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mariacallous · 8 months

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(New York Jewish Week) — The corner of Ludlow and Rivington streets in New York City is now officially known as Beastie Boys Square.

The co-naming of this Lower East Side street corner — where the shop featured on the Jewish rappers’ second album, “Paul’s Boutique,” once stood — was the result of a 10-year effort spearheaded by Leroy McCarthy, an activist who has successfully lobbied for other New York City streets named in honor of rappers, including Notorious B.I.G. and the Wu-Tang Clan.

Hundreds of New Yorkers packed the downtown intersection Saturday afternoon for the official unveiling of Beastie Boys Square. Though some kvetched about the humidity and the unexplained 80-minute delay, the Gen X-heavy crowd — plus a smattering of their offspring — was a respectful one, singing along to years’ worth of Beastie Boys songs played on loudspeakers as they waited for the ceremony to begin, and for the appearance of the two people everyone had come to see: Adam “Ad-Rock” Horovitz and Michael “Mike D” Diamond.

Horowitz, Diamond and Adam “MCA” Yauch, who died in 2012 at 47, formed their highly influential band in New York City in 1981. Though they started as a teenage punk band, they eventually pivoted to hip-hop — and after their first rap album — 1986’s “Licensed to Ill,” produced by fellow Jewish hip-hop fan Rick Rubin — produced a series of hits, the Beastie Boys became household names.

The group followed up with 1989’s sample-heavy “Paul’s Boutique” — featuring the photograph of the Lower East Side street corner — which flopped upon its release but is now widely considered a masterpiece. Their next albums, 1992’s “Check Your Head” and 1994’s “Ill Communication” were cultural juggernauts, and four more albums followed.

All three Beastie Boys have Jewish backgrounds: Horovitz, 56, grew up on Park Avenue, the son of playwright Israel Horovitz and a Roman Catholic mother. Diamond, 57, grew up on the Upper West Side; his father, Harold, was an art dealer and his mother, Hester, was a famous decorator and art collector. Yauch hailed from Brooklyn Heights, the only child of Frances, a Jewish social worker, and a non-Jewish architect.

In 2004, the group gave a very Jewish interview with Heeb magazine, in which Yauch disclosed he was trying to get his Uncle Freddy to teach him some Yiddish “so I could work some Yiddish lyrics on an album.” Diamond said he was raised by “a Barney Greengrass family,” referring to the famous Upper West Side appetizing shop.

Following Yauch’s death from cancer, the group disbanded. So, on Saturday, anticipation crept up alongside the mercury in the thermometer as the crowd waited to catch a glimpse of the remaining Beasties.

But first, local politicians had things to say. Kicking off the speeches with a “mic check” or two was Manhattan Borough President Mark Levine, who put the Beasties’ Jewishness front and center.

“I was 16 when ‘Licensed to Ill’ came out — it was like a thunderbolt came down and struck me,” he said. “Now, I know these guys didn’t advertise it, but trust me: Every Jewish kid in America, we knew they were Diamond and Yauch and Horowitz.”

“Were you a Jewish kid in America back in the 80s and 90s?” Levine shouted to the crowd, and many — including this reporter — cheered back. “Yes you were! Personally, that was the first moment I realized there was maybe a faint hope that I could be cool. It didn’t work out, but I still have hope.”

As it happens, the Beasties have a few Jewish lyrics in their stable, including biblical references, a shoutout to Ellis Island, and Ad-Rock’s line “Well I’m a funky-ass Jew and I’m on my way/ And yes I got to say f— the KKK” on “Right Right Now Now” from the 2004 album “To the 5 Boroughs.”

Three other local politicians spoke: Assembly member Grace Lee and City Council members Carlina Rivera and Christopher Marte, the last of whom Levine credited with making Beastie Boys Square happen.

“You have no idea how hard it is to get a street renamed in New York,” Levine said of Marte. “He did it.”

The activist McCarthy’s initial proposal for Beastie Boys Square was rejected by Community Board 3 in 2014 because the name change didn’t meet requirements. McCarthy was subsequently barred from reapplying for the name change for another five years. His renewed proposal was approved in 2022 with the support of Marte and other local politicians. In 2013, a small Brooklyn playground was named for Yauch.

At last, it was time for the main event, and Horovitz and Diamond took to the stage while the crowd cheered. Horovitz, who said he “brought notes,” spoke first, exclaiming that he didn’t realize other people would be speaking. “Sorry if I’m saying what they said,” he said, thanking McCarthy and “everyone who loves Beastie Boys music.”

“I don’t really understand why, but I know that I love it, so in a way that makes us kind of friends, right?” he added. “Like we bonded over these weird records, so thank you.”

He also thanked New York City, not only for the street renaming, but “for teaching us what to look at, what to listen to, what to wear, how to love, how to live.”

Next, Diamond took the mic, thanking the crowd for coming despite the heat. “Everyone is so dedicated, willing to put in the work to show the love, not only for this band, but, I think, everything we came from, coming from New York City.”

After giving a shoutout to his deceased parents, Diamond also expressed his love for New York, saying that the Beastie Boys couldn’t have come from anywhere else. “Growing up here in New York City and hearing all this incredible music, being all this incredible art, being around all these incredible people — this only in New York City,” he said. “So thank you so much, y’all.”

