#Rudi Schreiber | Explore Tumblr Posts and Blogs

circusfans-italia · 2 years

Text

LUCIANO BELLO ARTISTA CON LA A MAIUSCOLA

LUCIANO BELLO ARTISTA CON LA A MAIUSCOLA Se il Circo Italiano ha una storia luminosa lo si deve a tanti grandi artisti, talentuosi e carismatici. Uno dei più rappresentativi è Luciano Bello (classe 1944), che a mio modo di vedere incarna alla perfezione la definizione di “artista”. Non solo o non tanto un performer in possesso di una tecnica eccezionale, ma un comunicatore in grado di entrare subito in relazione col pubblico e di trasmettere emozioni. In questo Luciano è un maestro, dotato anche di un’ottima tecnica, ma che l’ha saputa “vendere” alla perfezione oltre che trasmettere a figli ed allievi. Approfondendo la conoscenza con Luciano, e scavando nella sua storia personale e in quella della sua famiglia, capiremo da dove arrivano queste doti. Per questo ho voluto incontrarlo, per farmi raccontare il percorso che lo ha portato ad essere oggi un personaggio quasi leggendario. Sfogliando i programmi dei circhi più importanti d’Europa troviamo, già negli anni Quaranta, la troupe dei “7 Bello”, una straordinaria formazione di acrobati alla bascula e talvolta al trampolino composta da un nucleo di famiglia e una serie di allievi. Facciamo un passo indietro alla genesi di questa dinastia. ORIGINI DELLA FAMIGLIA Il capostipite Pamplo Bello era un palestrante torinese. La famiglia gestisce una arena. Pamplo era sposato con Rosa Cavallini della celebre dinastia di clown. Dalla loro unione nasceranno Rodolfo “Rudi”, Carlino, Ella e Irma Bello. In seconde nozze Rosa Cavallini sposa Carlo Celè che entra così nel mondo del circo con il figlio Francesco (1931) che si unisce alla famiglia Bello.

La Troupe Bello nel 1950 circa Come si diceva, la famiglia gestiva un’arena in Liguria ed è qui che Rudi Bello, tra i vari bambini che si recavano spesso a vedere gli spettacoli e a proporre aiuto in cambio di qualche biglietto, conosce Paolo Verardi di Ventimiglia (1931 circa), allora giovanissimo, che seguirà la famiglia Bello, diventando un componente fisso della compagnia, oltre che un membro della famiglia a tutti gli effetti. Crescendo passerà da essere un ragazzino e formarsi come un uomo, piccolino di statura ma solido di corporatura, un ottimo agile, il migliore della troupe. Poi è diventato anche clown con Rodolfo e Francesco Celè. È intorno a questo nucleo, composto da Rudi e Carlino Bello, la sorella, Francesco Celè e Paolo Verardi che prenderà il via la troupe dei “7 Bello” a cui si aggiungeranno allievi spagnoli, olandesi o italiani.

“A quei tempi tutte le troupe avevano degli allievi, ma duravano poco, perché il ricambio era elevato, gli allievi spesso se ne andavano. Mio papà, invece – ricorda Luciano Bello - li ha sempre trattati come persone di famiglia. Li faceva mangiare in casa propria. Ognuno aveva una propria cameretta e rimanevano 7 o 8 anni, finchè non mettevano su famiglia e prendevano poi la propria strada. IL DEBUTTO DI LUCIANO La troupe di acrobatica della nostra famiglia lavorava sempre all’estero: soprattutto Svezia, Danimarca, Francia, Norvegia, ma anche Spagna e Inghilterra, contesa da grandi complessi: Amar (1948 in Italia, 1949 in Francia e Nord Africa), Circus Mijares Schreiber (Svezia, 1950), Strassburger (1952), Cirque d’Hiver Bouglione (1952), Circo Massimo di Cesare e Oscar Togni (1955/56), Circo Americano (Castilla, 1956), solo per citarne qualcuno. Io ho debuttato nella troupe di acrobatica a 14 anni in Svezia al Cirkus Altenburg (nel 1958). I titolari erano due coniugi anziani, lei con la passione dei cavalli, presentava l’alta scuola, aveva due cavalli curatissimi. Eseguivo i doppi con arrivo in poltrona. Mio zio batteva e io eseguivo il doppio con arrivo in poltrona sulle spalle di mio papà, poi giravo la piroetta con arrivo in terza colonna. Avevamo un repertorio completo.

Manifesto del Cirkus Altenburg del 1958. L'anno in cui debutta Luciano nella troupe dei 7 Bello DA ACROBATI A CLOWN Mio zio Gigi Cavallini era un clown molto famoso all’estero. I Cavallini giravano nei circhi più importanti dell’epoca. Così anche mio papà ha deciso di montare un’entrata comica, perché proponendo solo un numero si era meno appetibili come scrittura: una direzione doveva scritturare troppi artisti. Tante grandi troupe proponevano anche un secondo numero.

I Bello-Celé con l'entrata musicale negli anni Quaranta-Cinquanta Lavorando all’estero, mio papà aveva ideato un’entrata con molti attrezzi, poco parlata, tutta con dentro/fuori, molto ritmo ed effetti visivi. Con la bascula eravamo “I 7 Bello”. Con l’entrata comica eravamo “I Celè”. In modo che sui programmi sembrassimo due nuclei differenti.

Quando eravamo in Sud Africa al Circus Boswell (1962 circa) mio papà ha deciso: “L’anno prossimo non facciamo più l’acrobatica, siamo acciaccati è un lavoro troppo pesante che non riusciamo più a reggere. Non possiamo andare avanti all’infinito, ho già male alla schiena”. Anche mio zio era affaticato, gli allievi se ne volevano tornare a casa. Dovevo imparare un nuovo mestiere per diventare autonomo. LE SCALE E LA GIOCOLERIA È stato mio papà a spingermi a fare il giocoliere. Io ero innamorato dell’acrobatica, dei salti, delle piroette, etc. Ma col venire meno della troupe dovevo approdare a nuove discipline. Non ero tagliato per le verticali, non avevo il fisico adatto. Mio padre mi diceva di provare il giocoliere, ma non ero convinto, non mi piaceva. Mio papà mi ha costruito la scala libera, mi faceva provare tra un carro e l’altro, in modo che non cadessi e prendessi confidenza con l’equilibrio in altezza. Poi siamo stati in Francia al Radio Circus (1960). Al pomeriggio ospitavamo una trasmissione televisiva per i bambini in cui lavoravano tutti i figli degli artisti; oltre a me c’erano altri due o tre bambini del Circo: il figlio di Danion (l’artista che presentava un noto numero di foche dell’epoca) faceva il giocoliere con le palline e i cappelli, poi un altro bambino che presentava il bal di corda e poi c’ero io che lavoravo con mia sorella, ma ero ancora agli inizi come giocoliere. Mi proposero di presentare un numero da giocoliere: anche se ancora acerbo fu il mio debutto. Durante la nostra scrittura al Radio Circus mio papà si infortunò battendo alla bascula, si ruppe il tendine e non potevamo fare l’acrobatica. Fu così che mi chiesero di sostituire il numero della bascula con il mio numero da giocoliere con cui avevo debuttato nello spettacolo pomeridiano dei bambini. Puoi immaginare la mia emozione: ero giovanissimo, non avevo ancora molta esperienza e mi trovavo scaraventato in uno spettacolo così importante. Non ero fortissimo, ma avevo tanta voglia, tanto entusiasmo e il pubblico lo sentiva. Passava quell’energia, più della tecnica.

