#source : rocky 1976

[warwickroyals]

Sunderland's Royal Jewel Vault (57/∞) ♛

↬ Queen Irene's Stillwater Sapphire Tiara

When Lady Irene Wynn married Louis, the Prince of Danforth, in 1968, the provincial government of Lakota gifted her 18 sapphires, one representing each year of her life. The brilliant blue sapphires were sourced from the Stillwater Gulch, located in the Rocky Mountains. Ranging in colour from cornflower blue to purple, Lakota sapphires were first discovered along the Missouri River in the 1860s. Since then, the gemstones have been sported by celebrities and politicians, first ladies and royal consorts across the globe, including Irene’s contemporaries Lady Bird Johnson, Queen Sofía of Spain, and Queen Sirikit. Irene’s sapphires were displayed with her other wedding gifts at St. Mary’s Palace, but she didn’t wear them until after she became queen consort in 1970. Queen Irene commissioned a sapphire tiara from Albemarle in the spring of 1973. Despite owning a range of tiaras of diverse colours and profiles, Irene lacked a sapphire diadem, as her mother-in-law, Queen Katherine, still had ownership over the Regal Circlet, which was typically reserved for current queen consorts. The need for a sapphire tiara was a question of fashion, but also diplomacy: blue was a national colour of many foreign countries, including St. George, which was a dominion of Sunderland at the time. When Katherine refused to fork the Regal Circlet over, Irene turned to her collection of Lakota sapphires. The resulting tiara featured a dramatic floral and foliate spray set on a series of diamond fleur-de-lys motifs, hinting at the Queen’s French ancestry. Queen Irene first wore the tiara on a state visit to South Korea in 1975. The tiara made future appearances during a 1979 state visit to Sweden and a 1982 visit from French president François Mitterrand. During this time, the tiara was paired with the Herring sapphire necklace, which Irene purchased in 1974. Throughout the 1990s, he tiara became a staple at state banquets and galas from republics, notably France and the United States of America. In 1995, the tiara was worn along with Queen Alexandra’s Sapphires for Irene’s Silver Jubilee Portrait with her St. George Honours. More recent appearances of the tiara include diplomatic events with the heads of state of Kuwait (2001), Japan (2004), and Estonia (2008). The Queen last wore the tiara in 2018 for the highly publicized (and criticized) American state banquet at Chester Palace. The tiara complemented a white dress, and the Queen’s Order of Brandenburg sash: red, white, and blue. Earlier that year, Queen Katherine passed away, and the Regal Circlet finally entered Irene’s possession, although she has only worn it once since. The Stillwater sapphire tiara remains unique to Queen Irene, with no other members wearing it in an official capacity—although it was “worn” by an infant Princess Jacqueline in a 1976 portrait.

[robfinancialtip]

Paul Tully recalls an interview about Stallone in which he addressed turning down a considerable quantity of money for the Rocky role because he aimed to become an actor and portray the role himself. Despite an extensive offer of $300,000 in 1976, Stallone remained determined to pursue his passion despite having just $400. Daniel understands Stallone's choice since he had to choose between financial comfort and pursuing his passions. Paul finds Stallone's interview incredibly inspirational since he has faced comparable challenges and sacrifices in his search for happiness.

When reflecting on Stallone's path, Paul admits to being familiar with having to live on little and make sacrifices to pursue one's ambition. He understands the appeal of staying with what one knows, even if it means facing financial difficulties. Stallone's commitment to pursuing his aspirations against the odds acts as an inspiration for Paul, who understands the value of remaining true to oneself and seeking what offers genuine satisfaction, even if it means confronting uncertainties and hardships along the way.

Paul finds parallels between Stallone's situation and his own, in which he had to choose between returning to a toxic environment for more salary or continuing to follow his passion despite lesser compensation. He admits the desire to pursue financial security but eventually chooses to devote his whole attention to his love, as Stallone did with acting. Paul highlights the necessity of remaining committed to one's objectives and not succumbing to societal expectations or financial worries, as success may be achieved by following one's heart and giving it one's best, which he finds tremendously motivating.

Paul takes comfort in Stallone's interview, recognizing that success frequently entails taking chances and making sacrifices. He urges people not to worry about their decisions and to believe in their ability to overcome hurdles to reach their goals. Paul’s path serves as a reminder that achieving pleasure and satisfaction is worth the uncertainty and hardships that may emerge along the route, and it is an excellent source of motivation.

WATCH the related video: 7-FIGURE DOG WALKING BUSINESS | DANIEL MARTIN’S INSPIRING STORY FROM BEING HOMELESS TO CEO

Please take note that the links below are NOT clickable anymore. You can copy and paste them into your browser.

[dirtylowdown2]

Playboy Fuller (Louisiana Red) Gonna Play My Guitar (1953)

Composed by Iverson Minter There's a lot of information about Louisiana Red on the web. He made his earliest recordings in 1952 in Chicago for Checker under the name of Rocky Fuller. At the time Checker only issued two of ten recordings on 78. The rest have popped up decades later on Chess/Checker LP & CD compilations from Japan and The United States (and a couple are featured on this source compilation). Minter moved on in '53 to Detroit to record for Joe Von Battle under the name of Playboy Fuller. Von Battle leased his sides to a small West Hollywood, CA. label by the name of Fuller that wasn't in any way related to Minter. What came out of that was they pressed several copies for Minter to sell out of the trunk of his car. He made two more recordings in '53 as "Rockin' Red" teamed with John Lee Hooker, but they were never commercially issued until they later wound up on albums devoted to Hooker. His recording career stalled until 1960 when he went to New York City to record for Atlas and many other labels in the 1960's. From that point on, he established himself as a prolific recording and live performer, his career has spanned several decades now. 