He concluded his remarks with moving words for Yauch, whom he described as their “brother on this amazing journey.” The crowd responded with chants of “MCA! MCA!”

But Horowitz, who appeared to get a bit verklempt as he concluded his speech, arguably summed up the meaning of the event best.

“We walk around these streets and we don’t really think about who they’re named after, like Ludlow Street, Irving Street, Father Demo Square,” he said. “But it makes me really happy to know that some kid on their way to school 50 years from now is gonna pass by this and look up and be like, ‘What the f— is a Beastie Boy and why do they have a square?’ Just like I did when I was a kid, looking at Perry Street, Charles Street, wondering what it’s about.”

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thereadingchallengechallenge · 1 year

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🔎 YA Under the Radar Part 6 🔍

for a long time, I've been keeping (and eventually posting) lists of YA books I read that have received less attention than they deserve. it's been more than 12 months since I posted the last list in this series but I finally hit 50 the other day so here it is, the latest instalment of my YA Under the Radar series 😊

all of these books have less than 15,000 ratings on Goodreads, give or take, and were books that I thoroughly enjoyed and recommend. I've marked ones with queer rep with pride flag emojis and ones with disability rep with wheelchair symbols. be sure to check them out!

Vampires Never Get Old (ed.) by Zoraida Córdova & Natalie C Parker 🏳️‍🌈 ♿️

Hometown Haunts: #LoveOzYA Horror Tales (ed.) by Poppy Nwosu 🏳️‍🌈

How to Excavate a Heart by Jake Maia Arlow 🏳️‍🌈

This Poison Heart duology by Kalynn Bayron 🏳️‍🌈

All These Bodies by Kendare Blake

Slipping the Noose by Meg Caddy 🏳️‍🌈

Into the Crooked Place duology by Alexandra Christo

The Scapegracers series by HA Clarke 🏳️‍🌈

Lakesedge duology by Lyndall Clipstone

Clean by Juno Dawson 🏳️‍🌈♿️

Meat Market by Juno Dawson 🏳️‍🌈♿️

Wonderland by Juno Dawson 🏳️‍🌈

Stay Another Day by Juno Dawson 🏳️‍🌈♿️

The Last True Poets of the Sea by Julia Drake 🏳️‍🌈♿️

The Witch King duology by HE Edgmon 🏳️‍🌈

The Not So Chosen One by Kate Emery

Ghost Bird by Lisa Fuller

Girl Mans Up by M-E Girard 🏳️‍🌈

At the Edge of the Universe by Shaun David Hutchinson 🏳️‍🌈♿️

The Apocalypse of Elena Mendoza by Shaun David Hutchinson 🏳️‍🌈

The Past and Other Things That Should Stay Buried by Shaun David Hutchinson 🏳️‍🌈

Social Queue by Kay Kerr ♿️

Kiss and Tell by Adib Khorram 🏳️‍🌈

Elatsoe by Darcie Little Badger 🏳️‍🌈

What They Don’t Know by Nicole Maggi

Fix by J Albert Mann ♿️

The Holiday Switch by Tif Marcelo

The Killing Code by Ellie Marney 🏳️‍🌈

Lakelore by Anna-Marie McLemore 🏳️‍🌈♿️

Fraternity by Andy Mientus 🏳️‍🌈

Sick Kids in Love by Hannah Moskowitz 🏳️‍🌈♿️

At the End of Everything by Marieke Nijkamp 🏳️‍🌈♿️

Lycanthropy and Other Chronic Illnesses by Kristen O’Neal ♿️

The Woods Are Always Watching by Stephanie Perkins

Wider Than the Sky by Katharine Rothschild 🏳️‍🌈

Trouble Girls by Julia Lynn Rubin 🏳️‍🌈

Crown of Coral and Pearl duology by Mara Rutherford

Surrender Your Sons by Adam Sass 🏳️‍🌈

The 99 Boyfriends of Micah Summers by Adam Sass 🏳️‍🌈

Improbable Magic for Cynical Witches by Kate Scelsa 🏳️‍🌈

Market of Monsters trilogy by Rebecca Schaeffer

Windfall by Jennifer E Smith

Field Notes on Love by Jennifer E Smith

Arden Grey by Ray Stoeve 🏳️‍🌈

Definitions of Indefinable Things by Whitney Taylor ♿️

Stars in Their Eyes by Jessica Walton & Aśka 🏳️‍🌈 ♿️

Hell Followed With Us by Andrew Joseph White 🏳️‍🌈 ♿️

The Chaos of Stars by Kiersten White

Henry Hamlet’s Heart by Rhiannon Wilde 🏳️‍🌈

Where You Left Us by Rhiannon Wilde 🏳️‍🌈

More of my rec lists can be found in my "book recommendations" tag

#book recs #book recommendations #booklr #bookblr #ya books #trcc original #i've been meaning to post this for weeks #got there in the end

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drrubinspomade · 6 months

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#sophie ellis bextor

YES, yes.

We post pinups daily! If you dig this pic we’ve found online, u should investigate the creator/subjects of the above work and fan them, follow them, hire them.

If you’d like us to remove, or you know who made this so that we can credit, DM. Thanks. Greetings from Los Angeles.

