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Charlie Lightening on All Of Those Voices | ‘It all made sense to do this film when I saw Louis at a gig with his audience’

Interview by Teddy Coward

Posted 3 hours ago (22.3.23)

Following his acclaimed 2019 documentary on Liam Gallagher, As It Was, director Charlie Lightening has turned his attention to Louis Tomlinson.

The former One Direction star hasn’t had it all as plain sailing as many would assume since the manufactured post- X Factor days. Following the deaths of both his mother and sister, Tomlinson has had to overcome personal plight, as he searches for purpose in his solo career and life on tour. It’s all there to see in All Those Voices – and we spoke to Lightening to find out how the film all came together…

Congratulations on the new film – I found it quite moving, surprisingly so…

It’s interesting you say that. I think in its entirety the film will be surprising to a lot of people: the honesty and Louis’ journey, and how big it’s actually become. Sometimes I find among the press, [Louis] doesn’t get as much credit as say Niall does – and obviously Harry. But this film is something where I think people will think, ‘Wow’, and realise [he should].

Definitely, it’s a very up-close-and-personal film. When did you first meet Louis and when did the idea for making a documentary about him originate?

I made the Liam Gallagher film, As It Was. Louis came to the premiere of that. Then his people got in touch and asked if I’d be interested in making some music videos for him. Obviously, I knew the history of [One Direction] and read certain things about what he’d been through personally. So I met him, and immediately liked him. There was something about him: he wasn’t just nice, but down-to-earth.

In the same way Liam Gallagher isn’t showbiz, Louis is the same – he’s not interested in showbiz mates, he just wants to be a down-to-earth lad. It’s a similar thing to me with my Northern roots. I just got to know him, and the more we talked, there’s a real depth to him. He’s a lot older than his years and a lot wiser than many given him credit for.

Him being a deep thinker comes across clearly in the documentary – especially the chats he has with his vocal coach, Helene Horylck…

And his honesty as well. Honesty and authenticity is what I try to capture when I make a film; at the root of everything I do, it becomes just a human story. It’s about finding something I like about that person, and knowing there’s a journey to go on, and that I can make the audience feel the same way I feel about him. I’ve worked with everyone over the years. I’ve been with Paul McCartney for about 15 years and documented him and learnt a lot from doing that, but it’s always just been me and a camera.

I always thought, ‘How are people going to take me seriously, if it’s just me and a camera?’ So I wanted to go and be the big director on set, with 50 people. Then I realised I lost that pureness of just you, a camera and a person. I’ve realised that’s now become my niche as such. You can see the similarities with [As It Was] and this film, where you’re right with the person.

With that in mind, did you have an initial vision about how you wanted to go about this film or did you just let the cameras roll, as it were? Because there’s this incredible narrative arc that takes place, from an artist a bit unsure of himself to a huge headline world tour…

It goes back to when I met him: I thought there’s so much more to this lad than we’re seeing. And I think being in a band like One Direction, as much as it gives you so many opportunities, it’s also a heavy load to carry, based on what you’re expected to deliver.

Especially for Louis, because of the music he’s into, and who he is, it’s difficult for him because he’s coming out and doing stuff that’s a bit more indie – it’s almost too indie for pop stations, and not indie enough for indie. I felt that the next album [Faith In The Future], was going to one where he’d do something really interesting. So it was his personality, what he was about, his opportunity and where he could go. But then it all made sense when I saw him do a gig with his audience. I thought I could finally make this film because I’d never seen an audience and an artist be on the same level like that.

Originally, we were meant to shoot the film, and it was all about getting on tour. But then because COVID happened, it added a whole other depth to the film. And I think his journey through that, doing those two shows, having a taste of it as a solo artist, and then stepping away from it, I think that made him actually realise his opportunity.

You mentioned One Direction, and obviously you can’t really tell Louis’ story without it, but the film doesn’t really dwell on the band or his time in it. Was that something you were conscious of: to really place emphasis on Louis as a solo artist?

There was so much of a story to tell of after One Direction. In some ways with One Direction, you know the story: they were put together, they brought their own personality, and it went massive. There’s not much more to it. I wanted to get across the whole story about him on that first single when he’s not actually on the single. And then for him to tell the story on the second single, wanting to get on it and going over it for hours with a producer, then he hears it and it’s Harry singing the line.

It must have been crushing: all of this success, everyone’s saying you’re famous, but you’re thinking, ‘What’s my role in this?’ For him to then go and want to be involved in the songwriting was so clever – if he’s not going to sing the line, if he wrote the line that’s almost better. That for me was the most important thing about One Direction; it was him finding his feet in it and then feeling validated with it.

There are some very difficult moments in Louis’ life too – chiefly the deaths of his mother and sister. What do you think Louis has in his character to overcome such immense challenges, especially with such public attention?

I think it’s his mum. I never got to meet her, but I felt a heavy responsibility in telling the story because obviously it’s someone’s life and it’s a sensitive scenario. At the same time, it could be something that could be milked or done in a certain way. It needed to be told, but I didn’t think it needed to be lingered on. There’s a line that [Louis’] grandma says: “we pride ourselves on being decent people”. And you can see that in Louis, he’s ahead of his years, which is what his mum gave him.

What were some of the biggest challenges you had in making this documentary?

Normally it would be like, ‘Right, we’ve got ten people coming to do this shoot, we’ve got two weeks and within that time we need X, Y and Z.’ Whereas, I’ll want to shoot for longer and it will organically happen. I think sometimes that can be tough because it all goes on in my head. A lot of the time we’re just hanging out, and it happens without [the artist] even realising. But I think it can be tougher on a bigger scale because you have to keep a lot of people happy.

Louis does come across exceptionally open in the film. Did that come immediately to him or did you have to build a rapport with him to get there? And how did you go about establishing that?

I’ve always just got on with people. There’re so many – I won’t say the word – idiots in the industry. There’s lots of egos and self-inflated people. And, for myself, I’ve always very much got on with the artist, it’s a very organic process. People just seem to let me in and trust me. Once that trust is established, nothing is off the table, we can talk about everything.

The only thing with Louis, because it was so personal, is once we got to the end [of filming], if there was anything that wasn’t right, or he didn’t feel comfortable, we would at least talk it through. But there wasn’t anything, I was surprised. The one thing I was worried about when he first saw the cut of it was how he would feel about all the personal stuff because I was so aware of how I wanted it to be. But by the time he saw it, there were actually no real comments about the personal stuff.

The story of Louis being a young dad is quite powerful too. It must have been quite an emotional project to film and create for you personally, to be in and amongst that…

I lost my mum as well, not too long before we started filming, so there was a sense of empathy from myself because of what Louis had been through. But I never felt sorry for him. I think in the past, it felt as though a lot of people had felt sorry for him, or they hadn’t necessarily looked at how good he is. That’s why, in some ways, he hasn’t talked about this stuff in the past, and why it’s good it’s in the film, because he’s said it all. He doesn’t need to go into too much detail with it.

Did that narrative arc that takes place surprise you as it developed, and you were making the film?

Yeah, you’re only as good as your subject, in many respects. With Louis, one, you’ve got the story; two, the arc of it; and three, because he’s grown up with cameras because of One Direction, is how comfortable he is around it. I think if you try and manipulate something, try and hold something back, I the viewer can tell – I can tell, anyway.

And then if you think about the fact that with the first tour, because he didn’t want to put his shop out and go and do massive shows from beginning, but wanted to feel it out, the first tour was smaller shows. But because of it being canceled two shows in, then he did livestream a year later and he’s in the Guinness Book of Records – it was the best thing. By the time he finally gets to go on tour, the need and want to see him was even greater.

We started the tour in America, and kept it in the theatre size, just to get a feel for it all. By the time we got to Europe, he then upgraded to arenas. And then we go to South America and he’s doing numerous nights in arenas. So, in some respects, you have the story of what you’d do over two or three tours, all happening at once.

Out of all of Louis’ lyrics, why did you choose All Of Those Voices as the title?

We thought “all of those voices” works on many levels. It’s “all of those voices” in his head, all of the voices that have said ‘you can’t do it’, or ‘you’re not good enough’. It’s also “all of those voices” of the audience in the crowds who’ve lifted him up. We took that line because it had so many meanings.