Luciano e Susanna al Coliseo do Porto in Portogallo INCONTRI IMPORTANTI Da Boswell (1962, ultimo anno in cui lavorammo con la troupe di bascula) si esibiva la famosa giocoliera ungherese Eva Vida, che mi ha insegnato un po’ di giocoleria, vedeva la mia passione e mi volle aiutare a crescere. Ho provato tutta la stagione. Ho iniziato a lavorare un po’, poi ho debuttato col numero di scala libera, sono stato in Portogallo, al Cirkus Berny (1963) in Norvegia e in Danimarca al Cirkus Vivi Schimdt (1964) dove venne Leonida Casartelli a vederci insieme a Gigino Gerardi proponendoci una stagione in Italia. Questo incontro con Leonida cambierà la vita di Luciano e inciderà profondamente sulla sua carriera artistica e sul percorso familiare. L’ITALIA E IL CLOWN L’Italia l’ho conosciuta intorno ai 20 anni quando Oscar Togni si è diviso dal fratello Cesare ed ha aperto “Il Circo della Grande Tenda Rossa” (1965). Eravamo a Milano; dopo le Feste trascorse a Milano insieme a Cesare Togni, Oscar è partito da Abbiategrasso con il proprio complesso completamente nuovo, poi siamo stati a Ventimiglia, e abbiamo fatto tutta la costiera tirrenica. Abbiam lavorato in pieno. È stata la mia prima stagione in Italia. Quell’anno da Oscar mi scoprii clown. Come è accaduto a tanti altri colleghi, l’inizio fu per una sostituzione. Mio padre, che era il clown di ripresa, non stette bene e io dovetti sostituirlo. Fu la prima volta, ma anche se ancora giovane, in fondo nella nostra famiglia tutti erano stati acrobati e clown, per cui fu abbastanza naturale. Nel corso della mia carriera poi molto spesso mi sono ritrovato in questo ruolo.

Luciano e Susanna agli esordi del numero di giocoleria sulla scala libera L’inverno lo trascorremmo per la prima volta da Leonida Casartelli al Circo Coliseum, poi di nuovo in Spagna al Britanic Circus (1966) di Amoros-Silvestrini e poi di nuovo con i Casartelli, questa volta in Turchia come Barselona Sirki dove oltre a presentare il mio numero di giocoleria sulla scala, presentavamo l’entrata dei clown Celè.

Barselona Sirki, l'insegna utilizzata da Leonida Casartelli in Turchia nella stagione 1967 Per l’inverno 1967/68 ricevetti una scrittura al Circo Canestrelli (di Armando Canestrelli) per 2 mesi. Era la prima volta da soli, io e mia sorella Rosanna. Ricordo ancora: 11 ore di treno fino a Catania per debuttare poi a Racalmuto. Era un circo di medie dimensioni, ma con uno spettacolo molto carino. Al debutto tra il pubblico c’erano solo uomini, perché prima dovevano venire loro a controllare se potevano portare le loro donne a vedere lo spettacolo, se era adatto e non era scandaloso. Mi fissavano con diffidenza… sarebbe stato bene mostrare alle proprie fidanzate un bel giovane in pista? La permanenza in Italia continuerà al Circo Tribertis, poi nel 1970 mentre Darix Togni porta una prima unità del suo Circo nell’Acqua in Svezia, Luciano sarà nella compagnia di un secondo Circo nell’Acqua gestito da Ugo Miletti e Wioris Togni nel Sud Italia. Luciano tornerà poi dai Casartelli fino a rimanerci definitivamente. Infatti il 10 marzo 1972 a Taranto si sposa con Josette Casartelli. Un’unione fortunata da cui nasceranno due splendidi figli, talentuosi acrobati e comici poliedrici come nella tradizione di famiglia: Roni (1973) e Stiv (1978). Josette sarà anche assistente di Luciano in quel difficile ruolo di chi deve passare gli attrezzi, lanciandoli nel modo “giusto”.

1972. Matrimonio di Luciano Bello e Josette Casartelli a Taranto LA RICETTA DEL SUO SUCCESSO Col tempo cercavo di vendere bene quello che facevo. Vedendo tutti i grandi giocolieri dell’epoca, avevo capito che non avrei potuto competere con loro sul piano della tecnica, erano dei mostri e sarebbe stato impossibile raggiungerli, ma avevo anche compreso che la presentazione era importante quanto la tecnica, e col tempo affinai il mio numero in modo che potesse essere altrettanto efficace, aggiungendo un pizzico di malizia. La simpatia, la finta caduta dalla scala, il sorriso e la ricerca di un repertorio che uscisse un po’ dall’ordinario. Il numero di Luciano in effetti è sempre stato originale e vario: iniziava con le clave, poi passaggi con i palloni da calcio, il lancio dei piatti, le palline lanciate con la bocca e le clave lanciate mentre era in equilibrio sulla scala, dunque un finale in crescendo. PALLINE IN BOCCA Il trucco delle palline lanciate con la bocca lo vidi nel 1966 quando eravamo in Spagna con Amoros-Silvestrini, importanti agenti catalani dell’epoca che gestivano vari circhi. El Gran Picasso era agli inizi come giocoliere, era soprattutto trombettista, dormiva in una Citroen 2 cavalli, ma stava iniziando a provare, era appassionato, in prova si vedeva già il suo talento. Si esercitava con le palline con la bocca, provava sempre, e vedendo lui mi è poi venuta in mente l’idea di inserire quell’esercizio nel mio numero che negli anni Settanta / Ottanta era ancora poco visto.

Il programma del Britanic Circus con Luciano e i clown Bellos

Anche il fatto di fare il giocoliere con la scala libera era abbastanza una novità per l’epoca, mi dava qualcosa in più perché col giocoliere puoi fare tanti cerchi, tante clave, ma non hai l’effetto finale con cui chiudere un numero. Con l’esercizio sulla scala d’equilibrio, e la falsa caduta, il numero aveva un finale in crescendo che conquistava il pubblico. UN ESERCIZIO UNICO Per un breve periodo a quell’esercizio, in cui giocolavo sulla scala tenendo in equilibrio sulla fronte un’asta con in cima una sorta di abat-jour, ho aggiunto una complicazione. Balkansky mi regalò una pertica, lanciandomi una sfida “ti do una mia pertica perché tanto so che non la userai”. Invece io raccolsi la sfida e verso la fine del numero entrava in pista Roni che aveva 8 anni, truccato da clown, lo facevo salire sulla pertica che tenevo sulla fronte mentre ero sulla scala e lanciavo le clave. Era davvero spettacolare, ma era troppo pericoloso per mio figlio; un giorno ci pensai e mi chiesi perché far correre un rischio di quel tipo a un bambino. Arrivava molto in alto: c’era la pedana che ci sollevava dalla pista, la scala, 2 metri e 60 di pertica, e lui arrivava sotto la cupola. Aveva la lungia tenuta a terra da Artidoro (Dorello) Caveagna, uomo di circo completo e molto affidabile, ma il giorno che non ci fosse stato Dorello? Avrei comunque dovuto togliere quell’esercizio, così decisi di eliminarlo e di tornare a dormire più tranquillo.

L'esercizio del doppio equilibrio, sulla scala con la pertiche sulla fronte al Circo Medrano negli anni Settanta SICUREZZA E DISINVOLTURA Nel 1977 Serena Bassano sulla rivista “Circo” scriveva a proposito di Luciano Bello: “Il suo « numero » è caratterizzato da una «falsa caduta» dalla scala libera che egli esegue da consumato attore, con una divertente... sfacciataggine che gli fa perdonare il sistema per strappare l’applauso, anche da parte dei più severi fautori della estrema serietà in pista. Potenza della simpatia! Anche in veste di clown, Luciano è comunicativo e, soprattutto, disinvolto. Questa della sicurezza di sé e della disinvoltura, è indubbiamente la principale caratteristica di Luciano Bello: una dote che, sia sulla pista di un circo, sia sul palcoscenico od in qualsiasi altra forma di spettacolo, é sempre di grande aiuto ad un artista e gli garantisce il successo e la simpatia del pubblico". Nel presentarlo Eugenio Larible lo definiva "giocoliere-acrobata" per il suo stile che univa elementi tipi della giocoleria, salti mortali, acrobatica a terra, verticali ed equilibri alla scala.

Luciano Bello e Dorello Caveagna a Milano IL GRANDE LEONIDA Luciano arriva dai Casartelli per volere di Leonida che evidentemente vide in lui il talento e lo spessore dell’artista. Dopo i primi inverni a cui seguivano stagioni all’estero o in altri circhi, come abbiamo visto, Luciano diventa parte integrante della famiglia Casartelli. Inevitabile chiedergli un ricordo di Leonida: “Con la scomparsa di Leonida, la nostra famiglia ha perso tantissimo, tutto. Leonida è stato un gigante che in un’epoca di grandi circhi ha saputo poco per volta costruirsi un ruolo e uno spazio, facendosi poco per volta. Ha dovuto faticare non poco per farsi riconoscere dai grandi circhi che cercavano di mantenere le proprie posizioni, ma quando in Italia stentava a farsi dare piazze di prima importanza, si era già aperto mercati importanti in Turchia, Grecia, Bulgaria e successivamente Israele dove il nostro nome è ancora oggi molto forte, grazie alle sue intuizioni. Leonida aveva una visione, un progetto, e ha saputo realizzarlo. Con il Circo Heros (1970-1972) e il Medrano (dal 1972 in poi), ha dimostrato di avere una strategia chiara. Aveva ancora molte idee giuste da mettere in pratica, ma purtroppo non ha fatto in tempo”.