Iverson Minter aka Louisiana Red (Playboy Fuller):Vocals & Guitar Jesse Lee Williams:Harmonica  Johnny Walters:Piano 

 Recorded at Joe Von Battle's Record Shop, Hastings Street, Detroit, MI. 1953 Originally issued on the 1953 single (Fuller OP 171) (78 RPM) (Also issued on D and L 001) This recording taken from the 1976 album "Detroit Ghetto Blues 1948-1954" (Nighthawk 104) (LP)

Iverson Minter (March 23, 1932 – February 25, 2012), known professionally as Louisiana Red

[wannabegirlbloggr]

whenever i get self conscious about myself, i go through my letterboxd and read my own reviews just to giggle…

..don’t kill yourself guys, you got a letterboxd account to manage🫡

a shameful plug: https://boxd.it/5XwXj

(i sourced the picture from pinterest)

[fusilsapompe]

Kool And The Gang - Mix by DJ Calzone

Stream Kool And The Gang Mix par DJ Calzone

Au milieu des années 1960, créer un groupe dans l’espoir secret de le voir devenir légendaire est le vœu pieux de beaucoup d’adolescents.

Dans leur Midwest natal, Ronald et Robert Bell entretiennent ce rêve. La position sociale du père – champion de box émérite - leur permet d’y croire un peu plus que beaucoup d’autres enfants.

Après une délocalisation sur la côte Est, la famille loge quelques temps dans un immeuble où elle croise la route de l’immense Theolonius Monk, qui devient un ami. Sur place, le paternel s’entraîne toujours de manière intensive. Dans sa salle de boxe, il rencontre un certain Miles Davis, impliqué dans une carrière parallèle de boxeur amateur, et qui lui propose d’être son sparring partner. On raconte que Mister Bell refuse l’offre, de peur d’abîmer les lèvres si précieuses du trompettiste.

Le jazz occupe une place prépondérante dans le quotidien de la famille Bell. Être baigné dans l’improvisation des batteries et des cuivres donne envie aux deux frères de s’essayer à ce genre musical, et ils se mettent alors, de façon absolument autodidacte, à apprendre à jouer. Le choix de Ronald se portera sur les synthétiseurs, Robert optera pour la basse. Leur première source d’inspiration est alors l’œuvre de John Coltrane, et sa manière de briser toutes les barrières pour proposer la musique la plus libre et la plus corrosive du milieu des années 1960. 

En 1964, ils forment un groupe avec Robert Mickens, Dennis Thomas, Ricky Westfield, George Brown et Charles Smith, les Jazziacs, avec qui ils jouent chaque soir dans un club de jazz du New Jersey. Le groupe changera successivement de nom, passant de The Monikers à Soul Town Review, pour devenir The New Dimensions et, finalement, Kool and the Flames.

 Dans leur club de residence, il leur arrive de croiser la route de légendes du jazz telles que Pharoah Sanders ou McCoy Tyner pour qui ils ouvriront les concerts. Pendant plusieurs mois, ils joueront six jours sur sept, avec des sessions longues de six à huit heures. Et le soutien de leurs parents est absolu, excités comme leurs enfants par cette aventure et son succès locale. 

Contrairement à d'autres groupes comme Earth, Wind & Fire, le succès n’est pas immédiat. Il faudra plusieurs années et un travail conséquent pour trouver la formule qui leur assurera un succès durable.

Le fait que le groupe soit aujourd’hui l'un des plus samplés de l’histoire déforme la réalité historique. Leur véritable succès commercial ne viendra qu'en 1973 avec l’album Wild & Peaceful, premier disque d’or du groupe porté par les succès de Funky Stuff, Hollywood Swinging et surtout de Jungle Boogie, samplé un nombre incalculable de fois.

L’année suivante, le groupe proposera son meilleur album : Light Of Worlds, un retour aux racines jazz-funk du groupe. Les frères Bell ressentaient l’envie de retrouver une musique où les instrumentaux ont une place prépondérante et l'immense succès de Summer Madness viendra les conforter dans leur décision.

Pour beaucoup, la découverte de Summer Madness se fait à travers une scène mythique du film Rocky en 1976. Bill Conti, compositeur de la bande originale du film, visiblement marqué par le titre, en proposera sa propre version dans l'une de ses compositions.

Plus tard, Will Smith et DJ Jazzy Jeff seront parmi les premiers rappeurs à utiliser ce sample, ravivant l’intérêt pour Kool & The Gang à la fin des années 1980.

Pour une autre génération, il suffisait de lancer GTA Vice City, de choisir la station de radio Funk/Soul « Fever 105 » et de se laisser entraîner par le solo légendaire de Robert Bell. Ce jeu vidéo mythique a permis de faire découvrir un nombre incalculable de morceaux à des auditeurs issus d’une autre génération, qui développaient le même attrait pour ce son si particulier et organique des années 1970.

Le fait que ce morceau soit une face B, lancée par hasard par un DJ lors d’une soirée, rend l’histoire de cette chanson encore plus singulière. Summer Madness deviendra le morceau phare du groupe, traversant les époques et s’adaptant aux nouvelles manières d’appréhender la musique.

