#Georg Riedel

[thosepoorsoulswhodwellinnight]

I don't really have words

may his memory be a blessing

[genevieveetguy]

Night Games (Nattlek), Mai Zetterling (1966)

[fairytalemovies]

Georg Riedel - Ulme (avslutning)

[afloweroutofstone]

Bruce Riedel, former special assistant to President George W. Bush (00:18:40):

Now the option that was under the table, I would put it, which became glaringly obvious in time, is that we were not only going to go after Osama Bin Laden, we were going to go after Saddam Hussein, even though there wasn't one shred of evidence that linked the Iraqis to the 9/11 attack.

I recently found my diary for 2001. And it shows that on September 14th, I was in the Oval Office with the President when he talked to Tony Blair. And in the middle of the conversation with Tony Blair about 9/11, George Bush says "we're going to attack Iraq too." Three days after 9/11. He tells the British he is going to attack Iraq. Now, Tony Blair was stunned, you could tell, listening to the phone call, the British Prime Minister was just completely taken aback. Now in time, of course, he would come around, but at the moment he didn't see this as making any sense at all. But that option would, as you pointed out, ultimately become exercised, and by the spring of 2002, the White House was openly talking about going to war with Iraq.

[swedish-songs]

One of Swedens most famous authors is children's book author Astrid Lindgren (1907-2002). Her perhaps most famous character of all is Pippi Långstrump, Pippi Longstocking in English. The books about Pippi is one of the most translated books in the world, available in around 100 languages.

The books were released during the 40's, and in 1969 a TV-series adaption came out. In the 70's, two movies were released, with the same actors and director. The theme song Här kommer Pippi Långstrump (Here comes Pippi Longstocking) was composed by the incredibly well renowned jazz musician Jan Johansson and recorded sung by the actress playing Pippi, Inger Nilsson. Johansson died tragically in a car accident in 1968, before the series were released. Most subsequent Astrid Lindgren songs were written by Georg Riedel.

The song is sung from Pippi's perspective, describing herself and urging her friends to have a great time with her. The lyrics are also peppered with the nonsensical "tjolahopp tjolahej tjolahoppsansa". A couple of years ago, an "official music video" was published on Youtube, consisting of clips from the series and movies:

[thatstormygeek]

When we discuss state power and these things, we need to hold onto multiple ideas at once. Yes, we are discussing actions like Israel’s aggression in Gaza. Yes, we will discuss the United States, the global American Empire, and its allies and conspirators. It’s impossible to chart the history of these concepts and their consequences without relying on these specifics. But as we do so, we must also grasp that nation states are also representations of a larger process at play. The United States, for instance, has been the main front for global capitalism since it took over the responsibility from Great Britain following World War II. That union of capitalism and the nation state means that notions of “conventional politics,” or the belief that we are simply watching two parties “hash out their differences,” obfuscates what is often happening below the surface. Developments often feel bewildering because we’re part of a process that is intentionally mystified, leaving us wondering why principles and promises are so often jettisoned. Here this: the intertwining of capitalism and nation states means that our politics, our culture, and our institutions have been co-opted to carry out actions that are counter to the national interest, or at least the interest of us, the citizens, in favor of achieving goals that are beneficial to the interests of capital. An example: our military and intelligence agencies tirelessly cooperate with capitalist interests in arranging outcomes on the latter’s behalf, oftentimes hurting the nation state and its citizens while setting the table for the wealthy and powerful to become more wealthy and more powerful. In this way, a momentum has built that ensures, regardless of what happens politically, the process will continue. That process is aided by politics, aided by culture, and certainly aided by technology, including computing and now A.I.