AL CIRCO KNIE Nel 1981 Louis Knie è venuto a fare l’inverno da noi al Circo Medrano a Milano e altre piazze lombarde con i suoi numeri di tigri, tigri sugli elefanti e cavalli. E un giorno mi ha proposto di fare la stagione da loro in Svizzera. Quando sei in famiglia, è difficile uscire e prendere scritture, ma lui ha parlato con i miei cognati e con Ugo De Rocchi e si sono messi d’accordo. E’ stata una bella esperienza. Sono tornato per una stagione a fare solo l’artista. A ripensarci però c’è un ricordo che mi fa ancora sorridere: qui in casa c’è sempre stato molto da fare … viaggi, montaggi, spettacolo, e non ho avuto mai un problema … Arrivo da Knie. Prima del debutto mi si blocca la schiena. Dovevo fare solo il giocoliere e nonostante questo, mi dovevo fare le punture per poter lavorare! Però rimane un bel ricordo e una esperienza indimenticabile. Read the full article

#circomedrano #circomedranocasartelli #circomedranocasartelliderocchi #circuslouiskniesenior #clowndorellocaveagna #dickfranco #fumagalli #gigicavallini #jangoedward #josettecasartelli #leonidacasartelli #louiskniesenior #lucianobello #luismoreno #osterreichischernationalcircuslouiskniesenior #ronybello #stivbello #stivronnibello #wiorisderocchi

0 notes

doppleganger-rental · 5 years

Text

Rockford Files bad guys.

This time it’s two prolific character actors: Rudy Ramos and Avery Schreiber.

#70s fashion #the rockford files #avery schreiber #rudy ramos

39 notes · View notes

falrytales · 2 years

Text

i just posted a couple of new opens which can be found here !

but if none of that tickles your fancy and you want to plot out something else, below the cut is some stuff that i’m interested in now that i’m back from my hiatus ♡

WANTED OPPOSITES

aisha dee

anne winters

brett dalton

charlie weber

danny pino

dj cotrona

douglas booth

dylan arnold

evan roderick

francia raisa

frank grillo

jesse lee soffer

john krasinski

justin theroux

lewis tan

madison bailey

manish dayal

manny montana

max riemelt

michele morrone

oliver jackson cohen

pablo schreiber

peter gadiot

priscilla quintana

rebecca rittenhouse

rudy pankow

samara weaving

scarlett byrne

trevante rhodes

zeeko zaki

WANTED PLOTS

“we got framed for a crime we didn’t commit so now we’re on the run and having to kill and steal to survive and avoid arrest and now we really are dangerous criminals” plot

we’re in rival gangs and i started dating you to get information for mine and i got caught but i only realized i was in love with you when you were jamming your knife into my stomach

“i’m your father’s mistress & and was nearly caught sneaking out early one morning but you saved the day by introducing me as your girlfriend && now your mother invited me to spend the summer at your vacation home so we have to spend the entire summer pretending to be in love.”

“you’ve just married one of my parents, but i don’t want yet another step parent. so i’m gonna tease you until you cave in, and i can tell everyone that you’re a creep. except you never seem to give in, and now i’m getting desperate for you to pay attention to me.”

plot where our muses were high school sweethearts and tried long distance for a while, swore they’d be together forever, gave each other promise rings, the whole ordeal. but they grew apart and broke up. years later, one is moving back home and they’re suddenly running in the same circles again and it’s bringing up a lot of … feelings. bonus if one of them is engaged to someone else

i really need a “you used to be my babysitter and although you were the worst babysitter alive (letting me stay up late, eating cake for dinner, watching rated r movies with me and helping me hide the ceramics we broke) i was practically in love w/ you and told you that i was gonna be your bf/gf someday. you would always just laugh and say that i was too young. WELL i’m older now and we just got matched on tinder/my parents just invited you to my birthday party/etc

a plot where one is a criminal that’s on the run from the police, and they stumble across this practically empty motel that’s in the middle of nowhere, and they think, hey, perfect place to hide out for a few weeks until the manhunt dies down. the motel is run by a married couple, and their sheltered, somewhat naive child – well, actually they’re an adult by now, but they’ve never left their small town, had a job outside the motel, or been anywhere, and their parents still treat them like a kid. the criminal checks in, of course not mentioning why they’re here, and the owners’ kid is fascinated by their guest – they hardly ever get guests for more than a night at a time, let alone guests who seem to have so many interesting stories and secrets…

muse a is a criminal that owns a technically-legal-but-shady business (casino, strip club, nightclub, etc.) that doubles as a front for their definitely-not-legal business. muse b is a brand-new employee. despite them not being in the shady business and rather low on the ranks (and thus, usually not even a blip on muse a’s radar), muse b catches muse a’s eye one night, and the two begin to talk and hang out at work – and that quickly turns into a relationship. the two genuinely fall for each other, and muse a slowly brings muse b further into their world, once they’re sure their criminal activities won’t scare muse b off.except there’s something muse a doesn’t know. muse b was hired by a rival criminal (or possibly the feds) to act as a spy, collecting info on muse a’s shady dealings in exchange for a huge chunk of change.

there’s a hard ass cop, and he always sticks by the rules and works hard and his work is his life but then one day he makes a huge bust in an underground sex ring and carries a girl out, and the media dub him as a superhero, and he feels strangely protective over this girl. So he goes and visits her at the hospital, and she lights up as soon as she sees him and just thanks him continuously, and he starts smiling a bit more, and she doesn’t really talk to anybody except for him because she doesn’t trust anybody except him. Cue her having trouble sleeping at night because of bad dreams and memories, so she calls him to help, and he does, he always does of course. And she calls him when her car breaks down in the middle of the night and she’s terrified, and he literally drops everything for her, and its so obvious they like each other, but he doesn’t know how to do relationships and she’s just a mess from everything thats happened to her, and so much angsty fluffy goodness of them two being awkward and shy dorks at times but also staying up and telling their entire life stories to each other

ok but a verse where muse a and muse b are exes and they go on a skiing trip with their mutual friends every year and it’s the first year they’ve been broken up but the friends really want them to get back together so they tell both of them that the other isn’t going and then when they show up it’s like !!! and it can be cliche like maybe muse a is dating someone new that muse b didn’t know about it but muse b finds out when one of the friends accidentally mentions that they all hate muse a’s significant other and they’re arguing constantly and can’t stand to be in the same room and a blizzard comes so they lose power and it’s freezing and everyone else paired up to cuddle for warmth so the muses are forced into it and it’s all ‘get your feet away from me they’re cold as fuck’ and ‘do you really have to breathe so loud right in my ear’ and ‘you used to like when i held you like this’ and that makes them smile a little and suddenly it gets all fond but muse a is still dating someone

“you’re my dad’s best friend and one night i come to your house because i got locked out of my apartment and you’re only two blocks away. i’m a little tipsy when i come over, and you have the smell of whiskey on your breath. you let me stay the night and it’s late and we’re still talking and we’re definitely not sober and somehow instead of hugging before i go to bed it’s a kiss. things snowball from there; when we wake up in the morning you panic because you just slept with your best friend’s daughter, and i panic because… well, for similar reasons. we promise never to talk about it and a few months go by? until you get a call from my dad ranting and raving about how some idiot got his baby girl pregnant because she’s already three months along and your hEART DROPS” (w/ or w/o the pregnancy)

muse a was born into the life of harleys, guns and rock and roll. her father was the president of a motorcycle gang, while her mother was a sweet woman who welcomed his lifestyle with open arms. it was an unspoken rule that no one in the club, especially full patched members, was allowed to touch muse a, but she couldn’t stop the feelings that had grown for her father’s co president aka muse b. he was older and rough around the edges and she knew he wouldn’t dare even looking at her twice due to the respect he had for her father. although, when she turned eighteen, muse a mustered up the courage to confess her feelings for him during a party at the club house. muse b was shocked to hear she had feelings for him, and told her that he wasn’t interested ( perhaps a small piece of him was? ) and muse a left the party heartbroken. unknown to anyone else, the reason she had decided on confessing her feelings was because she was skipping town the next morning, and didn’t want to have any regrets. she left her parents a short letter telling them that she needed to find her purpose in life and would come back home in the near future. over ten years passed and muse a finally did so, only because she got word her father had died at the arms of a rival gang. muse b had been ranked up as president and is dealing with new responsibilities, and he’s shocked when the scrawny, awkward kid he last saw ten years ago is now a beautiful woman. angst & drama ensues.