Le groupe continuera sa carrière triomphante jusqu’à la fin des années 1970, avec l’arrivée d’un courant musical plus axé sur les parties chantées et des mélodies simplifiées pour toucher un public plus large : Le disco, qui avait fait son entrée sur les dancefloors quelques années auparavant, deviendra la nouvelle norme. Les groupes issus du funk n’auront d’autre choix que de s’adapter à ce courant.

Une anecdote marquante illustre d'ailleurs cette nécessité d’adaptation au disco.

Lors d’une séance de dédicaces organisée dans un immense centre commercial américain, le groupe est interpellé par une jeune fille qui se moque ouvertement d’eux en les traitant de ringards. Très agacé par cette remarque, Robert Bell dira qu’il est temps de changer leur formule, devenue obsolète après trop d’années. Il suggère qu’il faut désormais adopter une approche plus commerciale. Cela se traduira par le recrutement immédiat de JT Taylor en tant que chanteur principal. Son arrivée permettra une adaptation rapide au disco, et les radios adhéreront dès le lancement de Ladies Night en 1979.

Ce changement simplifiera fortement la formule du groupe, qui troquera ses longues plages instrumentales et ses chants en chœur pour des couplets entièrement interprétés par JT Taylor. Ils feront appel à Eumir Deodato, le génial arrangeur du label CTI Records, qui s’est reconverti en arrangeur disco/funk dans les années 1970. L’objectif de cette collaboration sera de rendre leur musique plus accessible, en simplifiant les arrangements pour mieux toucher un public qui ne veut plus de complexité musicale. Deodato mettra également en avant la voix de JT Taylor et atténuera les parties instrumentales. Cette formule magique portera ses fruits, et les tubes planétaires s’enchaîneront : Ladies Night en 1979, Celebration en 1980, et Get Down On It en 1981.

Chaque album proposera systématiquement un single au succès mondial, et le groupe deviendra incontournable, vendant au total plus de 70 millions d'exemplaires tout au long de sa carrière.

Cependant, les fans de la première heure se détourneront de ce chemin, perçu comme guidé exclusivement par le succès commercial. Les membres de Kool & The Gang résumeront ce tournant dans leur carrière comme une forme de survie à une époque où les auditeurs se lassent rapidement, et où la concurrence est féroce, rendant toute innovation difficile. La route du groupe s'arrêtera définitivement lorsque JT Taylor décidera de se lancer dans une carrière solo.

Kool & The Gang restera l’un des groupes les plus importants des années 1970. Ils ont su proposer une musique qui a traversé les décennies, au point d’apparaître dans des publicités pour des produits aussi banals que de la lessive. C’est le résumé paradoxal de ce groupe, qui a indéniablement innové dès le début de sa carrière en fusionnant les genres musicaux sans se soucier du succès commercial, ce qui explique leur succès tardif dans les charts. En s'engageant tardivement dans la vague disco, alors que ce genre était déjà en déclin à la fin des années 1970, la stratégie pragmatique des frères Bell a prouvé qu’ils savaient s’adapter rapidement aux attentes du public. Choisir JT Taylor fut incontestablement une idée de génie pour un succès commercial et une pérennité dans l’esprit des auditeurs. La mort récente de Ronald Bell en 2020 a provoqué une émotion profonde, rappelant l'attachement des fans à ce groupe légendaire.

Stream Kool And The Gang Mix par DJ Calzone

s/o LMR, l'œil de Loire-Atlantique

[tomoleary]

Tom Jung “Rocky” unused concept illustration of Sylvester Stallone (1976)

Source

[ao3feed-piltovers-finest]

Alone in the Ring: Act Three

by TransmissionStatic

Let's get reaaaaaaaaaady to rummmmmmmmble!

It's Fight Night in Piltover and Vi is ready to step into the ring with the champ, Mel Medarda.

Or

A Vi-centric tale based on the 1976 movie Rocky (adapted from the screenplay by Sylvester Stallone). There will be boxing, a healthy dose of CaitVi courting, and a lil smut as a treat. It's a little angsty, it's not the cheeriest source material, but at its heart it's a story of fights, family and burgeoning romance.

This story isn't quite a modern AU, but it's not not a modern AU either. It's very much a mixture of the movie Rocky, League/Arcane specific lore and a modern AU.

Split into 3 Acts much like a movie, this is the third and final chunk of the story. Act three has 2 chapters and I'll be updating on a weekly basis.

Words: 4649, Chapters: 1/1, Language: English

Series: Part 3 of Alone in the Ring: A Rocky (1976) AU

Fandoms: Arcane: League of Legends (Cartoon 2021)

Rating: Mature

Warnings: Graphic Depictions Of Violence, No Archive Warnings Apply

Categories: F/F

Characters: Caitlyn (League of Legends), Vi (League of Legends), Viktor (League of Legends), Jayce (League of Legends), Powder (Arcane), Vander (League of Legends), Mel Medarda, Ambessa Medarda, Sky (Arcane: League of Legends), Maddie Nolen

Relationships: Caitlyn/Vi (League of Legends), Caitlyn & Vi (League of Legends)

Additional Tags: Let's Get Ready to Rumble, Caitlyn and Vi are in Love (League of Legends), It's Fight Night in Piltover, Act 3, Movie: Rocky (1976)

Read onA03. from AO3 works tagged ‘Caitlyn/Vi (League of Legends)’

[ao3feed-arcane]