YOU ARE THE LIGHT

Dr Rubin’s Pomade

#pinup

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deadcactuswalking · 3 months

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REVIEWING THE CHARTS: 10/02/2024

Noah Kahan’s “Stick Season” is still #1, it’s a short episode, you really probably should skip it - there's nothing of value discussed here... welcome back to REVIEWING THE CHARTS.

Rundown

This is not a good week. You could call it a stale week, it’s probably accurate, because there’s not much of interest and what is here is mostly utter garbage. Potentially, up there with the worst weeks ever in terms of new arrivals to the UK Top 75, which is what I cover, and speaking of what I cover, notable dropouts are songs exiting said top 75 after five weeks in the region or a peak in the top 40, and this week, we bid adieu to: “Skin and Bones” by David Kushner, “neé-nah” by 21 Savage, Travis Scott and Metro Boomin, “Practice” by Drake, “Pink Friday Girls” and “Everybody” featuring Lil Uzi Vert by Nicki Minaj and finally, “Paint the Town Red” by Doja Cat. One highlight of this dire week is that I’m not really complaining about any of that.

Lewis Capaldi’s “Someone You Loved” returns to #67, what a joy, as well as “Anti-Hero” by Taylor Swift at #62 and “Flowers” by Miley Cyrus at #51. Can’t help but think the GRAMMYs had some influence on these. As for notable gains, we see boosts for Taylor’s “Is it Over Now?” at #68, “MY EYES” by Travis Scott at #65, “What Was I Made For?” by Billie Eilish at #58, “Would You (go to bed with me?)” by Campbell and Alcemist at #52, “Perfect (Exceeder)” by Mason vs. Princess Superstar at #39, “Runaway” by Ye featuring Pusha T at #35, seemingly because well, there may or may not be an album coming because that’s what we needed: more discourse. Then we have “Scared to Start” by Michael Marcagi at #31, “Selfish” by Justin Timberlake at #29 (why are we doing this?), “exes” by Tate McRae at #23, “Alibi” by Ella Henderson featuring Rudimental at #16 (Christ), and we end with two positives at least, as YG Marley and Benson Boone both get their first top 10s with pretty damn good songs, in my opinion: “Praise Jah in the Moonlight” at #9 and “Beautiful Things” at #5, which brings us to that top five, which is otherwise completely the same as last week. Jack Harlow’s at #4, Teddy Swims at #3, Sophie Ellis-Bextor at #2 and for a sixth week, Noah Kahan at #1. You know the song names off by heart by now, and I need some time to let off a deep sigh before rattling off the new songs. Oh, boy, the new songs.

New Entries

#75 - “Out for Love” - Andrew Underberg, Sam Haft and Daphne Rubin-Vega

Produced by Andrew Underberg and Sam Haft

So, Hazbin Hotel was a web pilot by Vivienne Medrano or “ViziePop” that was later picked up by Amazon as a television series this year. It is a musical animated series hence has several soundtrack singles, and given the weak charts and viral nature of the show, some of them have ended up here. I watched the pilot and first four episodes of the series, and found it genuinely quite difficult to stomach - I love adult animation, I love musicals, I actually even like the art style - it was the narrative elements of the show that killed it for me, and this is not a TV review blog, it’s a music review blog. I knew at least one song would debut as the midweek update showed one song at #73, I figured that would be the only song and it could potentially not even appear, so I wrote a very tersely-worded review for that song in particular. It’s a bit… not all that useful anymore, for lack of a better phrase. So I’m largely not going to be covering these. This is from the seventh episode, which I haven’t seen. Song doesn’t make any Goddamn sense to me. Journalism.

#74 - “Thank You (Not So Bad)” - Dimitri Vegas & Like Mike, Tiesto, Dido and W&W

Produced by Dimitri Vegas & Like Mike, Tiesto, W&W, Bassjackers and Renze Michels

Okay, if you’re going to credit a grand total of five EDM producers, why not go the full mile and have all eight pick out a lead? Also, I would ask how eight people were involved in producing this if I had any doubts that it wasn’t just an uncredited guy who got paid to sell this lazy sample flip off to people with actual star power. A sample flip of what, you may ask? Sigh… well, if there’s anything vaguely positive I can say about “Alibi” is that it’s influential. This is somehow even lazier, however, so I guess let’s start with some kind of history.

First of all, Dido’s “Thank You” is a perfectly fine, honest song that peaked at #3 in 2001 - “Do You Really Like It?” by DJ Pied Piper & the Masters of Ceremonies rightfully took #1 that week - and whilst I’ve never been a big fan, I can definitely see why the melancholy downtempo ballad resonates with people, and on a bad day, I can definitely throw this on and feel a little hope. This is a bad chart day, and if “Thank You” were to chart in its original form, it could perhaps be a reminder that things are, despite everything, it’s not so bad. So I imagine rap fans will know one of if not both of the uses of this song in popular hip hop, the first being Eminem’s classic “Stan”, probably my second favourite of his. It actually did #1 for one week in 2000, before the original had charted. It’s a stark and incredibly clever recontextualisation of the song that I’m pretty sure has already been discussed as much as possible, there’s a reason why many consider it Em’s crowning moment. Rae Sremmurd, “Lean’s Gone Cold”… maybe not so much. That one didn’t chart, but it’s funny.

