Zoe Keating Exurgency Download
Keating composed the score to A&E's The Returned with Jeff Russo. And the pair composed music for season 2 of Manhattan which aired in 2016 on WGN. Keating's song Lost is the theme music to the podcast OnBeing. Personal life. In 1972, Keating was born in Guelph, Ontario, Canada to an English. Zoe Keating's profile including the latest music, albums, songs, music videos and more updates.
Contents. Music career Keating performed from 2002 to 2006 as second chair cellist in the band. She is featured on 's debut solo album,. In her solo performances and recordings Keating uses live electronic and repetition in order to layer the sound of her cello, creating rhythmically dense musical structures. As of 29 October 2012.
Her self-produced album One Cello x 16: Natoma was four times #1 on the classical charts and 'Into the Trees' spent 47 weeks on the Billboard classical chart, peaking at #7. She is the recipient of a 2009 Performing Arts Award from. Keating's songs have been featured in various commercials, TV shows, films, video games, and dance performances including CBS's Elementary, NBC's Crisis, So You Think You Can Dance, MTV's Teen Wolf, Dateline, Have You Heard from Johannesburg, The Day Carl Sandburg Died, Alice Walker: Beauty in Truth, The Retrieval, and The Witness. In January 2011, Keating won the award for Contemporary Classical Album from The 10th Annual. In July 2011, Keating was named a Young Global Leader of the World Economic Forum. She performed at the closing ceremony of the forum's Annual Meeting in Davos, Switzerland in January 2014 and 2016.
In November 2015, Keating participated in a copyright review event coordinated by the. On September 1, 2013 the published an she authored.
It discussed the positive and negative effects of her revenue on her Do-It-Yourself performing career. Keating composed the score to A&E's with.
And in 2015 the pair composed music for season 2 of on WGN. Personal life In 1972, Keating was born in, to an English mother and an American father. She began playing the cello at the age of eight and attended in New York.
Prior to 2005, she worked as an. She worked on projects at the now defunct Perspecta, Inc and the (now part of OCLC) and the. In March 2010, Keating announced via her website that she was expecting her first child with her husband, Jeff Rusch, in May. Rusch was diagnosed with stage 4 cancer in May 2014, and was admitted to the hospital for emergency treatment.
Days later, Keating and Rusch received a letter denying coverage for this hospital stay by their insurance company,. After local media publicized the story, Anthem Blue Cross reversed its decision, telling Keating in a phone call that the hospital stay would be covered.
Rusch died on February 19, 2015. Discography.
Alex and I have been staying this month with family in Dorset, England. It is very sunny. There are walks through green fields filled with baby sheep. The bluebells are out. We’re coming home next week and then I will have some concerts: 2 May: Las Vegas speaking & performing 8 May: Toronto speaking in the morning & performing in the evening at Church of the Holy Trinity 15 May: Dallas making a live soundtrack for Jad Abumrad as he presents his solo show/performance/talk/magic (Jad, I’m sorry, it is not possible to describe what you do with one word) about Radiolab and ‘Gut Churn’ 16 May: Houston 17 May: Austin I don’t know about you but I can’t think any farther ahead than that!
Thank you, thank you. Xoxooxox Z. Tags:.
It’s the final dub of The Returned today, where they marry all the music together with the picture (I wanted to be there but I’m not for obvious reasons). Making the music for this show ended up being a needed catharsis during the last few months and I really put a lot of myself into the score.
It was a bit like therapy. I also enjoyed doing something different. The music still felt like “me” but I played cello, piano, guitar, recorder and chopsticks. I whistled and sang.
I explored synths for the first time. It was fun (thanks to Carlon Cuse, Raelle Tucker, the editors, producers, everyone on the hard-working production team and A&E for making something so rewarding to write for).
When I initially got the job, my husband’s health seemed stable but shortly afterwards it became less certain. I didn’t know what was going to happen, so I asked if Jeff Russo (who I had just met because he asked me to do some cello on another show) could co-compose and share the job with me. Oh boy am I glad he was willing and able to do it (and he did it while simultaneously composing music for Fargo and Complications!!) because there is no way I could have done it by myself: I was both too green and too overwhelmed at home. I think the end result is far better than if I had been composing alone. I love everything he wrote and I think we complimented each other pretty well. It was so great to work on this with you Jeff Russo.
I hope to do it again. The Returned airs on A&E on March 9th. Tags:. Several journalists have contacted me to say that a Google PR rep told them my claims were “patently false”.