Alone in the Ring: Act 1

by MicheTS Vi Vanderson, a small-time boxer from the undercity of Zaun, is arbitrarily chosen to take on the reigning world champion, Mel Medarda, when the undefeated fighter's scheduled opponent is injured. While training with her siblings and adoptive father, Vi tentatively begins a relationship with Caitylyn Talis, a Piltie on the run seeking refuge in Zaun. or A Vi-centric tale based on the 1976 movie Rocky (adapted from the screenplay by Sylvester Stallone). There will be boxing, a healthy dose of CaitVi courting, and a lil smut as a treat. It's a little angsty, it's not the cheeriest source material, but at its heart it's a story of fights, family and burgeoning romance. This story isn't quite a modern AU, but it's not not a modern AU either. It's very much a mixture of the movie Rocky, League/Arcane specific lore and a modern AU. Split into 3 Acts much like a movie, this is the first chunk of the story. It has 5 chapters and I'll be posting every Friday hopefully! Tags updated as we go. Words: 3782, Chapters: 1/5, Language: English Series: Part 1 of Alone in the Ring: A Rocky (1976) AU Fandoms: Arcane: League of Legends (Cartoon 2021), League of Legends Rating: Mature Warnings: No Archive Warnings Apply Categories: F/F Characters: Caitlyn (League of Legends), Vi (League of Legends), Jayce (League of Legends), Powder, Vander (League of Legends), Silco (Arcane: League of Legends), Sevika (Arcane: League of Legends) Relationships: Caitlyn/Vi (League of Legends), Caitlyn & Vi (League of Legends) Additional Tags: Boxer Vi (League of Legends), Vi Needs a Hug (League of Legends), Caitlyn Needs a Hug (League of Legends), Soft Caitlyn (League of Legends), Soft Vi (League of Legends), Movie: Rocky (1976) read it on AO3 at https://ift.tt/pxMtr7d

[socaprince]