Now there is precedent for house remixes of “Thank You”, and whilst I’m willing to consider interpretations and reimaginings of practically any song as any different style, I feel like making “Thank You” more danceable than just a vague nodding of the head skews some of the narrative’s tone? It definitely makes for a weirder, more dissonant listen, and whilst the Deep Dish remix, actually a GRAMMY Award-winning remix, does its best to maintain the atmosphere in its nine minutes, turning “not so bad” into a faint, looping mantra under a constantly developing house groove, to the point where it is a genuinely pretty great house song production wise… it still doesn’t feel like a great adaptation of “Thank You”, just a different product entirely, which makes sense and honestly makes for a better song. It doesn’t try and be “Thank You”, despite not even registering itself as an original song, just a remix of the original still credited solely to Dido. In 2016, European electro house duos Dimitri Vegas & Like Mike and W&W made a song called “Arcade”, it’s a loud, compressed smorgasboard of cheap synth sounds made for a live festival setting and being practically unlistenable outside of that context. In 2020, German producers Felix Jaehn and VIZE made a much more conventional and, at least in terms of how much it cribs from the original, a more faithful rendition of “Thank You”, subtitled “Not So Bad”. It’s a flavourless tropical house riff that I think the world would be better off not hearing, it’s like “Thank You” by Dido if she was commissioned to make it by an advertising company looking for a soundtrack to gym commercials.

Somewhere across the line, I guess it must have been Tiesto who said, “What if we made a version of that Felix Jaehn song but basically in the soundfont of “Arcade”?” - the latter even being directly listed as a sample on Genius. I mean, otherwise, I don’t know what the Hell Tiesto is doing here but, generally, you have to be shitting me, right? This is two minutes and 20 seconds constructed out of bits and pieces of songs I may not like but had a lot more purposeful artistic intent to them, if that’s a correct way of phrasing it. This is a vaguely functional crap-shoot molded from genuine song ideas, starting with a gentle singer-songwriter track that actually means a Hell of a lot to millions of people. I’d believe that to many fans, that Rae Sremmurd rendition means a lot to them. What does this mean to anybody?

#63 - “Bandit” - Don Toliver

Produced by ReidMD

I don’t like Don Toliver, really, or Tame Impala for that record, but there’s a level of inherent quality here, right? Don can sing, Tame Impala can construct a vibe and the sample here is “One More Hour” from their 2020 album The Slow Rush, it’s completely serviceable, could make for a good song. So why the sample is rendered in such low quality screeching is beyond me, but hey, maybe a powerful beat could work? Oh, the trap skitter is not only completely rote and overdone, it’s really high in the mix and distracts from the bass, which could really help make this song work? Okay, well, what’s Don doing? Being basically a cartoon character with his flows and incessant ad-libs? Well, that could be fun - oh, he’s comparing himself to Marilyn Manson? Barely rhyming? Catching a good, intense flow only to mumble repeated lines mostly about having sex that make up much of the song, with a tiny verse in the middle? Well, maybe the outro can make up for it - oh, he’s doing a Cookie Monster impression. Welp, all hope is lost.

#55 - “Poison” - Blake Roman, Sam Haft and Andrew Underberg

Produced by Sam Haft and Andrew Underberg

This is an upbeat synthpop jam that soundtracks a sex slavery montage. It sounds like a song by The Weeknd covered by a SpongeBob AI voice model. Next.

#53 - “Loser, Baby” - Andrew Underberg, Sam Haft, Keith David and Blake Roman

Produced by Sam Haft and Andrew Underberg

This was the song that made me turn the fourth episode off in disgust. I had a massive review prepared, covering its treatment of sexual abuse, which probably gave it a higher degree of nuance and generosity than many others are willing to give it, but I’m not compelled to rant about cartoons in this series. I want to write about animation more often but preferably animation I like or actually find compelling. With all respect to those who enjoy it and power to them, Hazbin Hotel was not something I would like to grant any more attention than the brief necessity of my format. Thanks for understanding.

#40 - “Home” - Good Neighbours

Produced by Good Scott and Oli Fox

I was very much willing to give this one a good shake because, I mean, what else do we have? Scott and Fox teased this on TikTok months prior before releasijng this as their official debut single together, after malformed, quickly aborted solo runs a few years ago. Sounds like a recipe for chart success and oh, the song’s terrible. It has a whistle about as charming as the American Authors’ milennial whoops, really insufferably screeching vocal tones that remind me of Passion Pit more than anything - that isn’t really a good thing - and sentimental lyrics about what home means to him, which would be completely serviceable without the stiff, grooveless splodge of grey matter that calls itself a chorus. Oh, and you know those sentimental lyrics? They’re gone by this point, it’s an incredibly manipulative breakup song with some really gross attempts at poetry - “wrap my name across your mouth when I let my feelings down”? Ew, man, Charlie Puth is less contrived than this. Naturally, the song goes nowhere and sadly, that probably won’t be its chart trajectory. Yet, once again, this song is practically unlistenable.

Conclusion

…Don Toliver gets Best of the Week. Somehow. Thanks for reading, I guess? See you next whenever.