“Patently” means clear and without doubt. Either someone is not telling the truth or the very nice rep I have been negotiating with, for a year, is patently unclear. There seems to be very little clarity and a lot of doubt on this topic. I still haven’t decided what to do (YouTube is not at the top of my priority list right now) but I don’t want to spread false information and I hope my transcript below will provide some clarity. Please, tell me what you think it means. —- We can’t have music available in the free but not in the paid version. So we need to have catalog parity between the services because essentially it’s just one service, it’s just that there are features that are added on for our music key subscribers.
So I think where we got stuck was that there’s a catalog commitment language in the agreement that I think your legal team wasn’t comfortable signing with that language in there So unfortunately we’re kind of at a period where because we have to launch the product fully at this point any music content has to be licensed under this new agreement otherwise we basically don’t have the proper licenses to keep that content up on youtube Right. So can you tell me how the music service is related to content ID?
So the content ID part is not really affected so all of that part will remain exactly the same the difference that is added to the contract is that the music rate went up so the party who has rights to the music gets 40% so there’s a benefit there. And then the other part is that to the extent that you make the content available on any other streaming services we ask that you make that available on youtube as well. So do I opt into the music service agreement in addition to the content ID? No, so all of that is opted in. So what happens basically is that on this service, the assets that you provide to us, that are licensed on Youtube through you are all available for the music features because you’re a music partner. So even if you don’t explicitly deliver us every single song in your catalog if we have assets and they are fingerprinted by content ID to contain that music then it will be included to the subscription service and you’ll be earning subscription revenue in addition to the existing ad revenue It helps to think about it on our service because it is in a way already, like a streaming service right? Like if i wanted to listen to your music but you didn’t upload an official music video but someone else uploaded a version of it or like a performance of it that you are claiming, that content is licensed under the same music agreement.
The really unique thing about our platform and kind of the benefits of it is that we get users of all sorts of demographics that come to youtube to consume this content in various ways. Some people are looking for a video clip to watch the visuals that it contains but there are also heavy music users that come to youtube to specifically listen to music and they don’t really care about the visuals. If i wanted to just let content ID keep doing it’s thing, and it does a great job at and i’m totally happy with it and i don’t want to participate in the music service, is that an option?
That’s unfortunately not an option. Assuming i don’t want to, then what would occur? So what would happen is, um, so in the worst case scenario, because we do understand there are cases where our partners don’t want to participate for various reasons, what we basically have to do is because the music terms are essentially like outdated, the content that you directly upload from accounts that you own under the content owner attached to the agreement, we’ll have to block that content. But anything that comes up that we’re able to scan and match through content ID we could just apply a track policy but the commercial terms no longer apply so there’s not going to be any revenue generated. Wow that’s pretty harsh. Yeah, it’s harsh and trust me, it is really difficult for me to have this conversation with all of my partners but we’re really, what we’re trying to do is basically create a new revenue stream on top of what exists on the platform today.
The way to think about this streaming service is that, i mean, this content is already available on the platform in one way or another and you’re doing the smart thing by claiming everything so in some ways there’s not that much changing on that end it’s just that features are being added to the content that’s already available and how it can be consumed. So the other thing i want to lay out, and I want to lay out all the options for you., this is kind of like a loophole in our system where like, you know if you’re not so concerned about revenue and its not driving millions of dollars for you then what you can do is essentially um, end the commercial terms, the sound recording audiovisual agreement that you have with us, which is outdated and I actually have to close this out before we can move forward with our product, so this kind of a last call. But what you could do is basically unlink your channel from the content owner that is associated with the deal, so that when the deal terminates on that content owner, your channel will be separated from the deal and you can enter into a regular youtube partner commercial terms which allows you to monetize the content. The content owner account will no longer have commercial terms but it will have the content ID agreement terms which means you can continue to track.
Tags:. My Google Youtube rep contacted me the other day. They were nice and took time to explain everything clearly to me, but the message was firm: I have to decide. I need to sign on to the new Youtube music services agreement or I will have my Youtube channel blocked.
This new music service agreement covers my Content ID account and it includes mandatory participation in Youtube’s new subscription streaming service, called Music Key, along with all that participation entails. Here are some of the terms I have problems with: 1) All of my catalog must be included in both the free and premium music service. Even if I don’t deliver all my music, because I’m a music partner, anything that a 3rd party uploads with my info in the description will be automatically included in the music service too. 2) All songs will be set to “montetize”, meaning there will be ads on them. 3) I will be required to release new music on Youtube at the same time I release it anywhere else. So no more releasing to my core fans first on Bandcamp and then on iTunes. 4) All my catalog must be uploaded at high resolution, according to Google’s standard which is currently 320 kbps.