NOTES

i only rp on tumblr with people over 21

i only do m/f, f/f, f/nb pairings

like this post and i’ll message you (alternatively, message me first if there’s something on the list that interests you!)

#indie rp #indie smut rp #1x1 rp #1x1 #indie roleplay

3 notes · View notes

betterdaysareatoenailaway · 3 years

Text

RANDOM REVIEW #2: ANY GIVEN SUNDAY (1999)

“This game has got to be about more than winning. You’re part of something.” Any Given Sunday (1999), directed by Oliver Stone and featuring Jamie Foxx, Dennis Quaid, Cameron Diaz, Al Pacino, LL Cool J, James Woods, and Matthew Modine, is my favourite sports movie of all time. Of all time.

I’m not betraying my favourite sport by saying this. The Mighty Ducks is a kid’s movie. It’s okay, but it’s not a timeless classic. I don’t like the Slap Shot series, Sudden Death is fun but silly, and the Goon movies were a missed opportunity. The only truly good scene in Goon is the diner scene where Liev Schreiber tells Seann William Scott: “Don’t go trying to be a hockey player. You’ll get your heart ripped out.”

Such is the sad circumstance of the hockey enforcer. They all want to play, not just fight. Here’s a link to a video in which the most feared fighter in the history of the NHL, Bob Probert, explains that he wanted to be “an offensive threat...like Bobby Orr,” not a fighter: https://youtu.be/4sbxejbMH4g?t=118 Heartbreaking. But not unusual.

Donald Brashear, Marty McSorley, Tie Domi, Stu “The Grim Reaper” Grimson, Frazer McLaren: they all had hockey skills. But they were told they had to fight to remain on the roster, so they fought. As Schreiber says in the film: “You know they just want you to bleed, right?” If the players don’t bleed, they don’t get to stay on the team. So they fight, and they pay dearly for it later. Many former fighters have CTE or other head injuries that make day-to-day life difficult. The makers of Goon should have taken that scene and run with it. I was so disappointed they didn’t, especially given what happened right around the time the film came out, with the tragic suicides of Wade Belak, Derek Boogaard, and Rick Rypien, all enforcers, all dead in a single summer. So Hollywood hasn’t even made a good hockey movie, let alone a great one. Baseball has a shitload of good films, probably because the slower pace of play makes it easier to film. Moneyball has a terrific home run scene, Rookie of the Year does too. Angels in the Outfield was a big favourite of mine when I was a kid, plus all the Major League films, and Bull Durham.

Football has two good movies: The Program (1993) and Rudy (1993).

And football has one masterpiece. The one I am writing about today.

A young Oliver Stone trying not to die in Vietnam. ^ Now, I know Stone is laughed at these days, given his nutty conspiracy theories and shitty behaviour and the marked decline in the quality of his films (although 2012’s Savages was underrated). I know Stone is about as subtle as a sledgehammer, but do you want a football movie to be subtle? Baseball, sure. It’s a game of fine distinctions, but football? Football is war. And war is about steamrolling the enemy, distinctions be damned, which is why Any Given Sunday is such an amazing sports film. I love the way it shows the dark side of football. In fact, the film is so dark that the NFL withdrew their support and cooperation, forcing Stone to create a fictitious league and team to portray what he wanted to portray.

This is not to say the movie is fresh or original. Quite the opposite. Any Given Sunday has every single sports film cliché you can think of. But precisely because it tries to stuff every single cliché into its runtime, the finished product is not a cliched mess so much as a rich tapestry, a dense cinema verite depiction of the dizzying highs and depressing lows of a professional sports team as it wins, loses, parties, and staggers its way through a difficult season. Cliché #1: The aging quarterback playing his final year, trying to win one last championship. (Dennis Quaid)

Sample dialog: Dennis Quaid (lying in a hospital bed severely injured): Don’t give up on me coach. Al Pacino: You’re like a son to me. I’ll never give up on you. ^ I know this sounds awful. But it’s actually fuckin’ great. Cliché #2: The arrogant upstart new player who likes hip hop and won’t respect the old regime. (Jamie Foxx)

Cliché #3: The walking wounded veteran who could die if he gets hit one more time. Coincidentally, he needs just one more tackle to make his million-dollar bonus for the season. (Lawrence Taylor)

Cliché #4: The female executive in a man’s world who must assert herself aggressively in order to win the grudging respect of her knuckle-dragging male colleagues (Cameron Diaz). Diaz is fantastic in the role, though she should have had more screen time, given that the main conflict in the film is very much about the new generation, as represented by her and Jamie Foxx, trying to replace the old generation, represented by Al Pacino, Dennis Quaid, Jim Brown, and Lawrence Taylor. Some people think Diaz’s character is too calculating, but here’s the thing: she’s right. Too many sports GMs shell out millions for the player an individual used to be, not the player he presently is. “I am not resigning a 39-year old QB, no matter how good he was,” she tells Pacino’s coach character, and you know what? She’s right. The Leafs’ David Clarkson signing is proof positive of the perils of signing a player based on past performance, not current capability. Diaz’s character is the living embodiment of the question: do you want to win, or do you want to be loyal? Cuz sometimes you can’t do both.

Cliché #5: The team doctor who won’t sacrifice his ethics for the good of the team (Matthew Modine).

Cliché #6: The team doctor who will sacrifice his ethics for the good of the team (James Woods)

Cliché #7: The grizzled, thrice-divorced coach who has sacrificed everything for his football team, to the detriment of his social and familial life, who must give a stirring speech at some point in the film (Al Pacino…who goes out there and gives the all-time greatest sports movie “we must win this game” speech)

Cliché #8: The assistant or associate coach who takes a parental interest in his players, playing the good cop to the head coach’s bad cop (former NFL star Jim Brown).

Best quote: “Who wants to be thinking about blitzes and crossblocks when you’re holding your grandkids in your arms? That’s why I wanna coach high school. Kids don’t know nothing. They just wanna play.”

Cliché #9: The player who can’t stop doing drugs (L.L. Cool J).

Okay, so the first thing that needs to be talked about is Al Pacino’s legendary locker room speech. Now, it’s the coach’s job to rile up and inspire the players. But eloquence alone won’t do it. If you use certain big words, you lose them (remember Brian Burke being endlessly mocked by the Toronto media for using the word “truculent?”). The coach must deliver the message in a language the players understand, while still making victory sound lofty and aspirational. This is not an easy thing to accomplish. One of my favourite inspirational lines was spoken by “Iron” Mike Keenan to the New York Rangers before Game 7 against the Vancouver Canucks in 1994. “Win tonight, and we’ll walk together forever.” Oooh that’s gorgeous. But Pacino’s speech is right up there with it.