#uk singles chart

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contrappostoes · 5 months

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heyyy i'm visiting new york for the first time in a couple weeks and was wondering if you had any museum recommendations for a first timer? i'm up for anything but art museums would be great! ❤️❤️

Yes absolutely!! If it's your first time in the city these two are the must sees for art, imo:

The Met - ideal art museum for a first visit, it's got a huge & diverse collection! I'd recommend picking a few galleries to visit in advance because you can't do the whole thing in a day (unless you have a lot of energy and want to make that your day). If you're not sure what to go with, my favorites are the sculpture galleries (especially the European sculpture & the Rodins just outside the photography gallery), the Korean and Japanese art galleries, the Temple of Dendur, the costume institute...if the visual storage area is open, that's also very cool to see!

MoMA - obvious if you like modern art, it's also got some really amazing views if you care about that kind of thing. They've got all sorts of cool stuff going on but it's a great opportunity to see pieces by Pollock, Rothko, Agnes Martin, Hilma af Klimt, Picasso, and Van Gogh in person

Other great art museum options are:

The Frick Collection - its original home is still being renovated but the Madison Ave location is well worth visiting

The Rubin Museum of Art - amazing collection of Asian art

The Guggenheim - very cool building, but if you're looking for modern art, the MoMA has a better collection imo

The Whitney - will have expanded their free day options by the time you visit, has some great views of the city, and is conveniently located by the High Line

The Cloisters - it's a hike, but if you like religious art it's a must-see

The New York Earth Room - not really a museum but a single exhibit, I don't see people mentioning this one often though! It's a cool thing to see if you're in the area (and free!)

The Jewish Museum - cool collection of older and new art, free on Saturdays

If you want to go to the outer boroughs...

The Brooklyn Museum (Brooklyn) - absolutely incredible collection and always showing something cool!!

The New York Botanical Gardens (Bronx) - it's right by Arthur Ave too, which has some of the best Italian food you can get in the city

Museum of the Moving Image (Queens)

Noguchi Museum (Queens)

Other non-art museums:

Museum of Natural History - self explanatory, crowded but cool to see! Awesome planetarium too, if you're into that kind of thing.

National Museum of the American Indian - haven't been myself yet, but throwing it out there because it's free!

Tenement Museum

The only ones I'd steer clear of are Ellis Island, the Intrepid Museum, Madame Tussaud's, the 9/11 museum, and anything by South Street Seaport. All just too touristy and not worth it to me.

Hope you have fun! If anyone else has recommendations feel free to throw them in the replies of course <3

#there's a lot of smaller and more niche museums & historical houses but these are the ones I'd look into for a first timer #idk where you're coming from but I always kind of insist on the met. if you've never been to a big art museum it's a great experience #oh also don't miss the alleged michelangelo & tullio lombardo sculptures in the met right off the medieval area #no one gaf about the lombardo except for me but I support my man in all things...plus it broke into hundreds of pieces & has #been beautifully restored! it's a really incredible story

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thoseballetthings · 5 months

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Bows from last night’s Nutcracker with Boston Ballet! Feat. Chisako Oga as the Sugar Plum Fairy, John Lam as the Nutcracker prince, Daniel Rubin as Drosselmeyer, Ji Young Chae and Jeffrey Cirio as Snow Queen & King, and Viktorina Kapitonova as Dew Drop.

I am very biased since this version of Nutcracker is the very first full ballet I ever saw live - on my 18th birthday, almost exactly 10 years ago, and with Ashley Ellis and Yury Yanowsky in the lead roles. But it’s still my favorite. The giant bear is iconic. The costumes and sets are beautiful. Drosselmeyer is a DILF in this version. I only wish the stage (and the company itself) were bigger so we could have a much larger corps during the snow scene and waltz of the flowers.

#ballet #the nutcracker #dance #Boston ballet

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zu-zup · 1 year

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Pathologic The Last of Us AU thoughts (original idea by @stealingpotatoes) :

- Artemy in the role of Joel, Clara as Ellie and Daniil as Tess EXCEPT Daniil doesnt die bc Clara has a healing touch (gasp)

- As per Clara lore, her healing touch transforms ppls blood into superhuman immune blood so the ending of the story doesnt result in her death, but the death of her bound from the game as a sacrifice (or does it? Will artemy let his childhood friends die for this cause?)

- Grace is Riley in this and Claras the one to show her the mall! Unfortunately Grace gets bitten and dies before Clara realizes her powers

- Rubin is Marlene and he's the one to break the news of how to stop the epidemic to Artemy (he doesnt take it well)

If anything new comes to my mind ill add on! Feel free to do so as well!!!

#pathologic #pathologic 2 #artemy burakh #daniil dankovsky #clara saburova #tlou #the last of us

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fabricdragondesigns · 1 year

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The original post is friends locked, so I am copying instead, from the inimitable and clever David Firestein:

I don't enjoy most religious holidays and celebrations, but tonight is the first night of Hankukah, which is a rare exception to that rule. It's a celebration of a small band of indigenous rebels overthrowing a foreign occupation, and it's celebrated with fried food, gifts, and fire.

And so, in celebration of the first night of Hanukkah, I present to you my argument that Die Hard is actually a Hanukkah movie.