SOCA THERAPY - APRIL 21, 2024

Soca Therapy Playlist

Sunday April 21st 2024

Making You Wine from 6-9pm on Flow 98.7fm Toronto

Wrong Bam Bam (Dr. Jay Plate) - Destra

Hot Gyal Anthem - GBM Nutron x Jus Jay

Arch - Rhea Layne x Jus Jay

Holiday (DM Edit Clean) - Problem Child x Jus Jay

Carnival - Adam O 

Life After Fete - Kerwin Du Bois

Everytime - Nadia Batson

In The Center - GBM Nutron x Farmer Nappy

Search Party - Preedy

One Ah Dem - Shal Marshall

Roxanne - Problem Child

Too Sweet - Keith Currency

Closer (Dr. Jay Plate) - Imani Ray

Rock Yuh Body - Denise Belfon & Ghetto Flex

Ice Cream - Coalishun

Carnival Darling - Treason

Look Meh In Meh Eye - Gailann & Rocky

Miss Good Reputation - Xtatik

Jamming Practice - Krosfyah

Gossiping - Shadow

Colors - Chinese Laundry

Down Dey (DJ Kevin 'Hornin' Edit) - GBM Nutron

Cook It - Patrice Roberts

Night & Day - Th3rd x JMTB

Drink And Party - Viking Ding Dong

I Am A Guyanese - Adrian Dutchin

Bamboo Fiah - Trevon Vibez

Body Talk - Big Red

Cyah Dun - Lil Red

Purrrfect - Timeka Marshall

Wine Of Di Century - Destra

Jamish Feeling - Motto

Soca Therapy - Patrice Roberts

Top 7 Countdown - Powered By The Soca Source

Top Songs Streamed In March on Apple Music For The Continent Of South America

7. It's The Weekend - Skinng Fabulous

6. Split In De Middle - Freezy

5. Thief Piece - Problem Child

4. Temperature - Machel Montano

3. Rum Talk - Ravi B x Jo'e

2. Feteland - Kerwin Du Bois x Kes

1. DNA - Mical Teja

Break Down - Innocent Crew

Tankalanka - Sackie

Run Away - Jamesy P

Chemistry - RAE x Skorch Bun It x AdvoKit Productions

Hard Rock - Skorch Bun It x AdvoKit Productions

Cool Down - Olatunji x Skorch Bun It x AdvoKit Productions

Nutella - V'ghn x Skorch Bun It x AdvoKit Productions

Keep My Cool - Kes

Easy - Destra

Flood - Ataklan

Soucoyant - GBM Nutron x DJ Private Ryan x David Rudder x Paul Keens Douglas

Trini Lingo - Bunji Garlin

Golden Ray - Crystal Tais x Don Iko

Magical - Lyrikal x Don Iko

Counting My Blessings - Nadia Batson x Don Iko

Sometime - Leadpipe x Jus Jay

When Last - GBM Nutron x Jus Jay

Mind Off (Clean) - Lil Rick x Jus-Jay

Brain Freeze - Leadpipe x Jus-Jay

BYE x2 - Saddis x Jus-Jay

Cyah Hear Yuh - Patrice Roberts

A Little Jam - Problem Child

Wet Me Down - Sedale

PAN MOMENTS

Boss Lady (Steelpan Cover) - Michael the Pannist

TANTY TUNE

(1976) Tourist Leggo - Short Shirt 

The Teacher (Antiguan Style) - Ricardo Drue

Cyah Contain - Tian Winter x DJ Quest

Friday Freeup (Freestyle) - Ezra Ft. Teamfoxx

Martinique (Nom Freestyle) - French Man Ft. Motto 

Whistle While You Work - Triple Kay

Energy - DJ Cheem x Tallpree

Jump Up - Bunji Garlin

Same Thing - Problem Child x Shal Marshall

Do What You Want - Skinny Fabulous x Asa Bantan x Mr Killa

First Experience - KMC

Is Carnival - Destra Garcia x Machel Montano

Carnival Survivors - Machel Montano x Wyclef Jean

Dead Or Alive - Shurwayne Winchester

Get On - Fay Ann

Tay Lay Lay - Xtatik

Carnival Come Back Again - Iwer George

Nasty Up - Problem Child

Rukshun - Lyrikal

Carnival Contract (Mr. Vik Band Edit) - Bunji Garlin

Beatin Road - Preedy x Smiddy Smith

Born To Fly - Nailah Blackman x Pumpa

Devotion - Destra

NORTHERN PRESCRIPTION

Toronto - Miguel Maestre

One Of A Kind - Voice x Machel Montano

Mind My Business - Patrice Roberts x Travis World x Dan Evens

Follow Dr. Jay @socaprince​ and @socatherapy

“Like” Dr. Jay on http://facebook.com/DrJayOnline

[sportscinemablog]

Blog Entry Intro 1

For my blog entries my topic will be covering Sports films produced globally and I will discuss their importance in how we view sports and compare and contrast them based off how they present the information or if they simply do it for entertainment with fictional stories. I chose this topic as I am a huge sports fan and it interests me on how other countries around the would portray sports through film especially considering different sports are more popular in other countries than here in America. Sports films play a huge role in not only the sports world but in the Cinema Industry as well. Sports Cinema has allowed us to be entertained but also gain information on the history of sports and athletes globally. Over the years Sports Cinematography has improved extremely and we now see more meaningful plots and importance to these films. For example, An American Film from 2011 Moneyball directed by Bennett Millerwas a film based on a true story of the Oakland Athletics 2002 season. What made this film stand out was the importance of statistics and strategy. This film showed viewers that sports was not all about the salary a team has. And how even a team like the Oakland Athletics with the worst Salary Cap in the Major League Baseball could compete with their Strategy in creating a team based off statistics. The manager played by Brad Pitt put together a team with a low Salary cap based off their on base percentage. He believed along with his assistant that if they played 9 guys with great on base percentage similar to the players that they lost (Jason Giambi and Johnny Damon) because they didn’t have enough money last year that they would compete with the teams that had more money. They did so and went on to break the American League record for the most wins in a row and went to the playoffs. Compared to older common sports films this movie established meaning in the sports world. For example, a movie like Rocky directed by John G. Avildsen in 1976 was considered one of the greatest American Sports Film Series of all time but its meaning meant no importance to Sports today. Rocky yes is looked at as one of the most popular sports movie characters in history but it is also mostly fictional. The movie was inspired by a boxer named Rocky Marciano but most characters in the movie are made up. So it is interesting to compare these movies as one focuses on entertainment itself and the other focuses on being an informative. And that’s what I am going to being talking about in my future blogs. I am going to discuss how different countries present sports cinema whether it be informative, Entertainment, both or neither. I will also focus on which directors do this best compared to other Sports Cinema I have seen previously and through my other blog entries.

Sources:

Moneyball (2011) - IMDb

Rocky (1976) - IMDb

[theattainer]

Sylvester Stallone’s First Blood Paycheck: You Won’t Believe How Much He Made for the 1982 Classic!

https://i0.wp.com/theattainer.com/wp-content/uploads/2023/11/33-4-874x800-1.png?fit=874%2C800&ssl=1

https://theattainer.com/sylvester-stallones-first-blood-paycheck-you-wont-believe-how-much-he-made-for-the-1982-classic/

Sylvester Stallone’s First Blood Paycheck: You Won’t Believe How Much He Made for the 1982 Classic!

In 1982, Sylvester Stallone cemented his place in Hollywood history with the release of First Blood, the first film in the hugely successful Rambo franchise. Stallone had already found fame and fortune with 1976’s Rocky, but it was John Rambo that made him one of the biggest action stars in the world.

Reports vary, but Stallone was paid somewhere between $3.5 and $7 million for starring as the former Green Beret drifter struggling to adjust to civilian life. This was an astronomical sum for the time, especially when you consider that he had been paid just $35,000 for writing and starring in the original Rocky six years earlier.

So just how did Stallone score such a monumental payday for First Blood? Let’s take a look at Sly’s salary negotiations and the incredible success of Rambo to see how a simple script about a disenfranchised Vietnam veteran turned Stallone into one of the highest paid stars in Hollywood.

Rocky Puts Stallone on the Map

It’s hard to overstate the impact that Rocky had on Sylvester Stallone’s career. He was a struggling actor with just $106 in his bank account when he wrote the script for Rocky in 3 and a half days. Unable to sell the script unless he was attached to star, Stallone held out until producers agreed to let the unknown actor take on the iconic role of the Italian Stallion.

Made on a modest budget of just over $1 million, Rocky earned $225 million at the box office and won three Academy Awards, including Best Picture. Overnight, Stallone became one of the biggest stars in Hollywood. Given his immense contribution to the film’s success, Stallone was determined not to make the same mistake again with his future projects.

From a $35,000 Payday to $3.5 Million: Stallone’s Salary Soars

For Rocky, Stallone was paid just $35,000 for his work as actor and writer. But for the 1979 sequel, Rocky II, he earned $2.5 million thanks to a lucrative profit participation deal. Though the Rocky franchise had proven hugely successful, there were still questions about whether Stallone was a bankable star outside of the Italian Stallion role.