Speaking of all the people who put him down and those who’ve lifted him up, how far do you think Louis can go now?

Again, that’s a funny one. He’s already at a point that most artists don’t even get to. Personally I feel that what he can do is continue to champion indie bands, taking them on tour, and hopefully people can leave the snobbery just because he was in a pop band.

I think he’s just at the beginning, though, really – now he’s got the confidence to do what he wants. I mean, his shows are great, man. I’ve showed the film to younger people; my assistant director, for one, was a big One Direction fan as a kid, and she said, “I just didn’t realise he was doing this, I want a ticket to go see that show.”

Do you think this is a film for the fans, or were you making this for people beyond that base?

It was really important to me to make a human story. Hopefully the fans will love it, but it was really important to make a film that if someone who isn’t a big fan put it on, they’d think, ‘Wow, he’s a cool guy’. I’ve got a lot of respect for Louis, and I value him dearly as a friend as well. But at the same time, it’s really important to me it’s not a purely promotional piece, or anything that’s made to further someone’s career, like a lot of these documentaries are. I think it would be hard to critique what we’ve done because he’s just being honest.

There are so many fans who come up to Louis at signings and say, ‘You’ve saved my life’ and ‘thank you’; because he’s had success and been very lucky, but also some of the stuff he’s been through is quite touching – at the same time, like he says [in the film], that could happen to anybody. I feel that for him to show that he’s been through it, and be honest that it’s been tough for him, but that he’s trying to get through it and be positive, is such a strong message for people.

#aotv promo #charlie lightening #louis press #22 march 2023 #Charlie interview

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zot3-flopped · 1 year

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Here we go: "All Of Those Voices: The Global Screening. Streaming live from Los Angeles on May 13. Includes coverage of the red carpet pre-show, live in-depth interview with Louis Tomlinson & director Charlie Lightening, and full documentary film screening: [link]" twitter com/AOTVFilm/status/1651637220913160203

Thank you! Not another red carpet with nobody on it except Louis and Charlie! This is all the streaming poor Louies will get.

#'The Global Screening' lmao #pure bombast #all of those voices

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aion-rsa · 3 years

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The United States vs. Billie Holiday: The Federal Bureau of Narcotics Was Formed to Kill Jazz

https://ift.tt/3smcRhE

This article contains The United States vs. Billie Holiday spoilers.

Federal drug enforcement was created for the express purpose of persecuting Billie Holiday. Director Lee Daniels’ The United States vs. Billie Holiday focuses a cinematic microscope on the events, but a much larger picture is visible just outside the lens. Holiday’s best friend and one-time manager Maely Dufty told mourners at the funeral that Billie was murdered by a conspiracy orchestrated by the narcotics police, according to Chasing the Scream: The First and Last Days of the War on Drugs by Johann Hari. The book also said Harry Anslinger, head of the Federal Bureau of Narcotics, was a particularly virulent racist who hounded “Lady Day” throughout the 1940s and drove her to her death in the 1950s.

This is corroborated in Billie, a 2020 BBC documentary directed by James Erskine, and Alexander Cockburn’s book Whiteout: The CIA, Drugs, and the Press, which also claims Anslinger hated jazz music, which he believed brought the white race down to the level of African descendants through the corrupting influence of jungle rhythms. He also believed marijuana was the devil’s weed and transformed the post-Prohibition fight against alcohol into a war on drugs. The first line of battle was against the musicians who partook.

“Marijuana is taken by… musicians,” Anslinger testified to Congress prior to the vote on the 1937 Marijuana Tax Act. “And I’m not speaking about good musicians, but the jazz type.” The LaGuardia Committee, appointed in 1939 by one of the Act’s strongest opponents, New York City Mayor Fiorello LaGuardia, ultimately refuted every point made in the effective drug czar’s testimony. Based on the findings, “the Treasury Department told Anslinger he was wasting his time,” according to Chasing the Scream. The opportunistic department head “scaled down his focus until it settled like a laser on one single target.”

Federal authorization of selective enforcement should come as no surprise. Just this month, HBO Max released Judas and the Black Messiah about how the FBI and local law enforcement targeted the Black Panthers and put a bullet in the back of the head of Fred Hampton after he was apparently drugged by the informant. In MLK/FBI (2020), director Sam Pollard used newly declassified files to fill in the gaps on the story of the U.S. government’s surveillance and harassment of Martin Luther King, Jr. Days ago, The Washington Post reported the daughters of assassinated civil rights leader Malcolm X requested his murder investigation be reopened in light of a deathbed letter from officer Raymond A. Wood, alleging New York police and the FBI conspired in his killing.

During the closing credits of The United States vs. Billie Holiday we read that Holiday, played passionately by Andra Day in the film, was similarly arrested on her deathbed. She was in the hospital suffering from cirrhosis of the liver when she was cuffed to her bed. They don’t mention police had been stationed outside her door barring family, fans, and well-wishers from offering the singer comfort as she lay dying. They also don’t mention that police removed gifts people brought to the room, as well as flowers, radio, record player, chocolates, and any magazines. When she died at age 44, it was found that Holiday had 15 $50 bills strapped to her leg, the remainder of her money after years of top selling records. Billie intended to give it to the nurses to thank them for looking after her.

As The United States vs. Billie Holiday points out, the feds had been watching Holiday since club owner Barney Josephson encouraged her to sing “Strange Fruit” at the integrated Cafe Society in Greenwich Village in 1939. Waiters would stop all service during the performance of the song. The room would be dark, and it would never be followed by an encore.

The lyric came from a three-stanza poem, “Bitter Fruit,” about a lynching. It was written by Lewis Allan, the pseudonym of New York schoolteacher and songwriter named Abel Meeropol, a costumer at the club. Meeropol set the words to music, and the song was first performed by singer Laura Duncan at Madison Square Garden.

Holiday and her accompanist Sonny White adapted Allan’s melody and chord structure, and released the song on Milt Gabler’s independent label Commodore Records in 1939. The legendary John Hammond, who discovered Holiday in 1933 while she was singing in a Harlem nightclub called Monette’s, refused to release it on Columbia Records, where Billie was signed.

The song “marked a watershed,” according to David Margolick’s 2000 book Strange Fruit: Billie Holiday, Cafe Society, and an Early Cry for Civil Rights. Influential jazz writer Leonard Feather called the song “the first significant protest in words and music, the first significant cry against racism.”

Holiday experienced the brutally enforced racial segregation of the Jim Crow laws during her trips south with her bands, according to Billie Holiday, the 1990 book by Bud Kliment. She was also demeaned at the Lincoln Hotel in New York City in October 1938 when management demanded she walk through the kitchen and use the service elevator to get on the stage. Holiday also caught flak for being considered too light skinned to sing with one band, and was on at least one occasion forced to wear special makeup to darken her complexion.

Holiday was 18 years old when she recorded her first commercial session with Benny Goodman’s group at Columbia Records, but knew firsthand that an integrated band would be more threatening than an all-Black group. According to most biographies, Holiday began using hard drugs in the early ’40s under the influence of her first husband, Jimmy Monroe, brother of the owner of Monroe’s Uptown House in Harlem.

Anslinger, the first commissioner for the Federal Bureau of Narcotics, was an extreme racist, even by the standards of the time, according to Chasing the Scream. He claimed narcotics made black people forget their place in the fabric of American society, and jazz musicians created “Satanic” music under pot’s influence.

The United States vs. Billie Holiday doesn’t shy away from the drug czar’s blatant racism, but Garrett Hedlund’s Harry J. Anslinger doesn’t capture the full depths of the disgust the man felt and put into practice through his selective enforcement. Hedlund is able to mouth some of the epithets his character threw at ethnic targets, but most of the actual quotes on record are so offensive there is no need to subject any audience to them today. The film barely even mentions the strange and forbidden fruit imbibed in slow-burning paper that Anslinger obsessed over almost as much as Holiday’s song.

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Commissioner Anslinger came to power during the “Reefer Madness” era, and shaped much of the anti-marijuana paranoia of the period, according to Alexander Cockburn’s Whiteout: The CIA, Drugs, and the Press. His first major campaign was to criminalize hemp, rebranding it as “marijuana” in an attempt “to associate it with Mexican laborers.” He claimed the drug “can arouse in blacks and Hispanics a state of menacing fury or homicidal attack.”