“You know, when you get old in life…things get taken from you. That’s parta life. But you only learn that when you start losin’ stuff. You find out…life’s this game of inches. So’s football. In either game – life or football – the margin for error is so small. I mean…one half a step too late or too early and you don’t quite make it…one half second too slow, too fast, you don’t quite catch it. The inches we need are everywhere around us. They’re in every break of the game, every minute, every second. On this team, we fight for that inch. We claw with our fingernails for that inch. Because we know when we add up all those inches that’s gonna make the fuckin difference between winnin’ and losin’! Between livin’ and dyin’!” https://www.youtube.com/watch?v=m_iKg7nutNY Somehow, against all odds, Any Given Sunday succeeds. It is the Cinderella run of sports movies. You root for the film as you watch it. The dressing room scenes are incredible…the Black players listen to the newest hip hop while a trio of lunkhead white dudes headbang and scream “Hetfield is God.” There is a shower scene where a linebacker, tired of being teased about the size of his penis, tosses his pet alligator into the showers where it terrorizes his tormentors. There is a scene where a halfback has horrible diarrhea, but he’s hooked up to an IV so the doctor (Matthew Modine) has to follow him into the toilet cubicle, crinkling his nose as the player evacuates his bowels. There is a scene where someone loses an eye (the only scene in the film where Stone’s over-the-top approach misses the mark). There are scenes that discuss concussions (which is why the NFL refused to cooperate for the film), where Lawrence Taylor has to sign a waiver absolving the team of responsibility if he is hurt or paralyzed or killed. I wonder how purists and old school football fans reacted to the news that Oliver Stone was making a football film. If they even knew who he was (not totally unlikely…Stone made a string of jingoistic war movies in the 1980s) they probably thought the heavy hands of Oliver would ruin the film, take the poetry out of every play. But the actual football is filmed perfectly. The camera gets nice and low for the tackles. It flies the arcs of perfect spiral passes. It shows the chaos of a defensive line barreling down the field. When Al Pacino asked quarterback Dan Marino (fresh off his own Hollywood experience acting in Ace Ventura: Pet Detective) what it was like to be an NFL QB, Marino said: “Imagine standing on a highway with traffic roaring at you while trying to read Hamlet.” A great explanation. Shoulda made the movie. So the football itself is fabulously done. Much better than what Cameron Crowe did in the few football scenes in Jerry Maguire. The Program had some great football, as did Rudy, but neither come close to the heights of Any Given Sunday. In one of the film’s best scenes, Jamie Foxx insists that his white coaches have routinely placed him in situations where he was doomed to fail or prone to injury, and we believe him because white coaches have been doing that to Black players for decades. Quarterback Doug Williams, who led his Washington Redskins team to a Superbowl victory in 1987, was frequently referred to by even liberal media outlets as a “Black quarterback,” instead of just “quarterback,” as if his skin colour necessitated a qualification. Even now, in 2021, the majority of quarterbacks are white, although the gap is gradually closing. The 2020 season saw the highest number of starting Black quarterbacks, with 10 out of a possible 32. Quarterback is the most cerebral position on the field, and for a long time there was a racist belief that Black men couldn’t do the job. Foxx’s character is a composite of many of the different Black quarterbacks who came of age in the 1990s, fighting for playing time against white QBs beloved by their fan base, fawned over in hagiographic Sports Illustrated profiles, and protected by the good ol’ boys club of team executives and coaching staff. Foxx’s character isn’t demoted because he can’t play the game. He wins several crucial games for his team en route to the playoffs. He’s demoted because he listens to hip hop in the dressing room, because he recorded a rap song and shot a video for it, and because he’s cocky. Yes, the scene where he asks out Cameron Diaz is sexist, as if her power only comes from her sexuality, not her intelligence and business acumen, but it’s meant to show how overly confident Foxx is, not that he’s a sexist prick. Any Given Sunday isn’t a single issue film. It’s basically an omni-protest piece. It gleefully shows football’s dark side, and there is no director better than Oliver Stone for muck-raking. He’s in full-on investigative journalist mode in Any Given Sunday, showing how and why players play through serious brain injuries. How because they are given opiates, often leading to debilitating addictions (this happens in all contact sports...Colorado Avalanche player Marek Svatos overdosed on heroin a few years after retiring from injuries). As to why, Stone gives two reasons. One, team doctors are paid by the team, not the players, therefore their decisions will benefit the team, not the players. And two, the players themselves are encouraged to underreport injuries and play through them because stats are incentivized. James Woods unethical doctor argues with Modine’s idealistic one because an MRI the latter called for a player to have costs the team $20k. But the player in question, Lawrence Taylor, plays anyway because his contract is stat incentivized and if he makes on more tackle he gets a million dollars. Incentivizing stats leads to players playing hurt. And although I loathe this term, a lazy go-to for film critics, Stone really does give an unflinching account of how this shit happens and why. When Williams is inevitably hurt and lying prone on the field, he woozily warns the paramedics who are placing him on a stretcher to “be careful…I’m worth a million dollars.” It’s tragic, yet you’re happy for him. The film really makes you care about these guys. Thanks to the smartly written script, the viewer knows that Williams has four kids, and you’re pleased he made his bonus because, in all likelihood, after he retires, his injuries will prevent him from any kind of gainful employment (naturally, they give the TV analyst jobs to retired white players, unless Williams can somehow land the coveted token Black guy gig). Stone is not above fan service, a populist at heart, and he stuffs the film with former and then-current NFL players, a miraculous stunt given the fact that the NFL revoked their cooperation. Personally, I think this was a good thing because it meant Stone didn’t have to compromise (the league wanted editorial say on all issues pertaining to the league…meaning they would have cut the best storyline, which is the playing hurt one). It also meant that they had to rename the team and the league. While I’m sure this took away from the realism for some fans, I’m cool with it. It also allowed the moviemakers to name the team the Sharks, a perfect name for this roving band of predatory capitalist sports executives. In another example of fan service, the call-girl Pacino’s quintessential lonely workaholic character rents a girlfriend experience from is none other than Elizabeth Berkley of Showgirls, who had been unfairly blacklisted after the titular Verhoven/Esterhaz venture, a movie my wife showed me one day while I was dopesick, which I became so transfixed and mesmerized by that I forgot I was. As mentioned above, the only misstep in the film is one of the offshoots of the Playing Hurt arc, where a player loses an eye on the field. Not because he gets poked, but because he gets hit so hard his eye simply falls out. A medic runs onto the field and puts the white globe on ice. Stone cast a player with a glass eye in order to achieve this effect. No CGI! Still, the scene is unconvincing, a tad too over-the-top. But this is Oliver Stone. At least Any Given Sunday’s sole over-the-top moment is a throwaway scene lasting all of thirty seconds. It easily could have been a secondary plot-line in which government officials try to sneak a Cuban football prodigy out of Castro’s communist stronghold but the player is brutally murdered the morning the officials arrive at his apartment to escort him to the private plane. Or else the team GM is revealed to be a massive international cocaine dealer. Or the tight end is one half of a serial killer couple. The film follows its own advice, focusing more on the players growth, particularly Beamon’s (Foxx). The anonymity of the title, Any Given Sunday, elevates the game, not the players. Thank God, the movie doesn’t force Beamon to assimilate into Pacino’s mold. He buys into the team-first philosophy without renouncing his idiosyncratic POV or his fierce individuality. This is a triumph. One of my biggest problems with sports is the flattening effect it can have on creative individuals. Players take media training in order to sound as alike as possible during media interviews, a long row of stoic giants spouting cliches. It’s boring. Which is why media latch onto a loudmouth, even while they scold him for it. All sports are dying for an intelligent mouthpiece who can explain his motivations in a succinct, sound-bite-friendly, manner. Sports are entertainment. As much as I love Sidney Crosby, in my heart I have to go with Alexander Ovechkin because Ovechkin is far more thrilling, both on and off the ice. Unlike almost every other NHL star before him, all of whom were forced to kneel and kiss Don Cherry’s Rock Em Sock Em ring, Ovechkin defiantly told the media he simply did not care about Cherry or Cherry’s disgusting parental reaction to one of Ovie’s more creative goal celebrations (called a “celly” in the biz). On the play in question, Ovechkin scored the goal, then dropped his stick and mimed warming his hands over it, as if his stick were on fire. As cheesy as the celebration appeared to the naked eye, it’s both a funny and accurate notion. Ovechkin was the hottest scorer in the league for many years and his stick was on fire, metaphorically speaking. The only celly I can think of that matches up in terms of creativity and entertainment value came from Teemu Selanne in 1993, who scored a beauty of a goal, threw one of his gloves straight up into the air, then pumped his stick like a shotgun while “shooting” his glove. Of course, Cherry took exception to it. Cherry’s favourite goal celebration features Bobby Orr putting his head down and refraining from raising his hands over his head. Cherry’s idea of an appropriate goal celly is no celly at all. This from a man who claims “we’ve got to sell our game.” But when an arrogant player shows up and he’s not white, he’s in for a shitload of bad press. Foxx’s Beamon illustrates this beautifully when he yells at Pacino after Pacino cuts him for an older QB who has lost four games this season. “Don’t play that racism card with me,” Pacino warns. “Okay…okay…” Foxx nods, “Maybe it’s not racism. Maybe it’s ‘placism’…as in…a brother got to know his place.”

youtube

Here is the original theatrical trailer, featuring Garbage’s classic “Push It.”

youtube

Above Lawrence Taylor begs Matthew Modine for Cortazone. There’s also a great scene where Pacino is trying to figure out where he has gone wrong and Diaz just looks at him. “You got old,” she says simply. No enterprise is more cruel to an aging human being than sports. And this movie makes football a big giant corporate machine that chews players up and spits them out, injured and drug addicted, after four or five years. Those who play for a decade are lucky. This is still how the NFL works. And the NHL is increasingly becoming a young man’s game. Experience matters less and less.