First, let's establish the general Jewishness of the film:

1. It's about LA and NYC, which automatically makes it at least a little Jewish.

2. The screenwriter was Jewish.

3. The movie is bookended by two songs - "Christmas in Hollis" at the beginning and "Let It Snow" at the end. While the two seem pretty obviously to not be about Jewishness, "Let It Snow" is written by Sammy Cahn and Jule Styne (both Jewish), and "Christmas in Hollis" is produced by Rick Rubin (Jewish) and is inspired by Bill Adler (also Jewish). Much of the Hanukkah story is about being forced to hide your true beliefs, so many things that look like they're not about Judaism, will prove themselves otherwise.

4. The movie begins as the sun is setting and ends as the sun is rising, as do all Jewish holidays.

5. The first thing McClane does upon getting to LA is light a cigarette, obviously a metaphor for the lighting of candles.

Now, let's look at the story itself:

1. The Book of the Maccabees begins with the conquest of Alexander the Great and his conquering of all the known world. One of Hans Gruber's first lines in the film is "And when Alexander saw the breadth of his domain, he wept because there were no more worlds to conquer."

2. In the Book of the Maccabees, an invasion force comes in on "the five and twentieth day of the month" and immediately slaughters men, women and children (the biblical description is more gruesome than the movie) so a building takeover on Christmas fits nicely.

3. Those who resist are killed immediately, but some try to ingratiate themselves to the new masters. "In those days went there out of Israel wicked men, who persuaded many saying, Let us go and make a covenant with the heathen that are round about us" (Maccabees 1:11). "And spake peaceable words unto them, but all was deceit: for when they had given him credence, he fell suddenly upon the city and smote it very sore and destroyed much people of Israel (Maccabees 1:30). Sounds like Harry Ellis trying to get in with the occupiers and getting himself killed.

4. In McClane's first fight with one of the occupiers, McClane gets the drop on him and points a gun at him. When McClane says he's police, the man responds that McClane won't hurt him because there are rules for the police. In one of the first battles in the Maccabeean Uprising, a town of Jews refuses to fight on Shabbas and are all slaughtered. Afterward, the Maccabees agree that the general rules of Judaism will not apply during the uprising, and they will do anything they can to win (much as John McClane does).

5. Hanukkah is the Festival of Lights, and lights play a major theme in the movie. The occupiers shoot out the lights, and it is the cutting of the lights by the FBI that leads Hans to say "You asked for miracles, Theo. I give you the FBI."

6. How do the tiny band of Jewish rebels defeat the occupiers of their country? They use guerrilla tactics to surprise and ambush their enemies then take their weapons and supplies. This is exactly how McClane takes out his enemies. Picking them off one by one and taking their guns and explosives.

BONUS ROUND:

1. Germans. Right? And all that broken glass? What do I have to spell it out for you?

2. John McClane = J. Mac. Judah Maccabee = J.Mac. Coincidence, I think not.

But what about all the Christmas references:

The story of Hannukah is all about Jews who were forced to give up their Judaism and adopt the ways of the occupier. The punishment for participating in Jewish rituals was death. So of course all the Judaism has to be hidden behind Christian iconography. But you can't fool me.

Yippee-Chai-Oy, Motherfuckers!

#die hard #chanukah #hanukkah #die hard is a christmas movie #die hard is a Hanukkah movie

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movies-to-add-to-your-tbw · 11 months

Photo

Title: The Greatest Showman

Rating: PG

Director: Michael Gracey

Cast: Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya, Keala Settle, Yahya Abdul-Mateen II, Natasha Liu Bordizzo, Paul Sparks, Sam Humphrey, Austyn Johnson, Cameron Seely, Eric Anderson, Ellis Rubin, Skylar Dunn

Release year: 2017

Genres: drama, history

Blurb: American showman P.T. Barnum founds the circus that will become the famous travelling Ringling Bros. and Barnum & Bailey Circus.

#the greatest showman #pg #michael gracey #hugh jackman #zac efron #michelle williams #rebecca ferguson #zendaya #2017 #drama #history

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mergingonthefreeway · 10 months

Video

vimeo

Greenpeace - Don't Stop from Samona Olanipekun on Vimeo.

This is no ordinary cover: Don’t Stop is a contemporary fable about being young in the world today. The song is a call to action for people worried about their future and the state of the planet, and a rallying cry for those who dream of a better tomorrow. Together we can stand up to the fossil fuel industry. Add your name now: act.gp/3qIN8o6

Production Company: Lammas Park @lammas_park_productions

Director - Samona Olanipekun @samona_o Exec Producers - Steve McQueen, Bona Orakwue @bonaclara7, Anna Smith Tenser @smithspanna Producer - George Telfer @gtelfs

Production Manager - Chanel Parkinson @chanellyonthetelly PA - Hannah Lockwood @hanlockwood Cast Coordinator - Beth Rubery @beth.rubery Production Runner - Tom Gimlette @tomgimlette

Researcher - Shireen Bahmanizad @shireen_bahmanizad Researcher - Conall O’Brien @conallobrien Bidding Producer - Nat Baring @natanatics Lammas Park Head of Operations - Nicholas Horne Lammas Park Production Assistant - Umashni Puvanendran

1st AD - Gabriel O’Donohue @_gabriel.odonohue_

Movement Director - Liara Barussi @liarabarussi Casting Director - Coralie Rose @coralie_blamo_rose