Anslinger promoted racist fictions and singled out groups he personally disliked as special targets. He said the lives of the jazzmen “reek of filth,” and the genre itself was proof that marijuana drives people insane. On drug raids, he advised his agents to “shoot first.” Anslinger persecuted many black musicians, including Thelonious Monk, Charlie Parker, Dizzy Gillespie and Duke Ellington. When Louis Armstrong was arrested for possession, Anslinger orchestrated a nationwide media smear campaign.

The Federal Bureau of Narcotics’ “race panic” tactics had a double standard. Anslinger only had a “friendly chat” with Judy Garland over her heroin addiction, suggesting she take longer vacations between films. He wrote to MGM, reporting he observed no evidence of a drug problem.

Anslinger ordered Holiday to cease performing “Strange Fruit” almost immediately after word got out about the performances. When she refused, he sent agent Jimmy Fletcher to frame the singer. Anslinger hated hiring Black agents, according to both Whiteout and Chasing the Scream, but white officers stood out on these investigations. He did insist no Black man in his Bureau could ever be a boss to white men, and pigeonholed officers like Fletcher to street agents.

Donald Clark and Julia Blackburn studied the only remaining interview with Jimmy Fletcher for their biography Billie Holiday: Wishing on The Moon. That interview has since been lost by the archives handling it. According to their book when Fletcher first saw Billie at the raid on her brother-in-law’s Philadelphia apartment in May 1947, “She was drinking enough booze to stun a horse and hoovering up vast quantities of cocaine.”

Fletcher’s partner sent for a policewoman to conduct a body search. “You don’t have to do that. I’ll strip,” Billie said before stripping and marking her territory in a provocative show of non-violent defiance by urinating on the floor (another action Daniels’ movie glosses over). Holiday was arrested and put on trial for possession of narcotics.

According to Hettie Jones’ book Big Star Fallin’ Mama: Five Women in Black Music, Holiday “Signed away her right to a lawyer and no one advised her to do otherwise.” She thought she would be sent to a hospital to kick the drugs and get well. “It was called ‘The United States of America versus Billie Holiday,’” she recalled in Lady Sings the Blues, the 1956 memoir she co-wrote with William Dufty, “and that’s just the way it felt.” Holiday was sentenced to a year and a day in a West Virginia prison. When her autobiography was published, Holiday tracked Fletcher down and sent him a signed copy.

When Holiday was released in 1948, the federal government refused to renew her cabaret performer’s license, which was mandatory for performing in any club serving alcohol. Under Anslinger’s recommended edict, Holiday was restricted “on the grounds that listening to her might harm the morals of the public,” according to the book Lady Sings the Blues.

The jazz culture had its own code. Musicians not only wouldn’t rat out other musicians, they would chip in to bail out any player who got popped. When it appeared Fletcher, who shadowed Holiday for years, became protective of Holiday, Anslinger got Holiday’s abusive husband and manager Louis McKay to snitch.

Two years after Holiday’s first conviction, Anslinger recruited Colonel George White, a former San Francisco journalist who applied to join the Federal Bureau of Narcotics. The personality test given to all applicants determined White was a sadist, and he quickly rose through the bureau’s ranks. He gained bureau acclaim as the first and only white man to infiltrate a Chinese drug gang.

White had a history of planting drugs on women and abused his powers in many ways. According to Chasing the Scream: The First and Last Days of the War on Drugs, after White retired from the Bureau, he bragged, “Where else [but in the Bureau of Narcotics] could a red-blooded American boy lie, kill, cheat, steal, rape and pillage with the sanction and blessing of the All-Highest?” He “may well have been high when he busted Billie for getting high,” according to Chasing the Scream.

White arrested Holiday, without a warrant, at the Mark Twain Hotel in San Francisco in 1949. Billie insisted she had been clean for over a year, and said the dope was planted in her room by White. Bureau agents said they found her works in the room and the stash in a wastepaper basket next to a side room. They never entered the kit into evidence. According to Ken Vail’s book Lady Day’s Diary, Holiday immediately offered to go into a clinic, saying they could monitor her for withdrawal symptoms and that would prove she was being framed. Holiday checked herself into the clinic, paying $1,000 for the stay and she “didn’t so much as shiver.” She was not convicted by jury at trial.

Afterward White attended one of Holiday’s shows at the Caf�� Society Uptown and requested his favorite songs. After the show was over, the federal cop told Billie’s manager “I did not think much of Ms. Holiday’s performance.”

In 1959, Billie collapsed while at the apartment of a young musician named Frankie Freedom. After waiting on a stretcher for an hour and a half, Manhattan’s Knickerbocker Hospital turned her away, saying she was a drug addict. Recognized by one of the ambulance drivers, Holiday was admitted in a public ward of New York City’s Metropolitan Hospital. She lit a cigarette as soon as they took her off oxygen.

In spite of being told her liver was failing and cancerous, and her heart and lungs were compromised, Holiday did not want to stay at the hospital. “They’re going to kill me. They’re going to kill me in there. Don’t let them,” she told Maely Dufty.

Billie went into heroin withdrawal, alone. When Holiday responded to methadone treatment, Anslinger’s men prevented hospital staff from administering any further methadone, even though it had been officially prescribed by her doctor. Drug cops claimed to find a tinfoil envelope containing under an eighth of an ounce of heroin. It was found hanging on a nail on the wall, six feet from Billie’s bed where the frail and restrained artist could not have reached it.

The cops handcuffed her to the bed, stationed two policemen at the door and told Holiday they’d take her to prison if she didn’t drop dime on her dealer. When Maely Dufty informed the police it was against the law to arrest a patient in critical care, the cops had Holiday taken off the list.

Outside the hospital, protesters gathered on the streets holding up signs reading “Let Lady Live.” The demonstrations were led by the Rev. Eugene Callender. The Harlem pastor, who built a clinic for heroin addicts in his church, requested the singer be allowed to be treated there.

Holiday didn’t blame the cops. She said the drug war forced police to treat people like criminals when they were actually ill.

“Imagine if the government chased sick people with diabetes, put a tax on insulin and drove it into the black market, told doctors they couldn’t treat them, then sent them to jail,” she wrote in Lady Sings the Blues. “If we did that, everyone would know we were crazy. Yet we do practically the same thing every day in the week to sick people hooked on drugs.”

Holiday’s social commentary didn’t end with “Strange Fruit.” She wrote and sang about racial equality in the song “God Bless the Child,” her voice captured the pains of domestic violence. Most of Holiday’s contemporaries were too scared of being hassled by the feds to perform “Strange Fruit.” Billie Holiday refused to stop. She was killed for it. But never silenced.

The United States vs. Billie Holiday is streaming on Hulu now.

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sumers · 5 years

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NETFLİXTEKİ IMDB PUANI 8.0 ÜSTÜ İLK 30 DİZİ

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8,6 Rate

A group of very peculiar robbers assault the Factory of Moneda and Timbre to carry out the most perfect robbery in the history of Spain and take home 2.4 billion euros.

Stars: Úrsula Corberó, Itziar Ituño, Álvaro Morte, Alba Flores

Votes: 104.577

15. The Punisher

(2017– )

53 min | Action, Adventure, Crime

8,6 Rate

After the murder of his family, Marine veteran Frank Castle becomes the vigilante known as "The Punisher," with only one goal in mind: to avenge them.

Stars: Jon Bernthal, Amber Rose Revah, Ebon Moss-Bachrach, Ben Barnes

Votes: 118.094

16. Mindhunter

(2017– )

60 min | Crime, Drama, Thriller

8,6 Rate

Set in the late 1970s, two FBI agents are tasked with interviewing serial killers to solve open cases.

Stars: Jonathan Groff, Holt McCallany, Anna Torv, Hannah Gross

Votes: 104.505

17. Dark

(2017– )

60 min | Crime, Drama, Mystery

8,6 Rate

A family saga with a supernatural twist, set in a German town, where the disappearance of two young children exposes the relationships among four families.