When I started watching hockey in the 90s, players regularly competed into their late 30s. Not so anymore. Players peak at 23-24 now, and are often out of the league by age 35. Thornton and Chelois are exceptions, not the rule. After more than two hours, Any Given Sunday finally lurches across the finish line, bravely refusing to give its viewers a traditional happy ending, in the great tradition of underdog sports films like Rocky and Rudy. The bombshell dropped by Pacino’s character at the end feels less surprising than inevitable, but by now the movie has explored so much of professional sports' seedy underbelly that you're glad it's over. The film is great but exhausting. Stone seems to be advancing the notion that the sport itself is pure, but the people in it are corrupt. If money weren’t involved, the game would be played for its own sake.

I agree with this. People playing pond hockey are engaging in wholesome fun, not necessarily practicing to make a professional league. Commerce corrupts the purity of the game, and the extent to which it corrupts is directly proportional to how badly the individual in question needs the commerce. Of course, the sport is highly racialized, with people in positions of authority white, and those being told what to do with their bodies Black.

Any Given Sunday is an important film, but it never sacrifices entertainment for the sake of moralizing. That it pulls off such a strong moralistic stance is a testament to the actors, who are all incredible, and the material, which is among the strongest of Stone’s career.

He never really made a great movie after this one. So check it out sometime.

#betterdaysareatoenailaway #anygivensunday #al pacino #jamie foxx #dennis quaid #james woods #matthew modine #jim brown #lawrence taylor #cameron diaz #ll cool j

13 notes · View notes

tuseriesdetv · 5 years

Text

Noticias de series de la semana: Más 'Manifest', adiós 'The Gifted'

Renovaciones

NBC ha renovado Manifest por una segunda temporada

Hulu ha renovado Shrill por una segunda temporada

FOX ha renovado Last Man Standing por una octava temporada

Netflix ha renovado Suburra por una tercera temporada

Cancelaciones

FOX ha cancelado The Gifted tras su segunda temporada

FOX ha cancelado Rel tras su primera temporada

Dave ha cancelado Zapped tras su tercera temporada

Noticias cortas

Demimonde pasa a llamarse Contraband.

Jon Seda (Antonio Dawson) no volverá como regular a la próxima temporada de Chicago PD.

Colin O'Donnell (Connor Rhodes) y Norma Kuhling (Ava Bekker) no volverán como regulares a la próxima temporada de Chicago Med. debido a razones creativas relacionadas con la evolución de sus personajes.

DC Universe ha recortado la primera temporada de Swamp Thing de trece a diez episodios.

Incorporaciones y fichajes

Pablo Schreiber (Orange Is the New Black, American Gods) protagonizará Halo. Será Master Chief.

John Cusack (Con Air, High Fidelity) también se une a Utopia. Será el doctor Kevin Christie, una mente brillante y carismática que quiere cambiar el mundo a través de la ciencia.

Rita Moreno (One Day at a Time, West Side Story) será la exmujer de Rudy (Ed Begley Jr.) en la season finale de Bless This Mess.

Sterling K. Brown (This Is Us, American Crime Story) estará en la tercera temporada de The Marvelous Mrs. Maisel. Se desconocen detalles.

Alison Pill (The Newsroom, American Horror Story), Harry Treadaway (Mr. Mercedes, Penny Dreadful) e Isa Briones (Hamilton) se unen a la serie de Star Trek protagonizada por Picard (Patrick Stewart). No se conocen detalles.

Alden Ehrenreich (Solo; Hail, Caesar!) será John the Savage en Brave New World.

Thuso Mbedu (Shuga), Aaron Pierre (Krypton, Britannia), Chase W. Dillon (The First Wives Club) y Joel Edgerton (The Great Gatsby, Zero Dark Thirty) protagonizarán The Underground Railroad. Serán Cora, Caesar, Homer y Ridgeway.

Alex Landi (Grey's Anatomy) se une como recurrente a la segunda temporada de Insatiable. Se desconocen detalles.

John Hoogenakker (Jack Ryan, Colony) será recurrente en la segunda temporada de Castle Rock como un hombre conectado con Annie Wilkes (Lizzy Caplan).

Hina Khan (Hit the Floor) se une como recurrente a Stargirl. Se desconocen detalles.

Vera Cherny (The Americans, Counterpart) será recurrente en la cuarta temporada de Queen of the South como Oksana Volkova, una mujer dura relacionada con la mafia rusa.

Adam Ferrara (Nurse Jackie, Rescue Me) será recurrente en Why Women Kill como Leo, el marido de Sheila (Alicia Coppola).

Jason Manford (Ordinary Lies), Catherine Tyldesley (Coronation Street), Stephanie Cole (Still Open All Hours, Coronation Street), Maggie Ollerenshaw (Last of the Summer Wine, Still Open All Hours), Steve Edge (Phoenix Nights, Benidorm), Claire Sweeney (Brookside), Harriet Webb (Edge of Heaven, White Gold) y Gina Fillingham (Kiri) protagonizarán Scarborough.

Pósters

Nuevas series

Netflix encarga seis episodios de una comedia creada, producida y protagonizada por Mike Myers en la que interpretará a varios personajes.

Amazon desarrolla The Last Mrs. Parrish, drama basado en la novela de Liv Constantine (2017). Escrita y producida por Jessica Mecklenburg (The Twilight Zone, Stranger Things). Es un thriller sobre una mujer joven y blanca que lucha por infiltrarse en la alta sociedad usurpando la vida de cuento de hadas de una abeja reina solo para darse cuenta de que se le ha ido de las manos.

Marvel planea desarrollar una serie de Valkyrie protagonizada por Tessa Thompson.

BET encarga ocho episodios de Twenties, comedia sobre la amistad y la búsqueda del amor creada y escrita por Lena Waithe (Boomerang, The Chi) cuando tenía veintitantos. Trata sobre una lesbiana negra llamada Hattie y sus mejores amigas hetero, Marie y Nia.

David Thewlis (Wonder Woman, Harry Potter) protagonizará Barkskins, adaptación de la novela de Annie Proulx (2012) para National Geographic. Será Monsieur Claude Trepagny, un terrateniente adinerado con grandes visiones para el futuro de la Nueva Francia en el siglo XVII. Escrita por Elwood Reid (The Chi, The Bridge).

Fechas

Alta mar llega a Netflix el 24 de mayo

La décima temporada de Archer se estrena en FXX el 29 de mayo

La segunda temporada de Burden of Truth se estrena el 2 de junio

La cuarta temporada de Queen of the South se estrena en USA Network el 6 de junio

La segunda temporada de Big Little Lies se estrena en HBO el 9 de junio

La segunda temporada de Krypton se estrena en Syfy el 12 de junio

La segunda temporada de Strange Angel se estrena en CBS All Access el 13 de junio

Jinn llega a Netflix el 13 de junio

Los Espookys se estrena en HBO el 14 de junio

La segunda temporada de The Outpost se estrena en The CW el 11 de julio

The Boys llega a Amazon el 26 de julio

Tráilers y promos

Big Little Lies - Temporada 2

youtube

When They See Us

youtube

The Rain - Temporada 2

youtube

The Loudest Voice

youtube

The Boys

youtube

Archer - Temporada 10

youtube

Strange Angel - Temporada 2

youtube

Krypton - Temporada 2

youtube

Tuca & Bertie

youtube

Jinn

youtube

Younger - Temporada 6

youtube

#series tv #television

3 notes · View notes

dahogn · 5 years

Photo

Botschafter des Bayerischen Waldes: Kuli-Kini Rudolf Mühlehner. Jetzt den 45. Teil unserer Botschafter-Serie auf hogn.de lesen. #kugelschreiber #kuli #rudi #mühlehner #muehlehner #schreiber #sammeln #leidenschaft #sammelleidenschaft #fnbw #brandten #langdorf #landkreisregen #regen #sammlerei #ferienregion #nationalpark #bayerischer #wald #bayerischerwald

#Instagram #Hognstagram

0 notes

rudydirectingthree-blog · 5 years

Link

The performance of Words, Words, Words by David Ives directed by Rudy

Milton- Vinnie Pontari

Kafka- Erin Russo

Swift- Clark Smith

#theatre #davidives #monkey #wordswordswords

0 notes

hammondcast · 7 years

Text

Jon Hammond Show Public Access TV Broadcast 02 11 NAMM Show Wrap Up At The Rainiest NAMM Show Since 1992!