5) The contract lasts for 5 years. I can’t think of another streaming service that makes such demands. And if I don’t sign? My Youtube channel will be blocked and I will no longer be able to monetize (how I hate that word) 3rd party videos through Content ID. I told the rep I’m happy with Content ID as it is. Can’t I just continue to participate in Content ID and not be a part of Music Key? The rep said they can’t have music in the free version that is not in the paid version, it would be bad for their users.
All music content has to be licensed under this new agreement. How many 3rd party videos are there? As of today there are 9,696 videos and last month those videos had 250,000 (.1) monthly views. The Content ID robot sucks up more videos every day.
I got started with Content ID a couple of years ago when someone from Youtube reached out to me and I was offered a content management account to “claim” the soundtracks of these videos. The videos are dance performances, documentaries, amateur films, slideshows, animations, art projects, soundtracks to people doing things like skiing, miming, calligraphy or just playing video games. I love the variety of them all. Who knew there could be so many different ways to dance to my music? The video with the most views (1 million) is a demo reel by the Game of Thrones post production team.
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In the majority of these videos the creator was really supposed to obtain a sync license from me but I think a lot of people don’t know. It’s daunting and cumbersome and confusing when all you want to do is add music to slides of your art portfolio. I have a licensing agent who handles the big stuff but there is not enough money in these usages for him and I wouldn’t have time to manage all the requests. Content ID feels like an awkward work around (the language the video uploaders see can be very alarming to them), but it solves a problem.
Here’s how it works: I upload my music and the Content ID robot identifies matches. I never block anyone’s videos or stop them from using the music except for special cases, like videos from hate groups or unauthorized product advertisements. Once Content ID finds a video with my music in it I can decide if I want to just track the video, or “monetize” it, i.e. Put Dorito ads on it. That doesn’t always seem appropriate but if I do decide to monetize a video, or if the uploader already had ads on it, Google gives the majority of the ad revenue to them and about a third to me for the soundtrack.
It really doesn’t pay very much but it does put “Zoe Keating” and a song title in the description of every videoin other words, credit. One thing I don’t have on Youtube is music videos I’ve made myself. I don’t have a good explanation for why I’ve never made a music video but as I started work on my new album in 2013 I made a few quick videos about my life for my fans, meaning to make that a regular occurrence. I also thought I’d make a couple music videos to go with the new album.
But then my life changed. My husband Jeff was mysteriously and increasingly ill until in May 2014, he was diagnosed with stage IV non-smokers lung cancer. For most of last year I cared for him and our son and was unable to work much, let alone tour. Making videos was the last thing on my mind. When Jeff’s health stabilized in the fall I started working as a TV composer (for a show called “The Returned”, it airs on A&E on March 9).
Working on the show has offered a much-needed creative outlet, steady pay and allowed me to stay close to home (his health is still fragile and we’re living in the moment but I am going to try to get that album out this year). Anyway, a year ago my Youtube rep let me know there was a new music service coming and she sent along a new agreement. I read it and raised my concerns and asked if I could return the contract with those particular terms struck out. Alas no but the product folks seemed genuinely curious about my concerns and I had a phone meeting with them.
The meeting was similar to one I had with DA Wallach of Spotify a couple years ago. Similar in that I got the sense that no matter how I explained my hands-on fan-supported anti-corporate niche thing, I was an alien to them. I don’t think they understood me at all. The catalog commitment is the biggest issue for me. All these years I’ve yet to participate fully in any streaming service although I’ve chosen to give a handful of recordings to a few of them. If anyone wants more and they balk at paying for it, they can always stream all my music for free on Bandcamp(.2) or Soundcloud or they can torrent it (I uploaded my music to Pirate Bay myself many years ago).
I’ve heard all the arguments about why artists should make all their music available for streaming in every possible service. I also know the ecosystem of music delivery made a shift away from downloading last year. Streaming is no longer advertising for something else, it is the end product. It’s convenient. Convenience is king. Yup, got all that, thanks. This is the important part: it is my decision to make.
Is such control too much for an artist to ask for in 2015? It’s one thing for individuals to upload all my music for free listening (it doesn’t bother me). It’s another thing entirely for a major corporation to force me to. I was encouraged to participate and now, after I’m invested, I’m being pressured into something I don’t want to do. I re-evaluate and change my mind all the time and I might decide to put everything everywhere at some point. But I want to decide what to do when. That is a major reason why I decided in 2005 to self-publish rather than chase after a record deal.
I am independent because I didn’t want a bunch of men in suits deciding how I should release my music (.3). For 10 years I have managed to bushwhack a circuitous path around them but now I’ve got to find a away around the (I’m sorry, that was low, but that story was so funny). The Youtube music service was introduced to me as a win win and they don’t understand why I don’t see it that way. “ We are trying to create a new revenue stream on top of the platform that exists today.” A lot of people in the music industry talk about Google as evil.