Stars: Oliver Masucci, Karoline Eichhorn, Jördis Triebel, Louis Hofmann

Votes: 87.320

18. Line of Duty

(2012– )

60 min | Crime, Drama, Mystery

8,6 Rate

DS Steve Arnott is transferred to the police anti-corruption unit after the death of a man in a mistaken shooting during a counter-terrorist operation.

Stars: Martin Compston, Vicky McClure, Adrian Dunbar, Craig Parkinson

Votes: 14.922

19. Luther

(2010–2019)

60 min | Crime, Drama, Mystery

8,5 Rate

DCI John Luther is a near-genius murder detective whose brilliant mind can't always save him from the dangerous violence of his passions.

Stars: Idris Elba, Dermot Crowley, Michael Smiley, Warren Brown

Votes: 95.648

20. Happy Valley

(2014– )

58 min | Crime, Drama

8,5 Rate

Catherine Cawood is the sergeant on duty when flustered and nervous accountant Kevin Weatherill comes into her West Yorkshire station to report a crime.

Stars: Sarah Lancashire, Siobhan Finneran, Shane Zaza, Charlie Murphy

Votes: 25.355

21. Ozark

(2017– )

60 min | Crime, Drama, Thriller

8,4 Rate

A financial adviser drags his family from Chicago to the Missouri Ozarks, where he must launder $500 million in five years to appease a drug boss.

Stars: Jason Bateman, Laura Linney, Julia Garner, Sofia Hublitz

Votes: 92.715

22. The Expanse

(2015– )

60 min | Drama, Mystery, Sci-Fi

8,4 Rate

A police detective in the asteroid belt, the first officer of an interplanetary ice freighter and an earth-bound United Nations executive slowly discover a vast conspiracy that threatens the Earth's rebellious colony on the asteroid belt.

Stars: Steven Strait, Cas Anvar, Dominique Tipper, Wes Chatham

Votes: 62.249

23. The Last Kingdom

(2015– )

60 min | Action, Drama, History

8,3 Rate

The year is 872, and many of the separate kingdoms of what we now know as England have fallen to the invading Danes, leaving the great kingdom of Wessex standing alone and defiant under the... See full summary »

Stars: Alexander Dreymon, Ian Hart, David Dawson, Eliza Butterworth

Votes: 44.430

24. Hakan: Muhafiz

(2018– )

15+ | 40 min | Action, Fantasy, Sci-Fi

8,3 7

Given mystical powers by a talismanic keepsake, a young man embarks on a quest to fight shadowy forces and solve a mystery from his past.

Stars: Çagatay Ulusoy, Ayça Aysin Turan, Hazar Ergüçlü, Okan Yalabik

Votes: 8.569

25. Broadchurch

(2013–2017)

48 min | Crime, Drama, Mystery

8,3 Rate

The murder of a young boy in a small coastal town brings a media frenzy, which threatens to tear the community apart.

Stars: David Tennant, Olivia Colman, Jodie Whittaker, Andrew Buchan

Votes: 68.712

26. Bodyguard

(2018– )

60 min | Crime, Drama, Thriller

8,2 Rate

A contemporary thriller featuring the Royalty and Specialist Protection Branch of London's Metropolitan Police Service.

Stars: Richard Madden, Sophie Rundle, Vincent Franklin, Ash Tandon

Votes: 38.592

27. Manhunt: Unabomber

(2017– )

60 min | Crime, Drama

8,2 Rate

An in-depth look at how an FBI profiler helped track down the terrorist Ted Kaczynski, the Unabomber.

Stars: Sam Worthington, Jeremy Bobb, Ben Weber, Chris Noth

Votes: 30.959

28. The Blacklist

(2013– )

43 min | Crime, Drama, Mystery

8,1 Rate

A new FBI profiler, Elizabeth Keen, has her entire life uprooted when a mysterious criminal, Raymond Reddington, who has eluded capture for decades, turns himself in and insists on speaking only to her.

Stars: James Spader, Megan Boone, Diego Klattenhoff, Ryan Eggold

Votes: 147.930

29. Jessica Jones

(2015– )

56 min | Action, Crime, Drama

8,1 Rate

Following the tragic end of her brief superhero career, Jessica Jones tries to rebuild her life as a private investigator, dealing with cases involving people with remarkable abilities in New York City.

Stars: Krysten Ritter, Rachael Taylor, Eka Darville, Carrie-Anne Moss

Votes: 165.189

30. River

(2015)

60 min | Crime, Drama, Mystery

8,1 Rate

John River is a brilliant police inspector whose genius lies side-by-side with the fragility of his mind. He is a man haunted by the murder victims whose cases he must lay to rest.

Stars: Stellan Skarsgård, Nicola Walker, Lesley Manville, Eddie Marsan

Votes: 14.985

#netflix #netflixdizi #eniyidizi #netflixtop30 #netfliximdb #netfliximdbtop #netflixeniyi #netflixtürkiye #imdbtop #izlenecekdizi #izlenecekdiziler #izlenecek diziler #netflix en iyi diziler #aile dizileri #en yüksek puanlı diziler #ne izlemeliyim

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popentertainment-interviews · 6 years

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The Stars Come Out For the 2018 Heath Ledger Scholarship

By Lindsey Blick

Pop Entertainment was invited to cover the arrivals at the Heath Ledger Scholarship event at the historic Chateau Marmont in Los Angeles. It was a night of gratitude, love, and beautiful memories of a man that inspired many people. Everyone was dressed to the nines as they gathered to walk the red carpet. The night started off with some of the board members of Australians in Film (AIF), followed by past and present judges. Then the finalists, along with some of the VIP guests, gathered for photographs and interviews.

Each year the Australians in Film Heath Ledger Scholarship is awarded to a young upcoming actor or actress who demonstrates exceptional talent, passion for the arts, and commitment to excellence. In addition, it allows emerging Australian talent the opportunity to jump-start their careers and break into Hollywood. Australians in Film is a non-profit organization that is based out of the Los Angeles area. They serve to help open doors for young actors and actresses from the Australian community that are planning on pursuing a career in the film and television industry.

The 10th Anniversary Scholarship Prize includes;

· Two round-trip Qantas economy airfares from Australia to Los Angeles.

· $10,000 towards a living allowance, rent and transport assistance in Los Angeles.

· Group acting classes and personal coaching from Lisa Robertson Studio.

· Movement and Voice classes with Kennedy Brown.

· Dialect coaching with Joy Ellison.

· Group acting classes from Nancy Banks Studio.

· Group acting classes and personal coaching from Jean-Louis Rodrigue and Kristof Konrad at Alexander Techworks.

· Private acting classes from Guru Monteiro.

· Immigration services from Kate Raynor & Associates.

· Reel editing by Top LA editor Darwin Serink.

· Headshot Sessions from Sally Flegg Photography.

· Hair and Makeup styling for headshot sessions by Sophia Lee.

· Gym classes from Training Mate.

· Dinner + Medallion from EP & LP.

· Hair Styling by Hello Darling Salon.

· Lifetime AiF membership, which includes access to the creative workspaces, Charlie's at Raleigh Studios, including invitations to exclusive AiF Events such as The Australian Oscar and Emmy Nominees Reception.

· General meeting introductions to Hollywood casting directors.

· Mentoring by leading actors working in Hollywood.

Mojean Aria was last year's recipient of the Heath Ledger Scholarship. Since then has gone on to do some pretty amazing things! When we caught-up with him last night, we asked him how winning had impacted his life.

"Changed my life," Aria said with confidence. "I have since then gotten an agent, which I didn't have before and have an incredible team. I am also currently working on a series and my first film." In addition, he spoke about how he has gotten very close to the Ledger family and has been able to spend quite a bit of time with them.

We then asked Aria who he thought was going to win this year, in which he promptly said, "I don't know. I really have no idea. I don't want to ask because I am so nervous for them. But there are a couple finalists that I know are incredible, I've seen their work and they are really good! I love Charmaine Bingwa. She reminds me of a young Viola Davis. Aaron Glenane has been doing this a long time. He can do comedy and drama better than a lot of people I know."

When asked what he thought Heath Ledger's legacy was he said, "To explore the depths of human curiosity and expression."