#WATCHMOVIE HERE: Jon Hammond Show Public Access TV Broadcast 02 11 NAMM Show Wrap Up At The Rainiest NAMM Show Since 1992! Jon's archive https://archive.org/details/JonHammondShowPublicAccessTVBroadcast0211NAMMShowWrapUpAtTheRainiestNAMMShowSince1992 Anaheim California -- Wrapped up now at the rainiest NAMM Show I can remember since 1992, when Katella Avenue turned in to a little river - in those days we stayed 5 guys to a room in a 'suite' at the Heidi Inn motel which was located directly across the street from the original round Anaheim Convention Center before the posh new digs were built - good times and of course we had the best parking spot, all we had to do was cross Katella and we were there! - Jon Hammond https://vimeo.com/202617378 Jon Hammond Show Public Access TV Broadcast 02 11 NAMM Show Wrap Up Photo by Lawrence Gay - Drummer Heinz Lichius from Hamburg Germany and Jon Hammond seated on the rained out CenterStage presented by Pioneer DJ Jon Hammond reminiscing about past NAMM Shows in the NAMM Oral History Program Anaheim Caifornia -- Jon Hammond Show Public Access TV Broadcast 02 11 NAMM Show Wrap Up at the rainiest NAMM Show since 1992! - This week's show for MNN TV opens up with the annual NAMM Industry Tribute 2017 Memoriam Event from Jon Hammond's camera - annual event and archive from NAMM Show Historian Dan Del Fiorentino - this year many personal friends honored - this clip includes additional music from Jon Hammond "Jennifer's Song" for rights reasons, keep the Spirit! R.I.P. Lutz Büchner, Gregg Gregory Gronowski, Keith Emerson, Dan Hicks, Paul Kantner, Toots Thielemans, Rob Wasserman, Prince, Maurice White, Buckwheat Zydeco and many more "The NAMM Community will never forget you." *actual clip LINK: https://www.namm.org/library/oral-history/namm-memoriam-industry-tribute-2017 *Note: This always happens on the first evening of the Winter NAMM Show - this year it was on Thursday January 19th at 5:30PM - moved inside due to heavy weather! LIST ACCORDING TO JON HAMMOND: John Bellone, Leo Beranek, Bruce Bergh, Paul Bierley, Bobby Blackford, Dick Bridgeman, Ernie Briefel, Jim Broadus, Don Buchla, Lutz Büchner, Prince Buster, Al Caiola, Toby Capalbo, Nicki Carano, Rob Carey, Phil Chess, Gary Christensen, Buddy Church, Barrett Clark, Guy Clark, Tim Coffman, Leonard Cohen, Rosemarie and Ed Coles, Bob Cranshaw, Johnny Craviotto, William Dettman, Dick DiCenso, John Edmondson, Sam Eisenman, Keith Emerson, Frank Fendorf, Chuck Flores, Orrin Foslien, Peter Fountain, Cassie Frantz, Carla Frederick, Glenn Frey, Bob Furst, Juan Gabriel, Ben Germain, James Glanville, Roberta Gottschalk, Buddy Greco, Christina Grimmie, Gregg Gronowski, Merle Haggard, Joe Halloran, Bill Harris, Nicholas Harris, Yasuji Hayashi, Glenn Hefner, Mary Henkin, Mark Herman, Hoot Hester, Randy Hewiston, Joe Hibbs, Dan Hicks, Charles Hill, Bobby Hutcherson, Bill Irwin, Wayne Jackson, James Jamerson Jr., OJB Jezreel, Steven Johnson, Luke Johnston, Ziggy Kanstul, Paul Kantner, Dick Knaub, Gladys Krenek, Rick Kylan, Greg Lake, Larry Larson, Francois LeDuc, William Locke, John D. Loudermilk, George Lukas, Lonnie Mack, Sir George Martin, Jack Maxson, John McCrea, Henry Cullough, Owen McPeek, Mo Meloy-Pameteer, Nick Menza, Al Moffatt, Chips Woman, Paul Monachino, Scotty Moore, Alphonse Mouzon, Jerry Muenchow, Robert Nagel, Richard Norris, Milt Okun, Pauline Oliveros, Harvey Olsen, George Opperman, John O’Sullivan, John Otte, Robert Paiste, Bob Parker, Sylvia Perry, Csaba Petocz, Richie Pidanick, Bill Price, Prince, Anthony Pulcini, Curtis Purdy, Cora Rather, Al Realo, Jack Ripperger, Vale Robinson, Leon Russell, Helen Saied, Stanley Schireson, Zenon Schoepe, Hugo Schreiber, Dorothy Schwartz, William Scotti, Dan Sheehan, Shinichi Shimada, Rose Shure, Tom Size, Dan Smith, Vern Smith, Sid Smither, Jerry Snyder, Ralph Stanley, Chris Stone, Rod Temperton, Toots Thielemans, Victor Tibaldeo Sr., Isao Tomita, Dana Tracy, Martin Travis, Ed Uribe, Rudy Van Gelder, Vincent van Haaff, Bobby Vee, Maxine Volley, Cathy Wagner, Saul Walker, Nannette Ward, Rob Wasserman, Christopher Waters, Bob Wegher, Bobby Wellins, Maurice White, Monty Lee Wilkes, Tom Wilson, Duane “Pudgy” Wong, James Woolley, Bernie Worrell, Dolores Yaeger, Don Young, Buckwheat Zydeco (156) - according to Jon Hammond Producer Jon Hammond Audio/Visual sound, color Language English -- Next segment, the traditional NAMM Show Sunday Blues and Jazz Session with Jon Hammond and Friends in Hammond Organs stand 5104 and Suzuki Musical Instruments 5100 "Lydia's Tune" and Jon's Theme Song: "Late Rent" Musicians: Koei Tanaka chromatic harmonica, Joe Berger guitar, Chuggy Carter percussion, Jon Hammond at the Sk1 Hammond organ + bass - camera credit: Jesse Gay -- 3rd segment, very special Jon Hammond with the late great Joe Franklin at the microphone - Joe Franklin the legendary broadcaster wraps up this show from his offices on West 43rd Street kown as "Memory Lane" with Jon Hammond's long time theme song "Late Rent" - Jon Hammond Show is now in it's 34th year broadcasting on Manhattan Neighborhood Network MNN TV Community Channel 1, air time: 01:30 AM every late Friday night or early Saturday mornings EST and streaming worldwide aka HammondCast ©JON HAMMOND International http://www.HammondCast.com Photo by Lawrence Gay: John Riddle NAMM Trade Show Floor Manager and Jon Hammond LINK: https://www.namm.org/library/oral-history/john-riddle "John Riddle plays a vital role in the NAMM Trade Show and has for decades. His strong relationships with exhibiting companies is proof of his dedication for customer service when providing care for NAMM members, all the while ensuring that they adhere to the rules and regulations. Walking the show floor with John is an education of its own. He has been dedicated to the core values of NAMM in such a way and for so long it is hard to know which services NAMM always had and which ones John created for us to follow. " Attribution-Noncommercial-No Derivative Works 3.0 Jon Hammond Show, Public Access TV, NAMM Show Wrap Up, Anaheim California, Jazz, Blues, Soft News, Hammond Organ, Chromatic Harmonica, #NAMMShow #HammondOrgan

#reminiscing #1992 #rained #namm show #chromatic harmonica #hammond organ #blues #jazz #soft news

2 notes · View notes

db-best · 5 years

Text

Records Show Giuliani Aide Emailed White House To Help Set Up Call With Pompeo - NPR

Records Show Giuliani Aide Emailed White House To Help Set Up Call With Pompeo – NPR

New documents show Secretary of State State Mike Pompeo had contact with President Trump’s personal lawyer Rudy Giuliani weeks before the U.S. Ambassador to Ukraine was recalled. Markus Schreiber/AP hide caption

toggle caption

Markus Schreiber/AP

New documents show Secretary of State State Mike Pompeo had contact with President Trump’s personal lawyer Rudy Giuliani weeks before the U.S.…

View On WordPress

#news #world news

0 notes

buzz-london · 5 years

Video

youtube

With the threat of impeachment looming, Donald Trump (Alec Baldwin) calls those closest to him including Rudy Giuliani (Kate McKinnon), Kanye West (Chris Redd), William Barr (Aidy Bryant), Mike Pence (Beck Bennett), Kim Jong-un (Bowen Yang), Jeanine Pirro (Cecily Strong) Eric and Don Jr. (Alex Moffat, Mikey Day), and Liev Schreiber.

https://youtu.be/xR25izGfrmQ

#impeachment #snl

0 notes

bapakharyoso · 5 years

Link

“ Saturday Night Live ” has returned with its 45th season, and it wasted no time diving into the polarizing political climate by adding to the discussion around Donald Trump’s impeachment.