Barack Obama, who promised Change in his transformative campaign, found himself, when in power, subject to forces he felt beyond his control. In that presidency, which was won in part with a promise to wind down George W. Bush’s war, Obama oversaw a wild expansion, including the usage of drone strikes that grew by nearly ten times under his watch. The usage of drones, and the growing list of targets Obama habitually signed off on, represented that momentum we have been discussing. Drones replaced troops, creating an operation we could actively ignore as Americans as long as our sons and daughters were kept out of harm’s way, laying a framework for a hegemonic oppression we would experience, if we experienced it at all, from a grand distance. The list and resulting killings was eventually reduced to bloody maintenance. Bruce Riedel, an analyst for the CIA and a counter-terrorism adviser to Obama, likened the operations to lawn maintenance, telling The Washington Post, “You’ve got to mow the lawn all the time. The minute you stop mowing, the grass is going to grow back.” Our War On Terror coincided with the final collapse of our social safety net. Hurricane Katrina and the Financial Collapse made it obvious that our government had no interest in meeting the needs of the people and had been reprogrammed to solely serve the needs of the wealthy. In the past this co-option had been hidden, marginally at least, behind economic growth and supposed progress, but the truth of neoliberalism was coming to bear. That which had been done to nations around the world in the name of American control had been done on behalf of neoliberal capitalism masquerading as the U.S. We had been promised never-ending progress, luxuries, and dominance. But, as it always does, the oppression boomeranged around and met its originator. It became obvious that American Empire had always been a front for something else.

Turning this ship around and getting past this crisis depends on a massive sea-change of philosophy, governance, and culture. Reining in Tech, taxing its benefactors, and reasserting government oversight of industry and decision-making processes is absolutely vital. The momentum has kept that from happening and brought us here. A.I. is simply a vehicle is accelerating to the next stage in this ugly evolution. As configured, there is no way that the state or any states will choose not to harness these technologies to these ends. It is too tempting. Too built into the system as it presently works. The nation state, even as it recognizes the co-option by neoliberal capitalism, has no choice but to trudge forward. It’s like an insect or an animal consumed by a parasitic disease. Still walking. Still trampling. Still serving. And the time is now also because, as previously mentioned, these things will be leveraged against us and against dissent. When that happens, the words “terrorist” and “insurgent” will be more than enough cover for whatever an algorithm needs to protect itself and the process it serves. Because opposing the momentum of the zombie state pits you directly on the other side of the gun. Of the drone. Of the robot dog.

[byneddiedingo]

Lana Turner and Juanita Moore in Imitation of Life (Douglas Sirk, 1959)

Cast: Lana Turner, Juanita Moore, John Gavin, Susan Kohner, Sandra Dee, Robert Alda, Dan O'Herlihy, Karin Dicker, Terry Burnham, Troy Donahue, Mahalia Jackson. Screenplay: Eleanore Griffin, Allan Scott, based on a novel by Fannie Hurst. Cinematography: Russell Metty. Art direction: Alexander Golitzen, Richard H. Riedel. Film editing: Milton Carruth. Music: Frank Skinner.

John Gavin was Hollywood's ultimate decorative male, there to look good in bed with Janet Leigh in Psycho (Alfred Hitchcock, 1960) but otherwise to play no significant role in the film. (When he shows up later with Vera Miles, playing Leigh's sister, to find out what happened to Marion Crane, she's the one who does all the work, including the discovery of the mummified Mrs. Bates in the cellar.) It's no surprise that when Gavin died a few years ago, several of the obituaries mentioned the scene in Thoroughly Modern Millie (George Roy Hill, 1967) in which his character is paralyzed by a poison dart: He's been presented as so handsomely wooden that it takes a long time before anyone notices he's just sitting there. He's not quite so inert in Imitation of Life, but that's because Douglas Sirk, like Hitchcock, knew how to make use of him: He's there to hang as nicely on Lana Turner's arm as the Jean Louis gowns do on her body. Unfortunately, this makes for some of the film's weaker scenes, the ones in which Sandra Dee's Susie develops a crush on him, but even there the fault is more Dee's limitations as an actress than Gavin's as an actor. He comes off much better in one of the key scenes, in which his Steve Archer proposes to Turner's Lora Meredith. It works because Turner is skillful enough to make Lora into a woman who knows how not to get trapped by male expectations of what women should be. It's not quite so well-played as the scene in Now, Voyager (Irving Rapper, 1942) I wrote about a couple of days ago, in which Charlotte Vale rebuffs Jerry Durrance's suggestion that she should be looking for a man instead of taking care of his daughter, but that's because Lana Turner wasn't Bette Davis. Still, the scene comes off, and it's reinforced later when Lora is the one who proposes to Steve, after she's gotten what she wanted. The film belongs, of course, to the women, not only Turner but also and especially to Juanita Moore and Susan Kohner, who got the Oscar nominations they deserved. It's possible to fault the film for "whitewashing" by casting Kohner as the Black girl who tries to pass for white, especially since in the earlier version of Imitation of Life (John M. Stahl, 1934), the corresponding character was played by Fredi Washington, who was indeed Black. But even to raise the issue of "passing" in 1959, especially in a film that some considered little more than soap opera, was audacious: The Production Code had long forbidden any treatment of miscegenation. And Sirk artfully turns the issue into a generational one: Sarah Jane's desire to be white as a reaction against the subservience of her mother, foreshadowing a generation gap that would be operative in the coming decade's civil rights struggle. Sirk's films have a way of working themselves into your head unexpectedly, putting the lie to my observation that drama makes you think and melodrama makes you feel. Sirk's melodrama -- Imitation of Life is unashamed of the clichés it exploits and usually transcends -- undoubtedly makes you feel. Is there ever a dry eye at showings of the film's funeral finale? But by confronting the problems that underlie the melodrama it also has a sneaky way of making you think.