Emotions ran high in all the finalists, as just being there was such a huge honor. Here is what a few of them had to say.

"I get teary eyed every time I talk about Heath," said finalist Aaron Glenane. "His generosity and his spirit are two things that I really admire."

"I think his legacy was helping people, he was all about helping his fellow Australians move to America," agreed Bethany Whitmore.

"It's such a huge honor to be here tonight, it's amazing to be in some small way associated with Heath," explained Harvey Zielinski.

While finalist Ezekiel Simat said, "I love Heath so much, it would be amazing to be connected to him and the Ledger family, as their generosity is on another level."

Even actress Abbie Cornish – who co-starred in the film Candy alongside Ledger – said, "Working with Heath was one of the best experiences of my life. He was such an incredible human and an incredible actor. He was very free, spontaneous, loving, and generous. What an amazing career he had."

And the 2018 winner is...

Charmaine Bingwa! The Australian/Zimbabwean actress is not only the winner of the 10th Annual Heath Ledger Scholarship, but the first woman of color/openly gay woman to be honored with this prestigious award.

Bingwa, has also been honored with the Sydney Theatre Awards and Broadway World nominations for Best Supporting Actress in 2017. Most recently, she has starred in the film Nekrotronic (2018) alongside Monica Bellucci. In addition, she starred, wrote, produced, and directed the series Little Sista (2018) which won Best Screenplay at the LGBT Toronto Film Festival. She also recently starred in the Australian feature film The Pitch, and three short films – "Boys Will Be Boys", "Can You Dig It" and "Waiting for God." She also wrote the German-Australian short film "Stille Nacht".

In addition to her career-making turn in Doubt: A Parable, last year alone she graced theatre stages 79 times in five different productions in some of Australia's most celebrated venues. These included Mame at Hayes Theatre (dir: Richard Carroll), American Beauty Shop at KXT Bakehouse (dir: Anna McGrath), Birdland at New Theatre and (dir: Anthony Skuse), The Seagull in the iconic role of Masha at The Depot Theatre (dir: Anthony Skus).

Bingwa can also sing and play the guitar. She has performed with international artists such as Demi Lovato, Rachel Platten and Fifth Harmony on their tours in Australia.

She has studied improv at Upright Citizens Brigade (completed 101, 201, 301, 401), has studied at the Atlantic Acting School in New York and holds a Bachelor of Music and a Bachelor of Commerce.

When we met up with Charmaine on the carpet she was incredibly humble, beautiful and absolutely delightful.

"It would mean so much to win, just to be associated with Heath and his legacy would be a huge thing," said Bingwa on the red carpet. "It would mean for me a chance for other voices to get out there and be heard. It's hard for females. It's hard for gay people, women of color; I feel like I embody all three of those things. So, I think it would be great to get out there and represent all of those people because everyone likes to be heard and no one likes to feel invisible."

Charmaine was radiating when she arrived last night, wearing a beautiful bright green dress, "I thought I would add a pop of color," she said with a smile. She was very sweet, and genuinely honored to be there. When asked what she thought Ledger's legacy was she said, "To change people with your spirit. He was such a spirited man. That goes to show how far that contagious spirit can get you and the huge impact it can have on people."

It was without a doubt an unforgettable evening for everyone involved. Many VIP guests came out to show their support for this magnificent cause. Names such as Max Greenfield (New Girl), Liv Hewson (Santa Clarita Diet), Tom Cocquerel (Table 19), Gia Carides (Big Little Lies), Damon Herriman (Once Upon A Time in Hollywood), Louis Hunter (The Fosters), Abbie Cornish (Candy), and Jonny Pasvolsky (Westworld)… just to name some. And of course, Heath's father Kim, mother Sally Bell, and sister Kate Ledger were all present.

Judges

This year's HLS judges consisted of Carmen Cuba (Casting Director of Stranger Things), Jeremy Podeswa (Emmy-nominated director of Handmaid's Tale & Game of Thrones), and Lorenzo di Bonaventura (Producer of The Meg and Transformers Franchise).

We were able to talk to last year’s judge Kimberly Peirce, who is a director known best for the feature film Boys Don't Cry, which won the Academy Award for Best Actress for Hillary Swank. When we spoke with Pierce we asked her what as a judge she looked for when picking the finalists?

"What was great about being a judge was being able to clear my head and watch the tapes and be as open as possible,” Pierce replied. “At first, you’re always scared that you won't see it. Then suddenly these people come on screen and they are beautiful, brilliant, charismatic, and well trained. They just capture your heart and tell you a story".

Then we asked her what specific qualities she looks for in the finalists. Pierce answered, "To me it's a level of honesty. But not a rigid honesty, it's an honesty that has humor, it has charisma, that is constantly changing, brings me in one way and moves me another way."

It's clear after talking to Kimberly Pierce that personality and heart go a long way with the judges when it comes to selecting finalist each year. You could definitely tell that each and every one of the finalists that were selected this year had something special about them or were very unique in one way or another. I can honestly say that all of the finalists seemed to be incredibly talented and beautiful human beings; we will definitely be seeing more of all of them in the near future.

Scholarship

This life changing scholarship is worth over $30,000 which covers the cost of living expenses in Los Angeles, Qantas airfares, acting classes and mentoring sessions. To date, $280,000 in Scholarship prizes has been awarded to help the winners with career and educational opportunities in the U.S.

#Heath Ledger Scholarship #2018 #Interviews #Charmaine Bingwa #Abbie Cornish #Lindsey Blick #Ashley Foster

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jamiesuniblog-blog · 7 years

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Student Journal (Assignment 2)

End of Week 1

For my first week at Amnplify, I straightaway got into the action and had a live review. The first one was Gordi at the Thousand Pound Bend in Melbourne. This venue was like entering an episode of Pretty Little Liars. It was a dark, mystic shed with a few lights that created a dark, mysterious atmosphere. Gordi took to the stage with a small crowd of around 200 and the mood was electric. The hollow shed absolutely complemented her vocals and it was such a special gig to be a part of. I felt like I wasn’t even working because I knew exactly how I was going to write my review for the show. It was so effortless as I felt so much passion in my task of writing the review.

I also had a single review this week for Demi Lovato’s new single Sorry Not Sorry. Being a massive fan I just had to cover her comeback and once again I absolutely smashed my review as I felt like I could write with such confidence and ease.

I think the hardest part about this week was watching the tutorial video on how to edit and post our reviews for the website before they went live. It took a few hours to wrap my head around the editing aspect of it but once I got the hang of it all, everything was pretty straightforward.

End of Week 2

This week I had an interview with artist TESHA on her new EP release. I had to send a set of fifteen questions to her team and they would eventually email me back with TESHA’s answers. The response was surprisingly super quick. The responses to my questions stunned me as they were so in depth and descriptive which is not what I expected. It was such a cool experience having that communication with an artist and getting a deeper insight into the meaning of their music. Writing up the review was pretty simple as it was pretty much my questions and her answers.

This week I also had a single review for Selena Gomez’s new track Fetish featuring Gucci Mane. It was fun to write up this review as the music video had come out at the same time so I was able to show more understanding and express a stronger opinion for the review.

What I learnt this week was not to be so afraid of trying something different. I was quite nervous about doing the interview with TESHA because I wasn’t sure if my questions were going to be good or interesting enough as I wasn’t really sure what was the ‘appropriate’ thing to ask. However, everything ran so smoothly and the experience was amazing.

End of Week 3

This week I got to go and do another live review. I went and saw Brightness at the Yah Yah’s in Melbourne. This experience was completely different compared to the Gordi experience in week 1. This venue was at the top of a bar and the crowd was a bit lifeless and dull bringing in around 50 people. The music was really hard to hear, as the speakers weren’t really that clear and it was quite easy to become distracted. When I went to go write this review I had to speak with my boss and emphasise the fact that I felt like I couldn’t really write anything positive about it, as I didn’t find the gig enjoyable. I learnt a really valuable lesson from him that sometimes you just have to push through and do with what you’ve got. My boss helped me tremendously in structuring this particular review.

I also had a single review for Louis Tomlinson for his first solo track Back To You featuring Bebe Rexha. As I absolutely fell in love with this song, I was able to write another passionate review that I felt was really bold in expressing my opinion.