Stallone’s next non-Rocky film, Paradise Alley, was a box office flop, grossing just $3 million on a $5 million budget. But Stallone was about to prove his star power with First Blood. For the right to play John Rambo, Stallone is reported to have earned between $3.5 and $7 million upfront.

Some sources have claimed his final paycheck was closer to $3.5 million, which was still an enormous amount in 1982 for an actor without a long track record of hits. The higher estimate of $7 million likely factors in the percentage of gross profits Stallone is rumored to have negotiated from the first dollar. Either way, it was a massive raise over his previous non-Rocky projects.

How Did Stallone Earn So Much for First Blood?

So how did Stallone manage to command such an astronomical salary for First Blood? There are a few key factors that gave him leverage in negotiations:

Rocky proved his box office value. Though Paradise Alley had flopped, the extraordinary success of Rocky and Rocky II showed that Stallone could draw big crowds to the theater. This enabled him to demand a huge payday.

He was intrinsic to the film’s success. Like with Rocky, Stallone had penned the script himself and intended to star as the lead character. The producers knew that the film would not get made without him.

Competition for the role. Stallone reportedly had multiple studios bidding for the rights to First Blood in a competitive situation that drove up his asking price.

He held out for profit participation. On top of his large upfront salary, Stallone likely secured a deal entitling him to a percentage of the film’s gross profits. This would earn him tens of millions down the road.

Whatever tactics he used, Stallone’s huge payday for First Blood paid off in spades…

First Blood Becomes a Blockbuster Hit

First Blood was made on a budget of $15 million and wrapped after just 50 days of filming. Buoyed by Stallone’s star power and the popularity of the source novel, it earned $125 million at the worldwide box office.

While this was an excellent return on investment, the larger importance was establishing Rambo as a hugely popular character who could anchor an action franchise. Audiences couldn’t get enough of Stallone’s brooding, muscle-bound hero with a talent for explosive mayhem.

Like Rocky before him, John Rambo struck a chord with audiences and became ingrained in popular culture. As the man who created him, Stallone had given himself a valuable character to build new films around. And the profits from the first Rambo movie were just the beginning of a massive payday for Sly.

Stallone Earns $16 Million for Rambo: First Blood Part II

On the heels of First Blood’s success, Stallone was able to negotiate an even bigger payday for the inevitable sequel. For 1985’s Rambo: First Blood Part II, Stallone earned a phenomenal $16 million salary.

This was partly due to the leverage of First Blood’s box office revenues, which showed producers how popular the character had become. But the sequel also gave Stallone a chance to direct for the first time, giving him additional negotiating power.

The sequel was an even bigger hit, earning $300 million globally. Stallone, who was now established as one of the world’s biggest movie stars, had proved he could demand huge salaries upfront instead of having to wait on profit participation bonuses. Audiences couldn’t get enough of John Rambo.

And neither could Stallone…

Rambo III Brings Stallone $12 Million

In 1988, Stallone returned in Rambo III, for which he earned a paycheck of $12 million plus a percentage of profits. Though this was lower than the second film, it was still one of the largest salaries ever paid to an actor at the time. The third Rambo adventure saw the muscle-bound warrior take on Russian forces in Afghanistan.

Rambo III earned $189 million at the box office, demonstrating that the character still packed major firepower with audiences. And with a total budget of just $63 million, the profits flowed generously to the studio and to Stallone.

In just six years, Stallone had gone from a little-known actor paid $35,000 to one of the highest-earning stars in Hollywood thanks to the success of Rocky and Rambo. Though he had other hits like Cliffhanger and Demolition Man that paid big bucks, it was John Rambo that made Stallone a multi-millionaire megastar.

Stallone’s Rambo Salaries Total Over $30 Million

Adding up his reported salaries for the first three Rambo movies, Stallone earned over $30 million in upfront paychecks, not counting any bonuses or profit points. Factoring in backend profits likely boosts his total Rambo earnings from the 1980s close to $50 million.

For comparison, a $7 million salary in 1982 would be equivalent to over $20 million today adjusted for inflation. That explains why Stallone’s original Rambo paycheck raised so many eyebrows at the time. But the movie’s profits proved his drawing power.

Thanks to astute negotiating, Stallone was able to capture a huge share of the value created by his iconic characters. Rather than watch the studios make hundreds of millions off his work, Sly emerged from the 1980s as one of Hollywood’s richest stars off the success of Rocky and Rambo alone.

What Can We Learn from Stallone’s Blockbuster Deals?

So what lessons can we take from Stallone’s monumental paydays for the First Blood franchise? Here are a few of the keys to his success:

Create evergreen content and characters. Stallone crafted stories and characters that audiences couldn’t help but fall in love with. Their ability to anchor multiple films allowed him to keep earning big paychecks.

Negotiate ownership and upside. Stallone made sure he didn’t just earn a salary, but that he participated in the huge profits his creations generated.

Leverage competitive interest. By getting studios bidding for his projects, Stallone drove up his fees and prevented himself from being underpaid.

Be your own brand. By becoming intrinsically tied to characters like Rocky and Rambo, Stallone created huge demand to see him reprise these roles.

Don’t undersell yourself. Once he had a major hit under his belt, Stallone knew his worth and held out for salaries reflective of his drawing power.