I don’t think they are evil. I think they, like other tech companies, are just idealistic in a way that works best for them. I think this because I used to be one of them (.4). The people who work at Google, Facebook, etc can’t imagine how everything they make is not, like, totally awesome. If it’s not awesome for you it’s because you just don’t understand it yet and you’ll come around.
They can’t imagine scenarios outside their reality and that is how they inadvertently unleash things like the algorithmic cruelty of Facebook’s yearly review (which showed me a picture I had posted after a doctor told me my husband had 6-8 weeks to live). I’ve been invited to play at Google twice. I went to the World Economic Forum in Davos last year and bumped into Eric Schmidt (not a croc-wearer) in the crowded halls. I was introduced to him a few months later at Google Zeitgeist (where I performed before a talk by Bill Clinton) but I doubt he has any recollection of me. So I might be well-connected but in the end I am a nobody. What should I do? As much as it makes me grind my teeth, does having all my music forced onto Youtube’s music service really just not matter all that much?
Should I just close my eyes and think of England? Maybe after writing this blog Google will make the choice for me. They will block my channel and I will have to decide whether to block those 9,696 videos.and anger 9,696 fans. The usual people will talk about it for a day or two (.5) and then it and I will be forgotten. Anyone starting up a new video service? Footnotes: (.1) I know it is not the same thing but it’s interesting that my monthly number of Pandora spins is also about 250,000.
I’m allowed to talk about how much that pays, about $324 (sound recording + artist payment combined). It’s a violation of my agreement to say how much a comparable number of Youtube plays pays. (.2) Here is something weird. Until yesterday a search for “Zoe Keating” would yield a Google Knowledge Graph box on the right with all my info, including links to listen to my music. It always bugged me that those links were only to Google Play, Rhapsody and Spotify, all services which have hardly any of my music in them.
If the metadata about me is really pure, why not link to the only services that actually have all my music? Bandcamp, SoundCloud and iTunes? I know the links were there yesterday because I searched to get the list for this blog. As of today, there are no music links whatsoever. (.3) Real things said to me by men in suits in 2004: “This could have potential if it had vocals.” “I don’t see a market for this”. “We need a sexy photo of you naked with your cello on top of you.” (.4) I came of age in San Francisco working at a software startup during the dot com boom. The cyberpunks and the geeks were my friends.
We worked together, we lived together, we raved together. Yes, a lot of what motivated us was the golden handcuffs (i.e. A salary of stock options only good in a future IPO) but I remember being motivated by the idea of technology changing the world for the better. Sometimes it felt like we were revolutionaries.
Unfortunately a lot of those ideals, if they still exist, have becomecorrupted is too strong a word.subsumed. The revolution has been corporatized. (.5) Now commence the usual commentary about stupid artists and their entitled attitudes;-) UPDATE: 24 Jan I’ve been in the midst of a medical crisis.
It’s been horrible, an MRI found 25+ new mets in my husbands brain yesterday. It’s the first time the cancer has grown since it was discovered last year and we need a new plan. I didn’t realize until late last night how widespread my blog went. Some people are saying that surely I must have misinterpreted what Google said to me. I based what I wrote off the transcript of our conversation ( after 9 months of dealing with the health insurance company I’ve gotten good at taking transcripts). The rep said Google would “have to block my channel” if I didn’t sign the new music services agreement.
They went on to say that if didn’t sign the agreement and wanted to keep my videos up I would have to unlink my channel so that it is not connected to the music agreement and then make a new channel under their regular non-music partner terms. In other words if I wanted to upload my own videos to youtube i would have to create a new account so my own music could be treated not like a partner account but like 3rd party videos (who would get the soundtrack share of the revenue I wonder?) “the music terms are outdated and the content that you uploaded will be blocked. But anything that we can scan and match from other users will be matched in content ID and you can track it but won’t be able to participate in revenue sharing.” 'All music content has to be licensed under this new agreement. We can’t have music in the free version that is not in the paid version” I had them explain it again to be sure.
“Wow, that’s a bit harsh,” I said. “Yeah, I know,“ they said. Tags:. In the panoply of Christmas holidays ours would be considered incredibly boring. It was a week of casual dinners and crazy eights and reading the paper in pajamas by the fire and picnics on the beach in the Californian winter sun. There was no riot of extended family but just the four of us: Jeff, Alex, Granny and I (actually, there were five of us if you include the lego).
I think it was perfect. The doom is still there, gnawing at the edges of thingsbut isn’t it always, for all of us?