[womenalloverlove-blog]

🥰 Welcome to my Youtube page too new Shorts videos ! The song "Close to nature" / "Nämnsbo hits" Creation made with great inspiration from Georg Riedel and Jan Johansson.  The song "Close to nature" #nämnsbohits

[dankusner]

Taboo - 

Broadway Production, Feb 8, 2004

https://acrobat.adobe.com/id/urn:aaid:sc:US:75033dfa-450e-42a3-9775-a6c70bd35890

You say the expectations were too grand. Do you think becanse Rosie said it would sweep the Tonys that ... 

I don't think it was Rosie. The most important thing is that she did it for the right reasons, She did it because she loved the show. She did it because she loved the music. What she did in New York was spectacular. The production value of ''Taboo'' in New York was just brilliant. It's always annoying when people say, 'I'm so sorry,' It's like, don't be sorry, it was a fucking triumph, We got "Taboo" to New York, We got Leig~ Bowery on a Broadway stage with breasts and a tutu at a time when people were freaking out about Janet Jackson's nipples, If they're going to freak out to that extreme over Janet Jackson's breasts, what chance has buggery got? I saw "Taboo" in New York as playing it too safe, Clearly I was wrong, Clearly it was far too 

What is going on with popular culture? 

All that romance and mystery that was once a very essential part of performing and being creative has been destroyed. The information ageit's like faith versus science. With rock 'n' roll in the '70s, you didn't know about all the mechanisms, You didn't know what happened, You weren't involved in every aspect of it. It would be like Hollywood movies in the heyday of Hollywood. Actors were like these gods because people put them on a pedestal, There was mystery. They weren't like you. Now you've got this reality TV and everyone knows everything, And what we get as a result is something that's really dull, That gorgeous mystery has been....

‘TABOO’ POSTMORTEM; WHAT & WHO WENT WRONG Michael Riedel

THE agent for a member of the “Taboo” creative team sat alone in Rosie O’Donnell’s spacious office at 1500 Broadway.

He’d been summoned for a meeting with the novice Broadway producer because he’d had the temerity to point out her failure to honor a key point in her contract with his client.

As he sat contemplating the large bowl of candy corn she kept on her desk – handfuls of which she often consumed during production meetings – O’Donnell burst into the room and pointed a finger at him.

“When the book on ‘Taboo’ is written,” she thundered, “you will be the villain!”

Then she stormed out, leaving him alone with the candy corn.

Well, it’s time to write the book (or at least a farewell column) on “Taboo,” a sad fiasco of a musical that will play its final performance Feb. 8.

But there are no “villains” in this story, really – just a volatile, distracted and ultimately ineffectual producer; a weak director; a timid bookwriter who watched his key scenes get cut because they couldn’t be acted or directed properly; and a star, Boy George, who wrote a fine score (let’s give him his due) but wasn’t much of an actor.

