your dark world.” The track sounds playful, serious, and sonically impeccable all at once, not to mention deeply catchy. “It took on more life than I thought it would,” Ocasek told Rolling Stone’s David Fricke of the Cars’ return that year. “A lot of bands re-form, do stuff, and they’re crap. I know this isn’t crap. And the people are good. They always were.”

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The Oil Market’s Reaction to Saudi Arabian Attack in Five Charts – Yahoo Finance

September 15th, 2019

(Bloomberg) — The record surge in Brent crude futures on Monday only tells part of the story of how the oil market is reacting to a strike on a Saudi Arabian oil facility that’s removed about 5% of global supplies. Here are five charts that shed more light on the granular impact.

Historical Perspective

Brent futures soared as much as $11.73 a barrel in intraday trading, the biggest increase since the contract launched in 1988. The global benchmark surged as much as 19.48% in percentage terms, the biggest jump since the first Gulf War in 1991.

Scale of Disruption

The estimated 5.7 million barrels a day of lost Saudi production is the single biggest sudden disruption on record. It surpasses the loss of Kuwaiti and Iraqi supply during the Gulf War in August 1990, and the hit to Iranian output in 1979 from the Islamic Revolution, according to the International Energy Agency.

Timing is Everything

Because the loss of oil is sudden, the impact is being felt more heavily in contracts for near-term delivery than further down the curve. The price gap between Brent for delivery this November and December 2020 doubled from $3.57 a barrel at the close of trading Friday to more than $7 on Monday.

Protection Money

The options market shows traders are still nervous that prices will risen even further, and are now paying up to protect against it. Calls on West Texas Intermediate crude futures are pricier than puts for the first time since 2018.

Location, Location, Location

Global oil prices are feeling the impact of the attack more intensely than those in the U.S., where the benchmark is slightly buffered by being delivered to a land-locked oil hub in Oklahoma. Brent’s premium to West Texas Intermediate widened as much as 37% to $7.40 a barrel, the biggest gap since July.

–With assistance from Javier Blas and David Marino.

To contact the reporters on this story: Dan Murtaugh in Singapore at dmurtaugh@bloomberg.net;Alfred Cang in Singapore at acang@bloomberg.net

To contact the editors responsible for this story: Ramsey Al-Rikabi at ralrikabi@bloomberg.net, Andrew Janes

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Billy Idol, Bette Midler, The Hold Steady & more artists pay tribute Ric Ocasek – Brooklyn Vegan

September 15th, 2019

ric-o

Ric Ocasek‘s music and production had a wide reach, touching most of us and influencing a wide variety of pop music over the last 40 years. The sad news of his passing has seen fellow musicians and more pay tribute to him on social media. Read tributes from Billy Idol, Eddie Van Halen, The Hold Steady, AC Newman, Tom Morello, Bette Midler, actors Elijah Wood, Rainn Wilson, Donal Logue, director Judd Apatow, and more, below.

https://twitter.com/donallogue/status/1173397042137190402

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Game Of Thrones won so many Creative Arts Emmys – The A.V. Club

September 15th, 2019
Bradley Whitford didn’t win for GOT, but he sure looks happy.
Photo: Amy Sussman (Getty Images)

If you’ve been hearing a faint roar of enthusiasm all weekend, it’s not from the various football games that have been going on. It’s actually from TV fans celebrating the arrival of Emmys Season, with the Creative Arts Emmys happening this weekend and the real, grown-up Emmys happening a week from tonight. But what are the Creative Arts Emmys? Well, they’re like the regular Emmys but there are fewer famous people and some of the characters are not particularly interesting to the general public—as intelligent pop culture fans, we understand that the winner of Best Lighting Design/Direction For A Variety Special deserves recognition, but not everyone is so open-minded. Also, the constant pressure from advertisers means there’s only so much time at the actual Emmys for awards, so even seemingly important stuff like Best Animated Program gets dumped on the two-night Creative Arts Emmys.

In terms of highlights for the 2019 ceremonies, night one saw Norman Lear become the oldest person to ever win an Emmy at 97 (he won the Best Variety Special (Live) award for ABC’s All In The Family and The Jeffersons special), and Rachel Bloom announced that she was pregnant after winning the Best Original Music And Lyrics Emmy alongside her Crazy Ex-Girlfriend colleagues Adam Schlesinger and Jack Dolgen. Also: Hannah Gadsby won an Emmy for Nanette, The Simpsons won the Animated Program award, Queer Eye from for Structured Reality Program, and Free Solo contributed to the controversial blurring of TV and movie lines by winning a number of non-fiction Emmys.