Maybe this one week of perfection will bloom into another year. Maybe it won’t. You can never know. You can, however, banish the doom for a moment with a pot of tea. Happy New Year to you and yours, love, Z. Tags:. Jeff Russo and Zoe Keating are composing the music for the upcoming A&E original series The Returned starring Mark Pellegrino, Tandi Wright, India Ennenga, Sophie Lowe, Mary Elizabeth Winstead, Jeremy Sisto, Kevin Alejandro, Agnes Bruckner and Sandrine Holt.
The show is based on the International Emmy Award-winning French series Les Revenants and focuses on a small town that is turned upside down when several local people, who have been long presumed dead suddenly reappear, bringing with them both positive and detrimental consequences. Carlton Cuse (Lost, Bates Motel) has written the pilot episode and is writing and executive producing the series with Raelle Tucker (True Blood). Thom Beers, Craig Cegielski and Stefanie Berk are also executive producing the A+E Studios and FremantleMedia North America production. The Returned is set to premiere in 2015 on A&E. Tags:. I am trying to have my blog not be All Cancer, All The Time.
Sorry, but here’s another one. There is an article on NPR today about insurance and large employers putting limits on procedure costs. The story leaves out the experience of those in the individual insurance market so of course I had to write briefly about it. In our case, the oncologist will order a test or procedure, we wait for Anthem Blue Cross to approve it, we go to the network facility or doctor (there might only be one in our county), yet months later a bill arrives for the amount that the insurance would not pay. I know now to monitor our Anthem account so I can get a heads up before the bills arrive.
This is one of the ways that even though we got Jeff a new “platinum” plan purchased through Covered California, the amount we ultimately have to pay is so much more than the $6k annual misleadingly-labeled “out of pocket maximum” (the other way is surprise bills from doctors at the network facilities who were, unbeknownst to us, out-of-network). (I think here I am supposed to say something here about being grateful that he can buy coverage at all since according to Anthem, the total for his cancer care so far is over $600k, and they have paid it. So yes, I suppose I am, but that is such a f’d up amount of money and some of it is for things like $5 ibuprofen in the hospital) That said, it is inconsistent. Sometimes Anthem just covers the whole thing and when they don’t I can call them relentlessly until I find an agent who will make the bill go away. When that doesn’t work I then haggle with the medical facility to get them to reduce the bill. In the article: “The health law sets limits on how much consumers have to pay out of pocket annually for in-network care before insurance picks up the whole tab But if consumers choose providers whose prices are higher than a plan’s reference price, those amounts don’t count toward the out-of-pocket maximum, the administration guidance said.” Here’s a problem, patients don’t have any choice or any negotiating power.
In our case, there might be only one in-network facility or specialist within 70 miles and they won’t let us know the cost in advance. Given that in our system the patient is ultimately responsible for the costs, if an insurance company has to approve a procedure, really the approval letter should also say what their “maximum” payment will be to the facility. I would then present this letter to the medical facility and the medical facility should be required to tell me if they will charge me more than that. As it is now, I have no way of knowing what Anthem’s maximum will be until after the fact and I can’t get the facility to tell me what they will charge. If you’re going through this, don’t give up. File every appeal.
Call your insurance company every day until you find an agent who will work with you. Be polite, firm and unrelenting. Record your conversations so you can make sense of them later. When you can’t go any farther with the insurance company, call the medical facility and talk the bills down. It is stressful and I think interferes with the healing process so if you can, have someone who loves you take it on. I’m glad these issues are making it into the press.
For us, health care in America is better than it was before Obama, but it is not fixed yet. This billing practice is illegal according to a few posts on Facebook. If true you should ignore everything I said above, and do what Amy did. She writes: “ Years ago I was admitted to the hospital & later received bills from the ambulance company & every Dr that saw me in the hospital for balance of the payments my insurance didn’t pay. Since all the parties had agreed contracted payment amounts w/the insurance company I returned every bill with the enclosed note: Insurance payment of x dollars for y service was paid per your contracted agreement with the insurance company. Should you wish to dispute your contract with the insurance company, please contact your insurance representative (This is what my insurance company told me to do) Next bill I received from every one 'zero dollars due”. They accepted the insurance payments.
Tags:. Back in July, ODC Dance had a Summer Sampler performance featuring my music. The Magik Magik performed, the Pacific Boy Choir sang, the dancers danced and I played Optimist. They generously gave all the proceeds of the event towards my husband’s medical expenses. $11,000 (!!!!!!).I was and still am totally amazed. So.2ndLine is going to rebroadcast that show on the Interwebs at Wednesday at 7pm PST You’ll be able to watch the show online.
You can comment and ask questions during the broadcast. Brenda Way (the founder and director of ODC Dance) and I will be there online to answer. It’s a neat concept and I’m excited to try it out.