One person involved in “Taboo” calls the show a “missed opportunity. There are a lot of really good things in it, there just wasn’t anyone around who could pull it all together.”

Set in the London nightclub scene of the early 1980s, “Taboo” is an autobiographical musical about Boy George and his relationship with fashion designer Leigh Bowery, who died of AIDS.

The musical was a minor success in London, where it ran for over a year in a small nightclub.

In retrospect, it might have been better off in a similar setting in New York.

But O’Donnell isn’t one who thinks small, and so she blew “Taboo” up into a $10 million Broadway musical with new sets, costumes and a book by playwright Charles Busch.

O’Donnell hired Chris Renshaw, who directed the show in London, to stage it here.

But Renshaw came with baggage: His revival of “The King and I” in 1996 was brilliant, but a year later he was fired from “High Society” because of erratic behavior, and had pretty much been blackballed on Broadway.

O’Donnell knew Renshaw’s history and, according to sources, had a “candid” conversation with him during which he assured her he was up to the job of directing “Taboo.”

Busch, meanwhile, turned in a new script, a copy of which was obtained by The Post, that dramatized the relationship between Boy George and Leigh Bowery, and contained a key scene in which Boy George appears at Leigh Bowery’s deathbed.

O’Donnell gave Renshaw a wide berth for the first few weeks of rehearsals while she concentrated on what turned out to be an ill-conceived marketing campaign for “Taboo.”

And that’s when things started to go off track.

Boy George, as Leigh Bowery, simply could not act emotional scenes with Euan Morton, who plays the young Boy George.

Renshaw was no help.

“Chris would say, ‘Do you mind if we try this?’ and if George didn’t want to, then Chris would say, ‘OK’ and drop it,” a source says. “The show was crying out for a director. It never had any guidance.”

A member of the production staff says O’Donnell gave Renshaw “all the rope in the world to either swing like a star or hang himself. Unfortunately, he chose the latter.”

Scenes Boy George could not act very well were either cut or replaced by songs.

“They were chipping away at Charles’ book every day,” says a production source.

Why didn’t Busch fight for his work?

“Look, Charles isn’t Arthur Laurents,” this person says, referring to the famously tough bookwriter of “West Side Story” and “Gypsy.”

“He doesn’t like confrontation. And if they’d kept the scenes they would have been badly acted and badly directed.”

(Ironically, critics would later complain that there was no connective tissue between Boy George and Leigh Bowery.)

When O’Donnell started coming to rehearsals, she knew immediately that the show was in trouble, sources said.

That’s when the screaming matches began, culminating in the much-publicized blowup between O’Donnell and Raul Esparza, one of the show’s stars, who felt the show was rudderless.

O’Donnell brought in a new choreographer, but when she tried to replace Renshaw with a new director, Boy George thwarted her.

“I felt it would be too disruptive,” he later said.

By this time, O’Donnell was swamped by her courtroom battle with the publisher of her defunct magazine, Rosie, and, according to sources, seemed to give up on “Taboo.”

Plans to postpone the opening were scrapped since, without a new director, there was no point in trying to salvage the show, and “Taboo” drifted to its sad opening night and a pummeling the next day by the critics.

“Taboo” has lost money every week, the houses are only about half full and one source says the atmosphere backstage is “depressing.”

Renshaw pops in from time to time and encourages the actors to ad-lib.

And so Esparza now banters with the folks in the balcony, while Boy George makes jokes about Michael Jackson.

On Tuesday, when O’Donnell announced she was putting up the closing notice, Boy George, in a pouty mood, didn’t show up for work.

He did not respond to a request for comment. Neither did Busch, Renshaw or O’Donnell.

No villains here – just the weak, the timid, the lost.