Stallone had the foresight to negotiate deals that paid him handsomely upfront while also giving him a cut of his films’ continuing profits. While few people have created icons at the level of Rocky or Rambo, Stallone’s techniques offer lessons for anyone looking to maximize their value.

By crafting compelling stories, understanding his worth, and betting on himself, Sly became one of the highest-earning stars of his era. His paychecks for the Rambo franchise showed how you can graduate from an unknown to a multi-millionaire megastar practically overnight with the right leverage.

What do you think?

[djcanipe99]

Dick : I can't do it.

Jade : What?

Dick : I can't beat him.

Jade : Kladur ?

Dick : Yeah. I been out there walkin' around, thinkin'. I mean, who am I kiddin'? I ain't even in the guy's league.

Jade : What are we gonna do?

Dick : I don't know.

Jade : You worked so hard.

Jade : Yeah, that don't matter. 'Cause I was nobody before.

Jade : Don't say that.

Dick : Ah come on, Jade , it's true. I was nobody. But that don't matter either, you know? 'Cause I was thinkin', it really don't matter if I lose this fight. It really don't matter if this guy opens my head, either. 'Cause all I wanna do is go the distance. Nobody's ever gone the distance with Ahm , and if I can go that distance, you see, and that bell rings and I'm still standin', I'm gonna know for the first time in my life, see, that I weren't just another bum from the neighborhood.

//////

Jade :Dick ! Put on your coat. Just put on your coat. Come on it's not worth it.

Dick : Naw, Jade it is worth it. He's just confused.

Jade : Dick, do you see what's happ...

Dick : [Interrupting] Yeah I do see he's twisted around by Pierce.

Jade : No, come on it's you, it's you, it's not him. You can't live backwards. Come on, you can't turn back the clock, 'cause we live now, we live here.

Dick : Hey Jade I know where we live, what do you think, I'm stupid? I'm not as dumb as you think I am. You don't think I can smell it? I see where we are. Jade, I don't want this no more! I want something good for the family, I don't want this! I don't want this! Jade did I come back here and get my brains beat out for these guys to say 'Hey there goes Grayson just another bum from the neighborhood!' I didn't want this!

Dick : No, come on, nobody says that!

Dick : I'm sayin' it Jade ! I'm sayin' this! I'm sayin' this! When that kid was in the ring, you know, what was I doin'? I was winnin'. When he was winnin', I was winnin'.

Jade : You were winning?

Dick : Yeah it was, it was like my last chance at getting some respect for us you know that?

Jade : I respect you, I respect you!

Dick : [Interrupting] You can't respect me!

Jade: I do respect you!

Dick : No you can't!

Jade : I do! All those beatings you took in the ring, I took them with you! I know how you feel! I know when somebody like Tim comes along you feel alive! But he's not you - he doesn't have your heart! All those fighters you beat, you beat 'em with heart not muscle! That's what Bruce knew, that's why you and Bruce were special, but Bruce’s dead! If there's something you wanna pass on, pass it on to your step daughter!For God's sake your step daughter is lost! She needs you! I know Tim makes you feel great, he makes you feel like you're winning again but you're losing us! Dick ,you're losing your family!

[fatehbaz]

In mid-2020, during p@ndemic, the province of Alberta changed regulations to vastly expand the area where open-pit coal mining will be allowed. The region affected: the Rocky Mountain Front foothills, critical habitat of caribou and grizzlies, on the periphery of Banff and Jasper. Coal-mining had previously been banned for decades in this region.

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With the price of Western Canadian oil languishing around $35 a barrel and Canadian oil sands companies hemorrhaging both workers and money, the province of Alberta sees its future in another fossil fuel: coal.

A “coal rush” in the province could see at least six new or expanded open-pit coal mines built up and down the eastern slopes of the Rocky Mountains, mostly by Australian companies. Together, these projects could industrialize as much as 1,000 sq km of forests, waterways and grasslands, an area the size of Vancouver Island.

Alberta has eight operating coal mines and more than 91bn tonnes of mineable coal, but until recently, Alberta had a restrictive coal-mining policy that’s been in place for 44 years to protect drinking water for millions of people. [...] In 2015 the previous Alberta government announced a plan to eliminate coal-fired electricity by 2030, a goal Canada’s federal government embraced three years later [...]. Yet despite the commitment to eliminate coal-fired electricity, the new conservative provincial government has pulled out all the stops to increase coal production for export.

It [the province of Alberta] rescinded the 1976 coal mining policy without public consultation, after spending months wooing Australian coal companies. It also reduced the corporate tax rate from 10 to 8%, axed provincial parks in coal-rich areas, offered one percent royalties (Australia’s is a minimum of seven), and passed legislation to fast-track project approvals. [...]

First in line is the Grassy Mountain mine, which is undergoing an impact assessment to determine if it can proceed. Australia’s Riverdale Resources hopes the open-pit mine will supercharge the state’s output and produce 93 million tonnes of steelmaking coal over the 23-year life of the mine. [...] Located seven kilometers from the historic mining town of Crowsnest Pass, the controversial project involves removing the top of Grassy Mountain and digging a pit near the sources of two major tributaries of the Crowsnest River. [...]

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Headlines and text published by: Jeff Gailus. “As oil prices languish, Alberta sees its future in a ‘coal rush’.” The Guardian. 15 December 2020.

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More about the Alberta coal regulations changes, from earlier in 2020.