This might be a way for me to perform concerts from my studio during this period that I need to stay close to home and can’t tour. There is a suggested donation for the broadcast (it’s ½ the ticket price of the original show), but it is just a suggestion, you can enter whatever number you want. All proceeds of this rebroadcast will go towards my husband’s uncovered medical expenses. THANK YOU to 2ndLine, THANK YOU to Brenda Way, everyone who works at ODC Dance and the wonderful dancers, THANK YOU to the Pacific Boy Choir, THANK YOU to the Magik Magik, THANK YOU everyone who bought tickets for the concert and everyone who comes to this one!!.
gratefully yours, Z. So.why do we have medical expenses if we have health insurance?
Yup, we do have health insurance but the mechanics of how it works needs its own blog post (someday). You’d think that your insurance policy’s “maximum annual out of pocket” is the most one would have to pay in a year, but that isn’t actually the case.
If the insurance company decides a procedure is not covered or if the facility charges more than the health insurance company allows, the uncovered balance gets billed to the patient and doesn’t go towards your “deductible” or “maximum out of pocket”. One of many examples we have: Jeff’s leg surgery. He had a complete fracture of his femur and needed pins to stop it from separating (which, if it had happened during chemo, would have been a major life-threatening event). Our local rural hospital was in-network but, unknown to us, the surgeon was not and so the surgery was NOT covered. Still fighting that one. It’s one of many. I never knew any of this stuff before.
We’ve covered in the individual “marketplace”. Is the system so burdensome and bureaucracy-filled for those of you with insurance through your employer?. I thought by now I’d be used to all this, but I’m not. While I’m incredibly thankful, I’m still abashed, embarrassed, and teary everytime someone helps us. Love you. It’s certainly been a rough summer but things are looking up. Jeff is doing so much better than any doctor predicted.
Zoe Keating Music
He has had 6 rounds of chemo and his tumors have either majorly shrunk (by 80% as of the last scan) or disappeared, even the ones in his brain, which isn’t supposed to happen on chemo. He started out with more than 25 brain tumors but when he went in for gamma knife surgery a few days ago, they could find only 3 that were big enough to zap. The director of neurological surgery at UCSF said that was not something he’d ever seen before. Jeff has one more PET scan in a couple weeks at the end of this chemo cycle and then we move into another phase. Everything is always uncertain in life, I know, and this phase seems to be about living with longterm uncertainty.
Advanced lung cancer isn’t a disease you treat for a few months and then walk away from unless you are very, very special. We believe that Jeff is in that special group, but just to make sure, there is radiation for various body parts, low-dose chemotherapy and various alternative treatments to keep the cancer at bay. Then if it were to progress, hopefully by that time a drug for his specific mutation (PIK3CA) will be out of trials. On the one hand, the cancer was and is a terrible blow but on the other hand, I think we are lucky in a lot of ways Jeff is doing so well and we have YOU, for example. We’ve been blown away by the outpouring of love and support and donations.
Thanks to your financial support, I stopped worrying about things insurance wouldn’t pay for and I also stopped worrying about stepping way from my music career for the first time in a decade (those of you who’ve been with me for a while might remember that I only took 2 weeks off when Alex was born). I had a worry that if I walked away for several months, or more, I might not have a career when I got back.
Other musicians know what I’m talking about, that feeling like you have to constantly hustle or you’ll have to start over. The stakes feel even higher this time.
So I do have to do a little bit of hustling right nowand I’m out of practice. There are some concerts coming up, scheduled before life turned upside down, and I don’t want to play to an empty house;-) Sept 30 - with Jad Abumrad at Benaroya Hall, Seattle WA October 3 -Aladdin Theater, Portland OR Jan 11, 12, 13 - Subculture, New York NY Ticket links are That will be it for performances this year, both because I don’t want to be far from home and because I’m spending the next 3 months composing for a TV show called, which will air on A&E in January. Thanks and giant hugs, Z. Tags:. Our little guy is staying in upstate NY with his Granny so Jeff and I have had some rare alone time this last week (thank you Mum!!!). Jeff is very tired and needs to sleep a lot but we have made it out to the MOVIES and even went to a grownup party at NIGHTTIME.
Those of you who are also parents of young children know exactly what I’m talking about. We also spent a couple of nights in a perfect, bay front cabin on stilts at Nick’s Cove on Tomales Bay. It’s only 30 minutes from us but it was like visiting a far away land (maybe because there are no giant trees blocking the view?) We’re a week into Jeff’s 3rd round of chemo.
It’s going well. The Thing has already shrunk, a lot. The current plan is to do 6 rounds followed by radiation and gamma knife on various bits of him. He has surgery soon to put a pin in his hip (he has a complete fracture of his femur).