[bamboomusiclist]

3/22 おはようございます。Rosemary Clooney Harry James / Hollywood's Best cl585 等更新完了しました。

Rosemary Clooney Harry James / Hollywood's Best cl585 Martha Raye / Here's Martha Raye Lg3061 Erroll Garner / Up in Erroll's Room se4520 Dizzy Gillespie / World Statesman mgn1084 John Coltrane / Village Vanguard Again as9124 Bud Powell / A Portrait of Thelonious cs9092 Alex Kallao / in Concert at the University of Ottawa Canada bl1205 Bill Evans / Since We Met F-95 Harold Land / Take Aim Lt1057 Mieczyslaw Kosz / Reminiscence Sxl0744 George Riedel Quartet / Cool Me Madame mep92 Hacke Bjorksten / Woodpecker's Groove mep167 Zoot Sims / in a Sentimental Mood sntf932 Ahmad Jamal / Night Song M7-945R1 Roscoe Robinson / Why Must It End - How Many Times Must I Knock SP2116 Roscoe Shelton / Who Walks In - You're Living Too Fast 2114 Roscoe Shelton / You Ought To Take Time Out For Your Love - I'm Ready To Love You Now sp2117 Roscoe Shelton / Soon As Darkness Falls - Keep Your Mind On Me 2111 Nora Ney / Tire Seu Sorriso Do Caminho SSIG1020 Jurema / Eu Nasci No Samba 31C062421177

[glocalmuzik]

Dive into the Melodic Enchantment

Embark on a musical adventure with Jazz på Svenska, a 1964 masterpiece by the soulful Jan Johansson. This album brings 12 Scandinavian folk songs to life, steering clear of trendy free-form and fusion styles. Johansson's gentle tones, backed by Georg Riedel's bass, honor the emotional heart of these folk tunes.

Johansson found jazz-like qualities in these songs. "The blue notes attracted me, and the songs had a suggestive rhythm," he said. Keeping it simple, he didn't want to add anything extra.

Explore the connection between jazz and folk as Johansson lets the rhythms and blue notes shine. The minimal arrangements capture the feel of a winter's night, blending the cozy warmth of a fireside room with the bittersweet memories of past troubles. Immerse yourself in this timeless journey with Jazz på Svenska.

[lamilanomagazine]

Milano, "Pippi Calzelunghe", il musical da un'idea di Gigi Proietti

Milano, "Pippi Calzelunghe", il musical da un'idea di Gigi Proietti Presso il Teatro Carcano di Milano dal 28 dicembre al 7 gennaio in scena Pippi Calzelunghe - Il musical di Astrid Lindgren: la celebre favola si trasforma in uno spettacolo dai tratti unici, grazie alla versione italiana di Sagitta Alter e Carlotta Proietti e alla regia di Fabrizio Angelini. Lo spettacolo nasce da un'idea di Gigi Proietti, più che un'idea, un'intuizione: regalare al pubblico un'edizione "dal vivo" di una delle eroine più amate di tutti i tempi. Quella intuizione diventa realtà. Ribelle, anticonformista e allergica alle regole, Pippi regalerà a tutti una lezione che suona più o meno così: l'indipendenza, il potere di sognare ad occhi aperti, la capacità di dare al denaro un'importanza relativa e il valore dell'amicizia rendono bella la vita, assai più dei vestiti eleganti e del galateo da salotto. Uno spettacolo vivace e esuberante: acrobazie, colpi di scena, tanta musica; i costumi accuratissimi e raffinati e l'elegante allestimento sono firmati da Susanna Proietti. Ma Pippi Calzelunghe Il Musical è anche qualcosa di più. È il sentimento delicato che vi porterete nel cuore alla fine dello spettacolo: quella tenerezza che in fondo non è l'unica arma veramente potente per vivere felici? Un cast di attori, cantanti, ballerini-acrobati racconterà sul palco la storia di Pippi, un'icona senza tempo. Ritroveremo le sue inconfondibili treccine rosse, le lentiggini e i coloratissimi look che hanno fatto sognare intere generazioni. Non mancheranno in scena i suoi fedeli compagni di viaggio: l'adorabile cavallo a pois chiamato Zietto e Nilsson una stravagante scimmietta. "Mi piace l'idea che sia il cavallo dell'iconografia classica. E' divertente il fatto che una bambina vera sia su un pelouche così grande, che si muova e partecipi alla scena". "Mi piace Pippi Calzelunghe perché è una bambina che vuole responsabilità. Mi sembra che questo sia il periodo della irresponsabilità, della paura di prendere impegni. Mi piace che il messaggio di Pippi sia di proporsi e avere responsabilità" Gigi Proietti. SCHEDA SPETTACOLO - di Astrid Lindgren - da un'idea di Gigi Proietti - Adattamento teatrale di Staffan Gotestam - Musiche di Georg Riedel e Anders Berglund - Versione Italiana di Sagitta Alter e Carlotta Proietti - Rielaborazione scenica e costumi di Susanna Proietti - Regia e coreografie di Fabrizio Angelini - Regista collaboratore Gianfranco Vergoni - Direzione musicale Giovanni Monti - Light Designer Umile Vainieri - Progetto Fonico Daniele Patriarca - Direzione Tecnica Stefano Cianfichi Scenografo Collaboratore Fabiana di Marco - Ufficio Stampa Cinzia D'Angelo - Organizzazione generale di Alessandro Fioroni - Produzione Politeama s.r.l. - Direzione artistica Nicola Piovani DATE SPETTACOLO - 28,29 e 30 dicembre, 1, 3, 4, 5, 6 e 7 gennaio 2024 ORARI - 28 e 29 dicembre, 3, 4 e 5 gennaio ore 19.30 - 30 dicembre e 6 gennaio ore 20.30 - 30 dicembre, 6 e 7 gennaio ore 16.30 - 1 gennaio ore 17 - 7 gennaio ore 10.30 PREZZI (28 e 29 dicembre 2023 e dal 3 al 5 gennaio 2024) - Poltronissima - Intero € 30,00 - Ridotto under 18 € 15,00 - Poltrona/Primo settore di balconata - Intero € 25,00 - Ridotto under 18 € 15,00 Balconata Intero € 20,00 - Ridotto under 18 € 15,00 (30 dicembre 2023 e 1, 6 e 7 gennaio 2024) - Poltronissima - Intero € 35,00 - Ridotto under 18 € 15,00 - Poltrona/Primo settore di balconata - Intero € 30,00 - Ridotto under 18 € 15,00 Balconata Intero € 25,00 - Ridotto under 18 € 15,00 VENDITE ONLINE al seguente link ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[nordnews]