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On night two, Bradley Whitford won the Guest Appearance award for his stint on The Handmaid’s Tale, making him the first actor to ever get that Emmy for both drama and comedy (having previously won for Transparent), and in his speech he noted that award shows are not “arenas of justice” since Fleabag’s Hot Priest didn’t get a nomination. After that, everything is sort of a big, dragon-sized blur because Game Of Thrones seriously won a literal ton of Creative Arts Emmys (or at least 10) and that’s all before the major categories next week, so it stands to win even more. Chernobyl and The Marvelous Mrs. Maisel also won a good amount, but this is definitely Thrones’ year (again).

The full list of winners—and it’s a long one—is below.

2019 Creative Arts Emmys Winners

Variety Special (live): Live In Front Of A Studio Audience: Norman Lear’s All In The Family And The Jeffersons

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Variety Special (pre-recorded): Carpool Karaoke: When Corden Met McCartney Live From Liverpool

Choreography For Variety Or Reality Programming: Tessandra Chavez, World Of Dance

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Production Design For A Variety Special: Rent

Production Design For A Variety, Reality Or Competition Series: Saturday Night Live 

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Structured Reality Program: Queer Eye 

Short Form Variety Series: Carpool Karaoke: The Series 

Short Form Animated Program: Love, Death & Robots

Picture Editing For A Nonfiction Program: Bob Eisenhardt, Free Solo

Narrator: Sir David Attenborough, Our Planet

Music Composition For A Documentary Series Or Special (original Dramatic Score): Marco Beltrami, Brandon Roberts, Free Solo

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Music Direction: Alex Lacamoire, Fosse/Verdon 

Original Music And Lyrics: Adam Schlesinger, Rachel Bloom, Jack Dolgen, “Antidepressants Are So Not A Big Deal,” Crazy Ex-Girlfriend 

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Creative Achievement In Interactive Media Within An Unscripted Program: Free Solo 

Interactive Program: NASA And SpaceX: The Interactive Demo-1 Launch (YouTube)

Technical Direction, Camerawork, Video Control For A Special: Late Late Show Carpool Karaoke Primetime Special 2019 

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Technical Direction, Camerawork, Video Control For A Series: Last Week Tonight With John Oliver

Short Form Nonfiction Or Reality Series: Creating Saturday Night Live

Writing For A Variety Special: Hannah Gadsby, Nanette

Writing For A Nonfiction Program: Anthony Bourdain, Anthony Bourdain Parts Unknown 

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Motion Design: Patriot Act With Hasan Minhaj 

Exceptional Merit In Documentary Filmmaking: (tie) RBG; The Sentence 

Informational Series Or Special: Anthony Bourdain Parts Unknown

Documentary Or Nonfiction Special: Leaving Neverland 

Documentary Or Nonfiction Series: Our Planet 

Makeup For A Multi-camera Series Or Special (non-prosthetic): Saturday Night Live

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Hairstyling For A Multi-camera Series Or Special: Hector Pocasangre, RuPaul’s Drag Race 

Costumes For Variety, Nonfiction Or Reality Programming: Zaldy Goco, Art Conn, RuPaul’s Drag Race

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Directing For A Reality Program: Hisham Abed, Queer Eye

Casting For A Reality Program: Queer Eye

Directing For A Documentary/nonfiction Program: Elizabeth Chai Vasarhelyi, Jimmy Chin, Free Solo 

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Directing For A Variety Special: Thom Zimny, Springsteen On Broadway 

Animated Program: The Simpsons

Character Voice-over Performance: Seth MacFarlane, Family Guy 

Picture Editing For Variety Programming: Last Week Tonight With John Oliver 

PIcture Editing For An Unstructured Reality Program: United Shades Of America With W. Kamau Bell

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Picture Editing For A Structured Reality Or Competition Program: Queer Eye

Sound Mixing For A Variety Series Or Special: Aretha! A Grammy Celebration For The Queen Of Soul

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Sound Mixing For A Nonfiction Program (single Or Multi-camera): Free Solo