Alec Baldwin and Kate McKinnon kicked things off with a phone call Baldwin’s Donald Trump made from the Oval Office to McKinnon’s Rudy Giuliani to tell him he was being impeached, which he called “the greatest presidential harassment of all time — I’m like the president of harassment.” But soon enough new cast member Bowen Yang got his moment to shine, too. As did special guest star Liev Schreiber.

...

#‘Saturday Night Live’: Alec Baldwin Kicks Off Season 45 With Impeachment Cold Open (Watch) - Variety

0 notes

melbynews-blog · 6 years

Text

USA | Blubbern im Sumpf

Neuer Beitrag veröffentlicht bei https://melby.de/usa-blubbern-im-sumpf/

USA | Blubbern im Sumpf

Sonderermittler Mueller und das FBI kommen dem Weißen Haus immer näher

Am Wochenende beschimpfte der oberste Twitter-Schreiber der Nation eine „drittklassige Reporterin“ der New York Times. Diese war der heiklen Frage nachgegangen, ob Donald Trumps Privatanwalt und mutmaßlicher „Mann fürs Unfeine“, Michael Cohen, nach der FBI-Durchsuchung seiner Wohnung und seines Büros nun mit den Ermittlern kooperieren werde. Cohen werde das nicht tun, versicherte Trump. Doch hat er nach der Razzia mit Rudy Guiliani einen superloyalen Hochkaräter in die Verteidigungsriege geholt, einst Staatsanwalt und Bürgermeister von New York. „Rudy ist großartig“ und wolle „diese Sache schnell klären zum Wohl des Landes“, teilte der Präsident mit.

Im Raum stehen russische Wahlmanipulation, möglicherweise dubiose Immobiliengeschäfte und Schweigegeld für Frauen, um sexuelle Beziehungen Trumps unter den Bettvorleger zu kehren. Läuft da etwas „schief“, könnte Trump unter Eid aussagen müssen wie seinerzeit Bill Clinton über seine Affären. Die Ressourcen des FBI sind überwältigend selbst gegen einen Präsidenten. Beim FBI und bei Sonderermittler Robert Mueller genügen keine Attacken auf Fake News. Stellt der Präsident in dieser Lage die Untersuchungen zunehmend in Frage, sind Befürchtungen wegen einer Staatskrise nicht unbegründet.

Fragwürdige Geschäftspartner

Das Magazin New Yorker, eben ausgezeichnet mit dem Pulitzer-Preis wegen seiner Enthüllungen um den Hollywood-Producer Harvey Weinstein, hat potenzielle Problempunkte bei der „Trump Organization“ zusammengefasst: Dieser Mischkonzern der Familie, global aktiv im Immobilien- und Hotelgewerbe, habe häufig Geschäfte gemacht „mit korrupten Politikern, Sanktionsbrechern und Geldwäschern“, so das Blatt. Cohen sei bei vielen Deals involviert gewesen. Vater Trump hätte überdies Grund zur Sorge um Sohn Donald und Tochter Ivanka. Die beiden seien das „globale Entwicklungsteam“ und hätten „weltweit Hände geschüttelt mit fragwürdigen Geschäftspartnern“. Mueller hat bereits zwei bedeutende frühere Mitarbeiter von Trump – Paul Manafort und Rick Gates – des Betrugs und der Geldwäsche angeklagt.

Zumindest irritierend für Trump ist die jetzt erhobene Zivilklage der Demokratischen Partei gegen seine Wahlkampagne. Der Vorwurf gilt russischen Diensten und Wikileaks-Chef Julian Assange (der belangt wird, obwohl er seit 2012 ein Asyl in der Botschaft Ecuadors in London durchhält). Es seien Zehntausende von Dokumenten der Demokraten gehackt worden, um diese mit Wikileaks an die Öffentlichkeit zu bringen. Die Trump-Kampagne sei ein „williger und aktiver Partner“ gewesen, heißt es. Namentlich genannt werden Donald Trump jr. und Schwiegersohn Jared Kushner.

Nicht alle Demokraten sind von der Klage begeistert, sie lenke von den Defiziten der Partei ab, die eher an der Niederlage schuld seien als die Hacker. Doch drohen Trumps Leuten wegen der Klage Vorladungen zu eidesstattlichen Aussagen. In etlichen Artikeln haben US-Medien kolportiert, Trumps Anwälte wollten persönliche Befragungen verhindern. Ihr Mandant habe Probleme mit Fakten.

Angefangen hat das Tauziehen mit der Justiz schon vor Trumps Amtsantritt Anfang 2017, als vom „Steele Dossier“ die Rede war, einem unbestätigten Geheimbericht, dem zufolge das „russische Regime“ Trump seit fünf Jahren umwerbe, auch mit Immobiliengeschäften. Am 17. Mai 2017 hat dann das Justizministerium Sonderermittler Robert Mueller eingesetzt, der mögliche Russlandkontakte sowie alle Vorgänge zu prüfen hat, die durch die Ermittlungen zum Vorschein kommen – darunter die Behinderung von Ermittlungen.

Die „Hexenjagd“, wie Trump schimpft, ist nicht nur ein rechtliches Problem. Sie trifft das überlebensgroße Ego des Präsidenten und den Mythos, Trump sei ein außerordentlich talentierter und superreicher Unternehmer. Es wurde hart gearbeitet, diesen Mythos aufzubauen. Auf der Website von Trump.com steht heute: „Donald J. Trump ist der Inbegriff der amerikanischen Erfolgsgeschichte.“ Er sei der „archetypische Geschäftsmann – ein Deal-Macher ohnegleichen“. Zum Image gehört, dass Frauen ihm nur so hinterherrennen. Die Washington Post publizierte gerade einen Text über Trumps Bemühungen vor Jahren, dank krass übertriebener Angaben zu seinem Vermögen auf die Liste der Superreichen des Magazins Forbes zu gelangen.

Trumps Gegner sind versucht, Mueller und das FBI als Verbündete zu sehen. Erst recht den früheren FBI-Direktor James Comey, der in seinem A Higher Loyalty, dem neuen Auspack-Buch Größer als das Amt, in den Medien gefeiert wird als Verkünder der Wahrheit über den „moralisch ungeeigneten“ Präsidenten. Doch zeigt der Blick in Trumps Hausmedien von Fox bis Breitbart, dass es irgendwie klappt mit dem Aufbau der alternativen Realität. Bei vielen Anhängern herrscht Nibelungentreue. Es sei ein Fehler, anzunehmen, dass die Medien „das amerikanische Volk reflektieren“, sagte der rechte Rundfunkmoderator Rush Limbaugh seinen Millionen Hörern.

„Wir werden sehen“

Was Mueller einmal in seinem Abschlussbericht schreibt, weiß man nicht. Gegen Michael Cohen ermittelt auch die Staatsanwaltschaft von New York. Ebenso wenig weiß man, ob und wie Trump oder andere Republikaner Muellers Ermittungen behindern werden. Präsident Trump könnte versuchen, Mueller abzusetzen. Ob er das darf, ist unter den Rechtsexperten umstritten. Es wäre Rezept für einen epischen Zusammenstoß. Mitte April hat Trump ein kaum zu übersehendes Signal geschickt an Personen mit Informationen, die Mueller interessieren könnten. Ganz unerwartet hat er Scooter Libby begnadigt, Stabschef des früheren republikanischen Vizepräsidenten Richard Cheney. Libby war 2007 wegen Meineids bei FBI-Ermittlungen, bei denen es um die Enttarnung einer CIA-Agentin ging, zu Gefängnis verurteilt worden.

Wir werden sehen, sagt Trump häufig auf Reporterfragen. Wir werden sehen, was passiert, so als hätte er nichts mit dem Ausgang zu tun. Mit diesen Worten antwortete er vor der US-Attacke gegen Syrien auf Fragen, ob er angreifen werde. So reagierte er auf die Frage, wo er sich mit Nordkoreas Staatschef Kim Jong-un treffen werde. Und als Anfang April die Frage aufkam, ob er Sonderermittler Mueller entlassen werde, war zu hören: „We’ll see what happens.“

Lesen Sie mehr in der aktuellen Ausgabe des Freitag.

der Freitag Konrad Ege Quelle

قالب وردپر��

0 notes