Georg Riedel has composed the music for ... #Sweden

[fairytalemovies]

Georg Riedel (1934-2024)

In this genre, which this blog is mostly dedicated to, he composed the music to Prins Hatt under jorden (1963) and played the prince of the princes in Häxkonstigt (1986).

[moniyng]

What is the best glass for an aged liquor?

A wooden cup from the 16th century serves as the beginning of the history of whiskey-drinking utensils. These tiny wooden cups, used to sip Scotch whiskey, gradually underwent alteration. The sole cup used to drink whiskey in the 1500s was called a quiach, derived from the Gaelic term "cuach," which meant "cup." It was made from wooden staves and had little handles on both sides. The design resembled a shallow bowl. At this point, several artisans began to produce unique quiach, gradually modifying the style of the handles and, eventually, completely altering the shape of the glass. Artisans finally started using lighter and darker wood, which resulted in designs on the cups.

As interest in single malt whiskey increased, many types of glasses were created to improve the drinking experience. To fully appreciate the flavour, it was necessary to experience, observe, and break down flavour profiles into their component pieces. The Reidel single malt whiskey glass first appeared a few decades ago. A group of whiskey experts met in 1992 at the Austrian Riedel headquarters to test several novel glasses. The experts were given a choice of 18 drinks, each with a distinctive form. After receiving feedback from the panel, Georg Riedel conducted interviews with master distillers across Scotland to learn more about the significance of the design of whiskey cups.

Smokey Cocktail

At Smokey Cocktails, you can buy whiskey glasses online and scotch glasses. One of the most well-liked and well-known drinks is whisky. To get the most out of it, you must learn how to taste it properly. Contrary to what you might observe in some films, whisky is rarely meant to be consumed in enormous glasses or large gulps. Pay attention to some aspects to enjoy the beverage and feel good about every last drop. Choosing and preparing the right drink is one of the most crucial steps in properly and thoroughly tasting whisky. The glass you select for your whisky is vital. It must have the proper format to open the beverage's vapours and enjoy its flavour. The glass's shape makes it possible to experience each whisky's scent fully.