As you can imagine, he hates having to use a walker and a wheelchair and we’re hoping the surgery will give him back his mobility. We are realizing that this is a long road. Speaking for myself I’m gradually adjusting from emergency mode to some kind of acceptance of our new life.
Not always though. Occasionally I have to get in the car, drive down the hill and have a good scream. We’ve been floored by the generosity of friends and neighbors who have helped so much: picking up Alex from preschool, having him for playdates and sleepovers, bringing us meals, etc, etc. And then (this is the part that is hard for me to write and where I keep getting stalled).
And then there is you and your generosity. Our portion of the bills. have finally started to roll in from the hospital and the labs and the imaging center and the oncologist and the second opinions at UC Davis and UCSF.and.YOUR DONATIONS ARE COVERING IT!!!! (.What we will be totally responsible for is always shifting and hard to get a handle on. I seem to spend hours on the phone with medical billing departments and Anthem BlueCross, mostly correcting “coding” mistakes. I don’t understand how patients can deal with this unless they have a family member who can quit their jobs to stay on top of it.) I can’t tell you what a weight off my mind it is not to have to worry about that on top of everything else. I don’t know what to say other than.thank you.
Zoe Keating Blog
I can’t do it right now, but as soon as time stops being so compressed, I will be sending each and every one of you at least a thank you card. I can’t believe that you all care about what happens to us. Ok I believe it now but you’ve kind of blown my mind. (tissue break) Ok. One day at time. My friends at ODC Dance are throwing us a benefit concert on July 31. They will be dancing and the Magik Magik orchestra and the Pacific Boys Choir will be performing the music (if it’s not weird to play at your own benefit concert and if I can get down to SF that night and do so without dissolving into a puddle I will be there to play “Optimist”, but I can’t promise).
Huge thanks and love, Z. Tags:. On May 13 an MRI found 20 tumors in my husbands brain.
On May 15 he could barely breathe and was in a lot of pain. A CT scan that day revealed he had a softball-sized tumor in his lung, tumors in his other lung, his liver and possibly his bones. On our way home from the imaging center our primary care doc called and told us to turn around and get to the hospital right away. My husband was admitted and they promptly removed more than a pint of fluid from his lungs, which helped him breathe better.
We were there for 6 days while they performed a bronchoscopy, did more scans, gave him drugs to stop his brain from swelling and administered emergency chemo. Today I got a letter from Anthem Blue Cross regarding his hospital stay: “Coverage for the requested service is denied because the service does not meet the criteria for “medical necessity” under your description of benefits. To assist our Medical Director in making this decision, we have put a process in place to send all information about the service to a clinical reviewer with appropriate credentials.
Based on their opinion, we have determined that coverage for the requested service is denied. Our Medical Reviewer Layma Jarjour MD has determined we cannot approve your hospital stay for cancer. We do not have enough facts to show that it was medically necessary.
” Anthem is owned by WellPoint. Did you know Wellpoint CEO Joseph Swedish earned almost $17 million during his first year on the job? Now you know how they can afford to pay him.
—- Update, Thursday May 29: Yesterday the local CBS station KPIX came out to report on our story. I also got a call from a women named Patricia at Anthem, who told me not to worry, my husbands hospital stay would be covered. I spoke to Patricia at length today. It’s a little hard for me to explain the reason they denied my husband’s hospital stay, because frankly, I still don’t understand it. But luckily I have an excellent memory and can type fast, so you can just read my transcription below.
Hopefully our situation is resolved and I can go back to focusing on my husband and son. I post this in the hope that it will help other people (people who do not have 1 million twitter followers or who’s stories don’t get covered in the the press) get their denied health insurance claims reversed. What should you do? Keep meticulous notes. Be persistent.
Do not take no for an answer. Tell everyone. Why this all has to be so convoluted, I do not understand.
It makes me livid to think of how many families suffer needlessly because of corporate bureaucracy and greed. Thank you so much for your help and words of encouragement. Much love, Zoe —- Patricia: let me tell you what my research has found out so far. One of the things that happens is that when someone goes to the hospital, the hospital sends an electronic notification to the insurance company and then the insurance company calls the hospital and says ok, give us the information like we understand you’ve got a patient going in, what’s the information, give us the medical records.