All in all, a interesting and valuable week as I learnt not every review I write is going to be easy but it’s worth the risk to step out of my comfort zone and experience something that is not within my normality.

End of Week 4

This week I was reviewing Little Mix’s concert at Margaret Court Arena in Melbourne. Reviewing a venue that is quite large compared to the small gigs that I have attended so far, it was such a different experience when it came to writing the review. There were so many more aspects to write about such as the staging, the merchandise, the fandom, the mosh pit, the screens, the outfits, the lighting and so on.

Click here for Little Mix review

Later in the week I also reviewed Julia Michaels’ EP release Nervous System. It was such an incredible ride writing about an album this time, as I was able to write about the journey it took me on and the story between each track on the EP.

The hardest thing about this week was the length of my reviews and the extra amount of time it took due to the concert being long, as well as the EP review being my first non-single review. I also had a performance review with my boss and we went over a few editing tips that he thought I could benefit from. He gave me some really good constructive criticism that I felt was really going to help make my reviews more solid and professional.

End of Week 5

This week was such an entertaining week. Charli XCX dropped a music video for her single Boys and I was over the moon that I had the opportunity to write about it as it featured so many male celebrities within the video. It was so pleasing to review and I felt like with the performance review the week before, I was really getting into the swing of making my reviews look and sound a whole lot better.

Later in the week I also had another single review for Zara Larrson’s single Only You. It was quite a different experience writing about a song that is more of a ballad as the way you express yourself involves a more vulnerable tone that my previous reviews. I was learning a lot about my feelings and emotions towards the music I was hearing which I believe was making me a much stronger journalist.

Then towards the end of the week Camila Cabello dropped her double feature singles OMG and Havana and I just had to review them. It was once again a whole difference experience writing about two singles in the one review, as I had to connect the meaning of the songs and really understand what I was conveying in my writing.

I think what I learnt the most this week was that it’s okay to show a little more vulnerability in my work and not rely so much on all the upbeat kind of work as that’s what my main focus was on weekly. I had such a versatile range of artists and reviews to write that I loved having a sense of diversity to work with.

End of Week 6

This week was the first week I was going to write a whole album review. I listened to Kesha’s comeback album Rainbow the day it dropped and had fourteen songs to write about. Thinking it was going to be an enormous challenge, structuring the review was probably the most difficult part where as writing the actual review flowed so effortlessly. I learnt that writing a review for an album was similar to telling a story, you explain and respond to the different chapters, however they all link together and give you one big picture at the end.

Click here for Kesha review

This week I also had a single review for Justin Bieber’s track Friends with Bloodpop. It was such a drastic change from writing the Kesha review as the sound was completely different and it gave me a good opportunity to once again show some diversity in the work I was doing.

This week I learnt to trust my instincts. When it came to writing the album review I was a little bit scared to be completely honest. However, it really is a piece of art that you’re writing about and there isn’t really a right or wrong answer. I also learnt some new editing tips as album reviews include my images and quotes throughout the final reviews.

End of Week 7

This week I wrote another album review for Australian artist Citizen Kay. As his style of music is the complete opposite of what I usually listen to, I found a new appreciation for his type of genre as I really listened to the words and was able to write a review that was really in depth and meaningful.

I also had a single review for CNCO and Little Mix’s collaboration Reggaeton Lento (Remix). This was such an awesome review to write about, as half the song is sang in Spanish so I had to really rely on the instrumental and the beat of the track to empahsise the way I felt or thought about the song.

This week I was also introduced to a new task which was doing news for the website. Basically in entails picking any media release or promotional content that is sent to our company and editing it for our own website and posting it. The process of this was quite similar to writing a review as the editing aspect was exactly the same. However, instead of writing your own review for a post, you use promotional information for the artist to create the post, which is a lot less time consuming.

I had a lot of fun this week learning about new tasks for the company and performing them. Although I absolutely love writing reviews, it was a nice change to try something different and expose myself to a little bit more of the organisations processes. My boss was extremely helpful in making sure I was comfortable and had enough knowledge to perform the new tasks.

End of Week 8

This week I had Fifth Harmony’s new album Fifth Harmony to review. I straight away learnt that there’s a difference between writing a review for an artist you love compared to an artist who may just seem like another work tasks. You feel like you owe your opinion and honest thoughts to the artist you love, where as if you don’t follow their career or music, you don’t feel the passion in your work explode as heavily. Although I put one hundred percent into every review I do, I wouldn’t be honest if I didn’t say the feeling is different between each review.

This week I also did a review for Taylor Swift’s comeback single Look What You Made Me Do. This was an extremely fun review to write about as the music video had received so much media attention. It gave me a really good opportunity to write about my side of the track and what I believe the messages are. I also continued with a few media releases for the news section of the website.

Click here for Taylor Swift review

This week I felt really comfortable in achieving my weekly goals. I had another performance review with my boss and he just went over a few editing tips once again for the news section side of my tasks, where as he believed my reviews were edited to perfection. He was also expressing the fact that he was extremely happy with the way that I was writing and creating my work. I was really getting the hang of things and felt like I was fitting really nicely into the company.

End of Week 9

This week I had a live review for Ariana Grande at Rod Laver Arena in Melbourne. This concert was so exceptional that I couldn’t wait to write about my experience. Each performance Ariana had showed one hundred percent effort and dedication and you couldn’t help but sing and dance along to every track. My review was probably the best review I believe I had written for the company. It was so natural to write and I feel like I really understood the concept of writing professionally now.

I also had a single review for ZAYN’s single Dusk Till Dawn featuring Sia. Once again, this was probably the best single review I had written for the company. I was so passionate and lost in writing this review as I really resonated with the song.

I was really learning to express all my emotions and pour it into my journalism, as I was so proud of the work I was achieving and the new skills I was learning along the way. Along with writing more for the news section this week, I really started to feel like a working man as if this was my life after university.

End of Week 10

For my last week, I finished off with a few single reviews. I did a review for Lorde’s remix to Homemade Dynamite featuring Post Malone, SZA and Khalid. It was such an interesting review to write because I had to incorporate the different perspectives within the track as there were four different artists singing on it.

I also wrote a review for Post Malone’s new single Rockstar featuring 21 Savage. As he was featured in the Lorde track I reviewed earlier in the week, it was kind of weird writing about the same artist but in a different light as his performance in each track was completely different. I had to learn to make sure that I wasn’t changing my tone on who I believed Post Malone was as an artist as I didn’t want to show two different opinions in the two reviews which could come across as non-researched and unprofessional.

Wrapping up my last week, I continued with my work for the news section along the days. It was nice and chill to finish off my last week with a workload that wasn’t as intense as previous weeks. I felt like the most important thing I learnt after working for Amnplify for ten weeks was that I was getting really comfortable with whatever was thrown my way. My writing skills had improved drastically, my editing and software skills had improved drastically, and more importantly, my media skills journalism was at a completely different level now.

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the-vanderbilt-republic · 7 years

Text

Remember This Time... ↬ 20 July - 22 September 2017

Wikipedia — Keith Allen Haring (May 4, 1958 – February 16, 1990) was an American artist and social activist whose work responded to the New York City street culture of the 1980s by expressing concepts of birth, death, sexuality, and war. Haring's work was often heavily political and his imagery has become a widely recognized visual language of the 20th century.

THE NYC LGBT COMMUNITY CENTER’S DEPARTMENT OF ARTS & CULTURE HAS PARTNERED WITH THE VANDERBILT REPUBLIC TO PRESENT A PHOTOGRAPHIC MONUMENT IN CAMERA OBSCURA

This site-responsive installation speaks to the experience of innumerable individuals who walk along New York City streets & into this building, seeking solace and community among like-minded people. Keith Haring was one of those people, and his legacy addresses the crucial necessity of safe spaces for sexual expression and self-identification. Once Upon A Time was originally commissioned for “The Center Show”, a building-wide celebration of the 20th anniversary of the Stonewall Riots. It was completed months before Haring’s death at 31 years of age. This installation is intended to highlight his masterful artistry, folding the outside world into this bathroom to create a new sense of movement and depth. Conjoining key historical moments with every object that bypasses the camera obscura’s field of view on 13th Street, it blends the seam between our cultural legacy and contemporary times.