DOP - Annika Summerson @annisummerson Steadicam / Camera Op - Jonathan Tyler @jonotyler Focus Puller A Cam - Kate Mollins @kate__mo_ Focus Puller B Cam - Sam Ebrahim Riley @samrileyac Clapper / Loader - Sonia Rogriguez Camera Trainee - Lucas Murray Reynolds Grip - Warwick Drucker

Video Playback - Robbie Ross @rsvp.london DIT - Ben Grady @colour.grady Sound Recordist - Anthony Leung @anthonyleungsound

Gaffer - Salvador Lopez-Gomez @glofilmlighting Best Boy - Jamie Hitchens @jamiehitchens Desk Op - Noah Furrer Electricians - Charlie Lodge, Lee Madigan, Nathan Rubins Rigger - Steve Daly @steve_daly

Production Designer - Jade Adeyemi @adeyumyum Prop Buyer - Martha Howe @martha.howe, Matty Mancy @matty.mancey Led Art Assistant - Lea Otovic @leaotovic Art Dept Assistant - Isabelle Bryan, Nana-yaw Mensah @nyk_mensah, Lucia Barsegian @luciabarsegian, Daisy Alexander, Fenella Evans @fen.art_, Sofia Karavis @sofiakara

Construction by Cous De La @cousdela

SFX Supervisor - Neil Gawthrop SFX Technicians - Miguel Ferreira, Jonathan Long SFX by Machine Shop @machineshopsfx

Costume Designer - Verity May Lane @veritymaylane Costume Assistants - Amy Thompson @a_thompson, Johanna Yohannes, Ellie Rimmer @ellie_r1

Make Up Designer - Maya Man @mayamanartist Make Up Assistants - Chelsea Murphy @sculptedbychelsea, Nic Marilyn @nicmarilyn Hair Designer - Kreszend Sackey @kreszendsackey Hair Assistant - Viviane Melo @vivianemelomua

Medic - Verity Stacy

Editor - Jack Williams @__jackwilliams_ Edit House - The Assembly Rooms @the_assembly_rooms Edit Producer - Phoebe Armstrong-Beaver Sound Designer - Jack Sedgwick @snappajack Audio Post - King Lear @kinglearlondon Audio Producer - Suzy McGregor Colourist - George Kyriacou @georgekcolourist Post - Black Kite Studios @blackkitestudios VFX - Mark Stannard Colour Producer - Holly Tidwell @holly_tidwell, Jade Denne @jadedenne

Camera - Panavision @panavisionofficial Lighting - Panalux @panaluxworld Studio - Dukes Island Studios Insurance - Dan Woods at Media Insurance Brokers Accountancy - Robert Okonski & Emmanuel Lindsay at Clay GBP

Casting Assistants - Laura Meredith Additional Casting - Lauren Patterson @ Jukebox Collective Agency

CAST:

Speech Givers: Kyle Osbourne Lili Chin

Tomorrow’s Warriors: Kyle Osborne, Emily Tran, Cassius Cobbson, Shanise, David, Tami Lisa Smith

Waiters & Kitchen Staff Cameron Berryman, Izaebella Cresci, Christopher Mbaki, Jinessa Meggi, Ebony Aboagye, Oliver Manley, Kade Turner, Geddy Stringer

Party Guests: Graham Collier, Anja Kick, Philippa Casares, Noreen Goodwin, Benji Ming, Catherine Cornwall, Huma Mohyuddin, Ellie Madden, Albert Graver, Rainier Manzano, Ruby Gascoyne, Sharifa Butterfly, Haseeb ‘Chilly’ Hearn, Duran Abdullah, Mikael Rivieri, Patrick Gabco, Ellie Harlulow, Rogerio Ghesti, Katerina Bragin, Michael Ahfong, Kesiena Banye, Beverly Connel, Jeanette Maskell, Peter Wilkinson

and Featuring: Will Poulter, Fraser T Smith and Avelino

MUSIC

Written by: Christine McVie / Universal Music Publishing Group Produced by: Fraser T Smith / 70Hz Original Rap verses: Avelino Music Supervision and Consultancy: Ed Bailie and Seb Whyte / Leland Music Music Marketing: Olivia Hobbs and Clare Wright / Blackstar Agency Performed by: Future Utopia X Avelino X Tomorrow's Warriors With thanks to: House Gospel Choir, Benjamin Kwasi Burrell, Janine Irons, Fish Krish, Gabriel Starkey, Patricia Pascal

AGENCY

Creative Agency: Mother London Creative Director: James Sellick @jamessellickauthor Creative: Scott Anderson @scottanders44 Title Design: Ben McNaughton Head of Production: Anna Murray @annasedgwick Producers: Tommy Frankau @tommyfrankau, Nic Akinnibosun, Joseph Ogunmokun Epilogue: Written by Scroobius Pip in collaboration with Greenpeace, performed by Lilli Chin Special Featured Performance: Will Poulter

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docrotten · 1 year

Text

A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (1987) – Episode 224 – Decades Of Horror 1980s

“Welcome to prime time, bitch!” Not words I’d use in front of my mother, but they are iconic just the same. Join your faithful Grue-Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr, along with guest host Ralph Miller – as they enter another Wes Craven nightmare, A Nightmare on Elm Street 3: Dream Warriors (1987). Expect a lot of FX talk with Ralph in the house!