Sound Editing For A Nonfiction Program (single Or Multi-camera): Free Solo

Lighting Design/direction For A Variety Special: Rent 

Lighting Design/direction For A Variety Series: Saturday Night Live

Host For A Reality Or Competition Program: RuPaul, RuPaul’s Drag Race 

Unstructured Reality Program: United Shades Of America With W. Kamau Bell 

Cinematography For A Nonfiction Program: Free Solo 

Cinematography For A Reality Program: Life Below Zero 

Guest Actress In A Drama Series: The Handmaid’s Tale, Cherry Jones

Prosthetic Makeup For A Limited Series, Movie Or Special: Star Trek: Discovery

Sound Mixing For A Comedy Or Drama Series (half Hour) And Animation: Barry

Guest Actor In A Comedy Series: The Marvelous Mrs. Maisel, Lenny Bruce

Sound Mixing For A Limited Series Or Movie: Chernobyl, “1:23:45″

Production Design For A Narrative Contemporary Program (one Hour Or More): The Handmaid’s Tale

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Production Design For A Narrative Period Or Fantasy Program (one Hour Or More): Chernobyl

Sound Editing For A Comedy Or Drama Series (one Hour): Game Of Thrones

Production Design For A Narrative Program (half Hour): Russian Doll, “Nothing In This World Is Easy”

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Sound Editing For A Comedy Or Drama Series (half Hour) And Animation: Barry

Special Visual Effects In A Supporting Role: Chernobyl, “1:23:45″

Special Visual Effects: Game Of Thrones, “The Bells”

Children’s Program: When You Wish Upon A Pickle: A Sesame Street Special

Multi-camera Picture Editing For A Comedy Series: One Day At A Time, “The Funeral”

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Single-camera Picture Editing For A Limited Series Or Movie: Chernobyl, “Please Remain Calm”

Fantasy/sci-fi Costumes: Game Of Thrones, “The Bells”

Contemporary Costumes: Russian Doll, “Superiority Complex”

Period Costumes: The Marvelous Mrs. Maisel, “We’re Going To The Catskills!”

Makeup For A Limited Series Or Movie (non-prosthetic): Fosse/Verdon

Makeup For A Single-camera Series (non-prosthetic): Game Of Thrones, “The Long Night”

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Guest Actor In A Drama Series: The Handmaid’s Tale, Bradley Whitford

Cinematography For A Multi-camera Series: The Ranch

Cinematography For A Single-camera Series (one Hour): The Marvelous Mrs. Maisel

Stunt Coordination For A Drama Series, Limited Series Or Movie: Game Of Thrones

Stunt Coordination For A Comedy Series Or Variety Program: GLOW

Hairstyling For A Single-camera Series: The Marvelous Mrs. Maisel

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Guest Actress In A Comedy Series: The Marvelous Mrs. Maisel, Jane Lynch

Main Title Design: Game Of Thrones

Original Main Title Theme Music: Succession

Actor In Short Form Comedy Or Drama Series: State Of The Union, Chris O’Dowd

Creative Achievement In Interactive Media Within A Scripted Program: Bandersnatch (Black Mirror)

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Original Interactive Program: NASA’s InSight Mars Landing

Commercial: “Dream Crazy,” Nike

Music Composition For A Series (original Dramatic Score): Game Of Thrones

Music Composition For A Limited Series, Movie Or Special (original Dramatic Score): Chernobyl

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Music Supervision: The Marvelous Mrs. Maisel

Casting For A Limited Series: When They See Us

Casting For A Comedy Series: Fleabag

Casting For A Drama Series: Game Of Thrones

Short Form Comedy Or Drama Series: State Of The Union

Single-camera Picture Editing For A Drama Series: Game Of Thrones, “The Long Night”

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Single-camera Picture Editing For A Comedy Series: Fleabag, “Episode 1″

Cinematography For A Single-camera Series (half-hour): Russian Doll

Cinematography For A Limited Series Or Movie: Chernobyl

Actress In A Short Form Comedy Or Drama Series: State Of The Union

Sound Editing For A Limited Series, Movie Or Special: Chernobyl, “1:23:45″

Sound Mixing For A Comedy Or Drama Series (one Hour): Game Of Thrones, “The Long Night”

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Weezer, Billy Idol, Nada Surf, The Hold Steady & more artists pay tribute Ric Ocasek – Brooklyn Vegan