INSTALLATION OPENING

THURSDAY 20 JULY 12-3p

THEATRICAL OBCURA PERFORMANCE CYCLES

SATURDAY 22 JULY 12-5p

FEATURING CYCLICAL MONOLOGUES IN OBSCURA BY

SERGIO MAURITZ ANG, JAYSON P. SMITH & MORGAN SULLIVAN, WITH DIRECTION BY JENN HALTMAN

vimeo

Sergio Mauritz Ang is thrilled to collaborate with old friends and celebrate Pride with this project. He is an actor, preschool teacher, and lecturer of Public Speaking at Hostos Community College, CUNY. Select NYC/regional credits include: Peter and the Starcatcher (Kitchen Theatre Company), Three Sisters (Alchemical Theatre Laboratory), Mañanas de Abril y Mayo (Connecticut Free Shakespeare), Summertime (Between Two Boroughs Productions). For my mom, Marjorie. And my love, Mark. Thanks Jenn and George! BFA Acting, Brooklyn College — sergiomauritzang.com

vimeo

Jayson P. Smith is a 2017 NYSCA/NYFA Artist Fellow in Poetry from the New York Foundation for the Arts. Their poems & interviews appear / are forthcoming in journals such as Gulf Coast, Nepantla, Vinyl, fields magazine, & The Offing. Jayson has received previous support from The Poetry Project, The Conversation Literary Festival, Callaloo, & Millay Colony for the Arts. Originally from the Bronx, Jayson lives & works in Brooklyn as founder of NOMAD, a Crown-Heights based performance series — jaysonpsmith.com

vimeo

Morgan Sullivan is a New York City-based actor who recently graduated from Marymount Manhattan College as a Theatre Performance major. He is a transgender advocate, and many of the projects he works on address issues affecting the LGBTQ+ community — morgan-sullivan.com

Jenn Haltman’s directing credits include the recurring Cast and Loose Live! at Joe's Pub, and both The Understudy (Secret Theatre) and Summertime (Gowanus Loft) with her company Between Two Boroughs. The company is currently developing Charise Greene’s play Cannibal Galaxy: A Love Story, which will be produced in the spring of 2018. She is also a freelance theatre, film, and new media casting director whose recent credits include the the independent films Then There Was (dir. Louis Mandylor), Boy Meets Girl (dir. Eric Schaeffer), Muckland (dir. Charlie Pollinger), and worked with the theatre companies LabRats and Axial. Prior to this she was the Casting Associate at New York Theatre Workshop (shows include Peter and the Starcatcher, Little Foxes, Aftermath, The Seven) and has also worked with Page 73 Productions, Pig Iron Theatre Company and Soho Rep. She is a proud graduate of Muhlenberg College. betweentwoboroughs.com

[ Free and open to the public every day from 20 July-22 September 2017 at The LGBT Community Center; opening performances in obscura happen Saturday 22 July in continuous cycle from 12-5p ]

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marybarbara1 · 7 years

Text

Detroit Red Wings Tigers owner Mike Ilitch dies at 87 USA TODAY

Detroit Tigers and Red Wings owner Mike Ilitch in his his suite throughout early inning motion towards Boston Saturday. April 7, 2012 at Comerica Park.(Photo: KIRTHMON F DOZIER, Detroit Free Press)

Mike Ilitch rose from a humble west-aspect neighborhood to assemble a meals, sports activities and leisure empire that enabled him to return the Stanley Cup to Hockeytown, construct each a brand new area and a ballpark with a Ferris wheel, restore the grandeur of downtown’s iconic Fox Theatre and introduce metro Detroit to the ideas of “pizza-pizza” and an $eight cup of beer.

From his first Little Caesars outlet in Garden City strip mall in 1959 — the place a pizza value $2.39 — Ilitch, aided at each step by Marian, his spouse of 61 years, turned a serious metro Detroit character and a key determine within the revival of downtown Detroit. In addition to founding the Little Caesars pizza chain, he owned the Red Wings, Tigers and the Fox Theatre, and operated metropolis-owned Joe Louis, Cobo, and Little Caesars arenas, amongst different smaller companies, groups and eating places.

Ilitch, one of the crucial well-known Detroiters of his time, has died at the age of 87.

Success introduced Ilitch and his household fabulous wealth. The 2016 Forbes journal compilation of the 400 richest Americans listed Mike and Marian Ilitch at No. 88 with a internet value of $5.four billion. In addition, Marian Ilitch is the only owner of the Motor City Casino.

But maybe extra necessary to Ilitch have been a special set of statistics: 4 Stanley Cup championships for his Red Wings, two journeys to the World Series for his Detroit Tigers, and an enormous variety of trophies for workforce and particular person participant achievements.

Ilitch, whose first job was cleansing automobiles in a used-automotive lot, steadily expressed astonishment at the best way his life appeared to mimic the plot of a Horatio Alger story.

“At times, it’s kind of like I’m still dreaming,” Ilitch stated in 1984.

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In May 2009, chatting with Free Press columnist Tom Walsh about Little Caesars’ 50th anniversary, Ilitch stated: “You know, we didn’t plan this. It just happened over the years, where there was an opportunity and we relied on our instincts and went ahead with it.”

Ilitch’s success made him top-of-the-line recognized individuals in Michigan. But he typically squirmed within the limelight and appeared uneasy even in mild interviews. He was intense and reserved. He stored his companies personal, and he might bristle when requested about inner issues, corresponding to his monetary relationship with the town of Detroit, which benefitted tremendously from his presence and lured him with public funds.

Critics additionally could possibly be harsh, particularly when the Wings or Tiger struggled. Even although Ilitch’s renovation of the Fox Theatre was one of many golden moments of historic preservation in Detroit, his stewardship of different previous downtown buildings typically got here beneath hearth.

Unlike most individuals who run giant companies, Ilitch didn’t have a university diploma. An in depth affiliate, Charlie Jones, as soon as spoke admiringly of Ilitch as having plenty of Detroit road smarts.

The son of Macedonian immigrants, Ilitch grew up on Chalfonte, close to Fenkell and Livernois. After graduating from Cooley High School, the place he ran monitor and performed baseball, he served 4 years within the Marines, then signed a minor-league contract with the Tigers. A shortstop, Ilitch argued continuously together with his father, Sotir, a machine upkeep man at Chrysler Corp., concerning the worth of a baseball profession, however he did not make the large leagues.

While touring within the minors, although, Ilitch turned concerned about a postwar meals fad referred to as pizza pie, and returned house one winter to run a pizza operation from the unused kitchen behind Haig’s, a west aspect bar. It was a hit.

Ilitch give up baseball and have become a door-to-door salesman who pitched awnings, pots, pans and china, incomes sufficient cash to open his first Little Caesars, at Cherry Hill and Venoy in Garden City. Soon, the Ilitches have been opening Little Caesars retailers throughout the metro space and past. The chain turned recognized for quirky TV advertisements and the “Pizza! Pizza!” two-for-one offers. By the early 1990s, the corporate referred to as itself the “world’s largest carry-out pizza chain,” with greater than four,300 retailers.

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As the enterprise grew, Ilitch started sponsoring youth hockey and grownup softball, however dreamed of larger issues. In 1982, he purchased the Red Wings. It was a discount: Ilitch didn’t put up a penny of the $eight million worth. Instead, he gave longtime owner Bruce Norris a $1 million down cost from season ticket gross sales collected after the settlement was signed.

Rebuilding the woebegone Wings took a number of years. Ilitch spent hundreds of thousands and was affected person as General Manager Jimmy Devellano and Jim Lites, Ilitch’s former son-in-law, constructed by way of the draft and by sneaking gamers out of communist nations.

By the late 1980s, the Wings had grow to be an fascinating staff; by the mid-1990s that they had turn out to be an awesome workforce, and at the moment they continue to be some of the profitable franchises in skilled sports activities, having gained 4 Stanley Cup championships since 1997 and thru early 2016 had made the submit-season playoffs an astonishing 25 years in a row.