Decades of Horror 1980s Episode 224 – A Nightmare on Elm Street 3: Dream Warriors (1987)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

A psychiatrist familiar with knife-wielding dream demon Freddy Krueger helps teens at a mental hospital battle the killer who is invading their dreams.

[NOTE: Effects crew credits are listed as they appear in the film credits.]

Director: Chuck Russell

Writers: Wes Craven (story) (screenplay) (characters); Bruce Wagner (story) (screenplay); Frank Darabont (screenplay); Chuck Russell (screenplay)

Music: Angelo Badalamenti

Storyboard Artist / Visual Consultant: Peter von Sholly

Stop-Motion Skeleton and Marionette Effects: Doug Beswick Productions, Inc.

Stop-Motion Animation: Doug Beswick

Effects Photography Supervisor: Jim Aupperle

Stop-Motion Puppet Construction: Yancy Calzada

Marionette Construction: Mark Bryan Wilson (as Mark Wilson)

Miniatures: James Belohovek

Illustrator: Larry Nikolai

Makeup effects Sequences: Greg Cannom

Assistants to Greg Cannom: Larry Odien, Earl Ellis, John Vulich, Keith Edmier, Brent Baker

Krueger Makeup effects: Kevin Yagher

Assistants to Kevin Yagher: Jim Kagel, Mitch DeVane, Gino Crognale, Brian Penikas, David Kindlon, Steve James, Everett Burrell

Makeup Effects Sequences: Mark Shostrom

Assistants to Mr. Shostrum: Robert Kurtzman, Bryant Tausek, John Blake Dutro, James McLoughlin (as Jim McLoughlin), Cathy Carpenter

Additional Makeup Effects: Matthew W. Mungle (as Mathew Mungel)

Assistant to Mathew Mungel: Russell Seifert

Mechanical Effects: Image Engineering

Special Effects Coordinator: Peter Chesney

Lead Technician: Lenny Dalrymple

Mechanical Designers: Bruce D. Hayes (as Bruce Hayes), Joe Starr, Anton Tremblay (as Tony Tremblay)

Effects Technicians: Bernardo F. Munoz (as Bernard Munoz), Rod Schumacher, Bob Ahmanson

Effects Crew: Scott Nesselrode, Tom Chesney, Kelly Mann, Phillip Hartmann (as Phillip Hartman), Ralph Miller III (as Ralph Miller), Joel Fletcher, Brian Mcfadden, Sandra Stewart (as Sandy Stewart), Terry Mack (as Troy Mack), Blaine Converse, Ron MacInnes, Brendan C. Quigley

Selected Cast:

Heather Langenkamp as Nancy Thompson

Craig Wasson as Dr. Neil Gordon

Patricia Arquette as Kristen Parker

Ken Sagoes as Roland Kincaid

Ira Heiden as Will Stanton

Rodney Eastman as Joey Crusel

Jennifer Rubin as Taryn White

Penelope Sudrow as Jennifer Caulfield

Bradley Gregg as Phillip Anderson

Laurence Fishburne as Max Daniels (credited as Larry Fishburne)

John Saxon as Donald Thompson

Priscilla Pointer as Dr. Elizabeth Simms

Clayton Landey as Lorenzo

Brooke Bundy as Elaine Parker

Nan Martin as Sister Mary Helena

Stacey Alden as Nurse Marcie

Dick Cavett as Himself

Zsa Zsa Gabor as Herself

Paul Kent as Dr. Carver

Guest host Ralph Miller III, who worked behind the scenes on Dream Warriors provides insights and many effects development photos that are shown in the YouTube version of the podcast. Post-recording, the crew wants to clarify that Kevin Yagher was responsible for the Freddy Snake, and Mark Shostrom was in charge of the Penelope Sudrow dummy that smashes into the Freddyvision TV.

With the success of A Nightmare on Elm Street 3: Dream Warriors (1987), following the critical failure of A Nightmare on Elm Street 2: Freddy’s Revenge (1985), New line Cinema firmly cemented Freddy Krueger and A Nightmare on Elm Street as one of the most iconic horror franchises of its time. Not only does Dream Warriors feature Robert Englund continuing to breathe both humor and fear into Freddy Krueger but also the return of both Heather Langenkamp and John Saxon from the original. The film also features Craig Wasson (Ghost Story) as the male lead and early film roles for Patricia Arquette and Larry Fishburne. Frank Darabont (The Mist) and Bruce Wagner join Wes Craven on scripting chores and Chuck Russell (The Blob, The Mask) directs while Angelo Badalamenti (Twin Peaks, Blue Velvet) provides the score – a winning combination of talent. Surely a Grue-Crew highly recommended selection with special effects by Greg Cannom, Doug Beswick, Mark Shostrom, Kevin Yagher, and more!

Be sure to check out the first time the 80s Grue-Crew took a dive into this film in February 2017, featuring Doc Rotten, Christopher G. Moore, and Thomas Mariani as the Grue-Crew. You can find it here: A NIGHTMARE ON ELMS STREET 3: DREAM WARRIORS (1987) — Episode 102

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Jeff, will be The Changeling (1980), starring George C. Scott, Trish Van Devere, Melvyn Douglas, . . . and a bouncing, red, rubber ball.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the gruesome Magazine Youtube channel, on the website, or email the Decades of Horror 1980s podcast hosts at [email protected].

Check out this episode!

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