And apparently in this case there were 3 calls made and we didn’t get any answers back. And so what we were trying to say is that we need this information from the hospital and when we get it we can further handle this case but in the meantime they have a timeframe requirement to make a determination that is under the regulatory requirements that you have to have made a determination by a certain time and if they don’t have the information at the time they have it them um, that’s, that’s, ah, all they can go on and then when more information comes in then we can um of course overturn that. So what we’re gonna do is pull the information to us and get that handled quickly because it’s clearly a covered service and we’re going to work on how we can better word the letter when it goes out to say and let you know we’ve contacted the facility, we’ve asked for these records, once they come in we can consider this, but at this time and at this particular moment we don’t have a claim and we don’t have the information. Me: ok Patricia: so it’s one of those things where they notify us and they’re supposed to send that corresponding data and for some reason that didn’t come in and we have made three attempts to get it. So um this is something that we’re going to work on, making us do better Me: ok Patricia: and uh, in the meantime i wanted to let you know that we got you a good care manager, i don’t know if she’s reached out to you Me: yes, yes, she has, thank you. Ok, i hear what you’re saying.
I think probably from the patient’s perspective of somebody who’s not a health care expert, i just see a letter that says “denied”. So yes, i think you’re correct that if you can do a little bit better to explain the process to your customers, to let them know how this is supposed to work and what they’re supposed to do and this is not a bankruptcy sentence, in addition to a death sentence that would be, um, kind of important. (start laughing). Sorry i’m laughing, i’m going through a lot and i don’t know what else to do except laugh because every time i read this letter it seems more and more alarming. So i think that of course, if you don’t have the information that you need in order to approve a claim then yes, that makes sense, but i would think that the letter would say. Patricia: the letter does say that you can file an appeal Me: yes, that is at the end.
There is a separate page here that talks about how I start a grievance procedure. But the letter says very clearly from the beginning, “we cannot approve your hospital stay for cancer”.
So it’s not obvious from this that you just don’t have enough information to make the claim, it just says “we can’t approve it”. So that’s very misleading because the letter, it says, it’s not being approved and that i have to file a grievance when actually the situation is that you just don’t have enough information. So that’s a clear difference in understanding between what you guys think you’re telling me and what i think the letter says and I think you could do a lot better with that because that’s a really alarming letter to get when your husband has a serious illness that you just learned about in the previous week. Patricia: right Me: i appreciate your calling me with this and talking about it and I’m going to sleep a lot better tonight knowing that we’re not about to go bankrupt. Patricia: what is is, uh. It’s a very important.
I mean, we’re very highly regulated in order to do the right things for everyone. I mean especially in california you know, they want to make sure we acknowledge the receipt of your issue when you file an appeal so you get something within five days and it says we’re working on this. And there are things that we can do expeditedly for you when it needs to happen quickly, you can say I need this to be rushed through in an expedited case, we can do that in 72 hours and there’s a lot of good people here that want to make sure the right things happen for your family. Me: ok, thank you. So going forward. Say something happens to my son and I have to go to the hospital with my son.
How can i stop this from happening the next time? Because you can imagine when you have a catastrophic illness happen to your family, it’s not like you have a heck of a lot of time to be on the phone with the insurance company all day and to be filing more paperwork and all this stuff and, i actually don’t feel like i should have to be doing that. So is this going to happen again the next time we go to the hospital? Patricia: well, we would hope not. But I’m hoping that i can provide a little more insight for you to understand how everything works and give you resources to contact so that we can work with you if anything doesn’t go the way it should. What usually happens is that the hospital notifies us that someone’s gone inpatient and we reach out to them and then there’s a response right away and they can go and say, oh, we see what’s going on and everything goes through.
For some reason, in this case, the response didn’t come even after three attempts and we’re looking into why, into what was the obstacle in getting the information to us in the time period of those calls we made to them. So we’re dealing with the facility to see how can we do that better because we don’t want you to go through that. Me: ok Patricia: and so in normal circumstances we ask for the information and they send it and for some reason it didn’t get sent and we’re going to try and find out why and do better on that. And then we can also say in the letter a little more clearly, um, there wasn’t enough information at the time and then maybe give some explanation as to what, uh, would, you know, something along the sense that says when this information comes in, we can reconsider this. And that would put you at ease. Me: uh, oh, ok. So, um, what do I need to do today?
Patricia: you don’t need to do anything today because what I will do is, um, we’re gonna pull that information from the hospital and say, let us have those medical records and we’ll get the claim, because we don’t even have the claim yet, they’re preparing that for us. And when it comes in, it will go through processing and then if you have any questions once you see how that was all paid, um, you can always call me. You also have an appeal process and we can put this through the appeal process and we can do what we need to do to make sure everything gets handled the way be within the plan structure.
That makes sense Patricia: and I think you can get a lot of questions answered through your nurse care manager. I’ve told her to keep you copied so i can make sure you’re getting your questions answered quickly and you’re getting to the care that you need on time and all of that. Me: ok, I think I understand it now. Thank you for calling to help. Tags:.