In the late 1980s, Ilitch cemented his position as a godfather of downtown Detroit when he and Marian purchased and refurbished the spectacular Fox Theatre and defied the lengthy historical past of Detroit companies shifting to suburbia by shifting their headquarters from Farmington Hills into the 10-story constructing that accommodates the Fox. For years, their leisure arm, Olympia Entertainment, has stored the theater one of many nation’s greatest-grossing venues. Another arm, Olympia Development, constructed the brand new hockey area and different tasks.

The new Little Caesars Arena simply north of downtown proved controversial at its inception, with about half the price borne by taxpayers but the Ilitches controlling the revenues together with parking and concessions. But the household softened the criticism of the deal considerably by pledging to construct at least $200 million value of spin-off developments, and by pledging tens of hundreds of thousands of dollars to construct Wayne State University’s new Mike Ilitch School of Business simply north of the world and a brand new Little Caesars headquarters enlargement close to the Fox.

Ilitch often admitted he all the time had needed to personal the Detroit Tigers, and he acquired his probability in 1992, when he purchased the storied franchise from Dominos pizzafounder Tom Monaghan. Once he had the group, Ilitch fought onerous by means of difficult political and monetary points for a brand new stadium. The end result was Comerica Park, with such facilities as a centerfield fountain, a carousel and Ferris wheel.

Opening in 2000, Comerica value at least $361 million; the general public bore 37 %, which was lower than taxpayers paid for ballparks in some cities.

On the sector, the Tigers have been principally horrible throughout Ilitch’s first decade as owner. Starting in 1994, they recorded 12 dropping seasons, however in 2006 the Tigers made it to the World Series, the place they misplaced to the Cardinals. They made a second journey to the autumn basic in 2012 however have been swept by the San Francisco Giants.

Over the years, the guts of the empire — the pizza enterprise — rose and fell. By 2016, there have been some four,000 retailers in all 50 states and 17 worldwide markets.

Ilitch Holdings, the umbrella entity the household established to supervise its sprawling community, stated the household’s a number of corporations collectively make use of over 22,000 full-time and half-time staff worldwide and have 371 million buyer interactions yearly. In 2015, the group’s complete mixed income was $three.three billion.

Observers credited Mike Ilitch’s drive, brains and imaginative and prescient for his success. He had a easy purpose for his achievements.

“We believed in the pizza,” Ilitch as soon as stated.

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junker-town · 7 years

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Matt Duchene is ‘open to’ a trade from the Avalanche, so let’s find a new home for him

Duchene’s comments seal his fate. But to where?

Matt Duchene’s divorce from the Colorado Avalanche finally reached some inevitability this week.

Mark Kiszla of The Denver Post reported on Thursday that Matt Duchene would be “open to” a trade from the Avalanche, who currently sit dead-last in the NHL standings.

“I’m open to it,” Duchene said Wednesday. “When I say open to it, I know it’s part of the business, and it’s something that might happen. I’m not hiding from it. I’m not running away. I’m not banging my head. I understand it’s part of what we deal with as pro athletes.”

Duchene really opened up in that interview and sounded as ready to move on as a player could possibly be while still sounding happy where he was. So, by my count, there’s three factors at play right now that all but guarantee Duchene won’t be in Denver past the trade deadline or (at the latest) next season.

Depth. Colorado has a ready-made center to step in and take Duchene’s place as early as next season in Tyson Jost, who they selected 10th overall in the 2016 NHL draft. The Avalanche want him to shed his NCAA eligibility and join them full-time next year, and if you watched him at the World Juniors you know he’s ready.

Future depth. Colorado is almost certainly going to take center Nolan Patrick with the first overall pick this summer, giving them three young and uber-talented players down the middle. Duchene will be surplus to requirements very soon.

Duchene’s willingness to move on. Now that it’s out in the open, it will (and should) happen.

There’s a fourth factor in play, too: there are teams out there in playoff contention who need a center like Duchene and have the assets Colorado would want in return. So let’s figure out where the former third-overall pick should roost next.

The Locks

Carolina Hurricanes

James Guillory-USA TODAY Sports

This is the team you hear the most when a Duchene trade comes up, and it makes all kinds of sense.

Avs GM Joe Sakic will want a young defenseman he can start to build around. After all, look at what they’ve been rolling out on the blue line lately.

Yeah. Not great.

Carolina has more than a few defensemen Colorado would like. Jaccob Slavin comes to mind, and not just because he’s a Denver native. He’s an excellent penalty killer, and his offensive game (particularly in transition and exiting his own zone) has improved ten-fold.

If Carolina deems Slavin too important to part with, they could dangle defenseman Roland McKeown.

Craig Custance of ESPN.com listed McKeown as Carolina’s prospect closest to reaching the NHL. What about Haydn Fleury? Or Trevor Carrick? Carolina has options.

And Duchene fills a need for Carolina, who could use a second-line scoring center to put Jordan Staal back on the third in a defensive role he’s more suited to. And he gives them more options on their 23rd-ranked power play. Swap out Derek Ryan on the top unit with Duchene and more pucks are going in the net.

If and when Duchene gets traded, I’m willing to bet a lot of money it’s to Carolina.

The Possibles

Montreal Canadiens

Jean-Yves Ahern-USA TODAY Sports

I don’t think the Canadiens are willing to trade Mikhail Sergachev, who’s coming off a terrific World Juniors for Russia and a strong season for Windsor in the OHL.

But Nathan Beaulieu? Possibly.

Montreal’s defensive depth isn’t as deep as other teams mentioned here, but they have other assets to mix into a potential deal. Of note, the Habs have five second-round picks to deal over the next two seasons. You could see something like Beaulieu, Tomas Plekanec, a first rounder and two second rounders going Colorado’s way if Montreal wants to swing for the fences.

And why not? Alex Radulov, Alex Galchenyuk and Max Pacioretty could use Duchene’s offensive capabilities to take the load off them. Duchene would be quite an upgrade as a second-line center over Plekanec, who is plateauing this season as his career slows down.

New York Islanders

Photo By Dave Sandford/Getty Images

There’s no better way to convince John Tavares to re-sign long term than making a splash to find him a center who can take the scoring burden off of him.

The Isles could make such a move for Duchene, but with caution: they have a lot of scoring forwards coming up through the pipeline, but they don’t want to drain most of their system for Duchene. But Elliotte Friedman of Sportsnet indicated the Avalanche would consider taking a potential top-six player for Duchene in a trade, so prospects like Michael Dal Colle or Josh Ho-Sang could go to Denver along with a draft pick or two.

Anaheim Ducks

Photo by Sean M. Haffey/Getty Images

As we noted in our mock draft, Ryan Getzlaf and Ryan Kesler are on the wrong side of 30 years old and Anaheim needs to start thinking about their future down the middle. Luckily, Duchene’s availability comes along right as their defensive depth is stronger than ever. How convenient!

Instead of leaving Sami Vatanen to the expansion draft, it might behoove the Ducks to move him now for Duchene. Especially since prospect Jacob Larsson is quite close to NHL-ready. Toss in a first round pick and this could happen!

The Unlike-lies

Anyone in the Central Division

Billy Hurst-USA TODAY Sports

Never trade your best players to your rivals. It’s just not good form.

Which is unfortunate, because the Wild, Blues and Predators all have good cases for acquiring Duchene!

Minnesota’s defense and goaltending have carried them to the top of the Western Conference, but adding a playmaking center to a top-six that includes Eric Staal, Mikko Koivu and Charlie Coyle would make them far more playoff-ready than they are now.

St. Louis is quite tired of Jori Lehtera and could badly use a center. Depending on how Ivan Barbashev performs in his first run in the NHL this week, that need could get amplified or dampened. But with just a few million dollars in cap room, it’s not likely a big trade could happen anyway.

And Nashville, as always, is hoarding defensemen prospects. They took three of them last year in the draft alone! Ryan Johansen-Matt Duchene makes for a better one-two punch down the middle than Johansen-Mike Fisher, right? The Predators and Avalanche would make perfect trade partners if they weren’t supposed to hate each other. Alas.

At any rate, with Duchene’s departure from Denver all but certain, you can bet the tight trade market is just a tad bit more active today. It’ll be fascinating to see what happens and how (and if) the Avalanche start their rebuild with a strong splash.

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