September 15th, 2019

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Ric Ocasek‘s music and production had a wide reach, touching most of us and influencing a wide variety of pop music over the last 40 years. The sad news of his passing has seen fellow musicians and more pay tribute to him on social media. Read tributes from Weezer (who had Ric Ocasek produce their classic debut Blue Album, and a couple of their later albums), Nada Surf and The Cribs (who also had albums produced by Ric), Billy Corgan, Courtney Love, Billy Idol, Jason Isbell, blink-182’s Mark Hoppus, Eddie Van Halen, Flea, The Hold Steady, Alice Cooper, AC Newman, Tom Morello, Bette Midler, actors Elijah Wood, Rainn Wilson, Donal Logue, directors Edgar Wright, Judd Apatow, and more, below.

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just woke to hear about ric ocasek. i’m so sad and thinking of him very fondly, as i have almost every day for 24 years. he was a father figure to me, always kind and true. making our first album with him was a transformative experience. i will miss him and be forever grateful. i had loved his songs and sound since my older sister started buying cars records in the early 80s. years later, as i saw him walking into the knitting factory, i approached him and gave him a demo tape. i’d been carrying one ever since seeing mitch easter on a subway train. ric was very gracious, and asked me if my phone number was on it. he called me two weeks later and invited me to his house in gramercy park. i was in such a dreamstate i locked my bike to nothing, missing the pole (it was still there later). i sat with paulina at the kitchen table while he made us coffee. she said “he likes your phrasing.” it felt like like the first someone outside the band and our friends had seen something in me. he asked about our demo tape and said we could release it as an album but that if we ever wanted to record it again, he would want to produce it and would charge very little money. i said we had a new drummer and we wanted to make it again. he asked if we had a record deal. i said we didn’t. he said to keep in touch and call anytime. a few months later we were at electric lady, recording our debut. he lent me books of poetry and let me use his guitars and amps. we always chose the second or third take, he always chose the first and had me sing a couple of scratch vocals on it. when we were done with guitars, i asked him if it was time to sing. he said “you’re done, you did it already.” i think he sensed the “real thing” might make me nervous and he wasn’t going to let me blow it. the record company wanted to visit during the recording and he wouldn’t let them. he was so kind and generous to everyone he worked with. one of the best songwriters who ever lived. plane taking off, will write more later…

A post shared by matthew caws (@matthewcaws) on Sep 16, 2019 at 12:41am PDT

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Devastated to hear of the passing on this man, Ric Ocasek. It has brightened my spirit to see how many have posted about Ric, praising his originality, flair, and brilliance. I was blessed to have known him, through friendship and work (his solo album Troubilizing was one I produced). It’s hard to share the measure of a man in so few words, because, despite his greatness, Ric was open and down to earth in a way that surprised me. And in that allowed our private conversations to flow and float over 100’s of topics (I was mostly interested in what he loved): the Cars, of course, his children and marriage to an eastern siren whom the world (he was aware) didn’t think he deserved (he did, and she him), his guitars, Andy Warhol the person and not the myth, Boston (the city), new wave, deco art, NYC living, producing Weezer, being an A + R man, why he got out of the rat race of making hit records, Mutt Lange, grunge, and on and on and on. He’s opine easy and I’d listen (for a change). Such pleasurable times I didn’t fully appreciate until decades later. Lastly, two things: Ric did me a great honor when he recorded a song I’d written just for him, questioning none of it except it’s quirky title (I’d gone quirky as a wry tribute). And a small memory I’ll share: we were in Ric’s basement, where he had a small, ad hoc studio for writing. And I was asking him a 1000th question on The Cars; in this case, the sound of the keyboard solos. He pointed at a relic. ‘Well, that’s it’ he said. ‘THE keyboard’, said I? It was, and ironically at that moment Greg Hawkes stopped by and he demonstrated all those great sounds! But then I went for broke. I wanted Ric to show me how to play ‘Best Friend’s Girlfriend’. He picked up a guitar, played it perfectly (he was an ace guitarist) and handed it over. The sound, I noted, was exact. It was the pink Fender pictured above, and I dutifully played the opening riff as he’d showed. So what was the guitar, I asked? Ric pointed at the flamingo in my hands. My jaw dropped. It was THE guitar! Love you Ric! Gonna miss you forever

A post shared by WilliamPatrickCorgan (@williampcorgan) on Sep 16, 2019 at 6:00am PDT

https://twitter.com/donallogue/status/1173397042137190402

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