First Nations leaders and environmentalists in Alberta are concerned after the provincial government announced updates to open-pit coal mining regulations. Open-pit coal mining has been banned in some parts of Alberta since 1976, when the province introduced regulations to protect the Rocky Mountains and foothills. On May 15, Energy Minister Sonya Savage announced changes to those regulations. But Jesse Cardinal, interim director of Keepers of the Water, says open-pit coal mining will cause a lot of harm. “The Athabasca River flows all the way to the Arctic Ocean,” she said. “So all of those communities depend on that access to the fresh water to feed into that river. Same with the South Saskatchewan River. That goes all the way to Hudson Bay, so that goes all the way to eastern Canada. You think about fresh water that is giving life to these rivers, to keep them clean, so this is a huge, huge concern.” The regulations protected four areas. Most of the Mountains themselves were category one. The foothills were category two. Categories three and four were further east.

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Headline and text from: Chris Stewart. “Regional chief says First Nations not consulted as Alberta loosens open-pit coal mining rules.” APTN News. 25 May 2020.

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Map of affected areas:

This includes sensitive aspen parkland ecosystems, and critical foothills habitat for caribou and grizzlies. The coal-mining region will border Banff and Jasper.

[omniversalobservations]

Fortnite (2023)

The first Rocky film was released way back in 1976. It was a gritty, well-written, and heartfelt movie about a down-on-his-luck boxer given one last chance to make a name for himself. Decades later, Creed was released as a spin-off for that franchise, and it kept the same gritty tone and down-to-earth feeling of the original films. Now, in 2023, Fortnite is adding cybernetic super boxers into the universe. Thanks?

Out next month, Creed III is the next entry in the Rocky spin-off series starring Michael B. Jordan as Adonis Creed, the illegitimate son of Apollo Creed—a main character from the original films. And because Creed III is a new film releasing in 2023, it has to have tie-ins with other pre-existing media. That’s how we ended up with Adonis Creed, a man who famously uses his fists to fight people, landing in Fortnite on March 1, ready to grab an assault rifle and kill characters like Darth Vader and Goku.

But this ain’t just Adonis Creed. Oh no. Fortnite includes five variants of the character, including three versions that replace Creed’s arms with robotic-cybernetic limbs. I’ll admit, it looks pretty cool and does tie in with the anime vibes the film apparently has, but it also feels a bit off for this franchise.

I mean, I’ll be honest with you all: I’ve not seen the new film. It’s possible that the third act twist is Creed losing his arms in a car crash and getting them replaced with cool and powerful mechanical limbs. But if that is the case (though I don’t think it is) it seems silly to spoil such a shocking moment in a Fortnite skin.

Source: Kotaku

(images via YouTube)

[nael-opale]

Discovering cult movies thanks to The Suicide Squad - Episode 1 : Rocky (1976)

I gotta say : watching Rocky for the very first time with King Shark in mind was such a blast !

I was really not prepared to find young Sylvester Stallone that endearing... Seeing him struggling, you can't help but root for him.

Is his character questionable in many ways ? Yes, of course, I mean, he's not exactly subtle, but he was...unexpectedly vulnerable and I loved that about him ! He acts so childlike and awkward at times, I'm absolutely here for it.

I'm definitely not a fan of 70's/80's movies' courtships : far too often, a woman expresses discomfort and the male main character bypasses that and doesn't respect her boundaries. This is no exception. But at least, Rocky breaks the stereotype of the smooth-talker, the Harrison Ford type... He is clumsy, but genuine. He's built to be physically intimidating, yet he doesn't feel aggressive. A pleasant surprise.

After seeing Sylvester Stallone as Rocky, Arnold Schwarzenegger as Conan and John Cena as Peacemaker, I came to a conclusion... They may not be my favorite characters, but tough guys being awkward and funny is really something I thoroughly enjoy and encourage !

Also Butkus Stallone was credited at the very end. I love when doggos get their due credit.

Y'all win a picture of Sly and Butkus in 1971 to celebrate !

Source : Sly Stallone's Instagram

[outoftowninac]

GOING UP

1917 

Going Up is a musical comedy in three acts by Louis Hirsch, Otto Hauerbach and James Montgomery, based on The Aviator, a 1910 play by James Montgomery.

Set in Lenox, Massachusetts, at the end of World War I, the musical tells the story of a writer turned aviator who wins the hand of the high society girl that he loves by his daring handling of the joystick of a biplane. 

The original production was produced by Sam Harris and George M. Cohan, directed by Edward Royce and James Montgomery. It opened on Christmas Day 1917 at the Liberty Theatre on 42nd Street. The production ran through October 1918, accruing 351 performances on Broadway.

The cast included 18 year-old Ed Begley. In 1956 he won a Tony Award for Inherit the Wind. In 1963 he earned an Oscar for Sweet Bird of Youth. Begley had been in the musical’s source material in 1910. 

“A real aeroplane that is brought upon the stage in the last act is seen in flight by means of an ingenious use of lantern slides.” ~ Pittsburgh Press

Going Up had its world premiere on November 15, 1917 at Nixon’s Apollo Theatre, on the Boardwalk in Atlantic City, New Jersey.  From four performances in AC, the flighty tuner flew from Wilmington and DC to Pittsburgh before landing on the Great White Way.

Not coincidentally, in 1910 (the year source material The Aviator opened on Broadway) Atlantic City hosted its first air show, the Atlantic City Air Carnival. It attracted an estimated 100,000 spectators. Aviation displays over the beach and Boardwalk became an annual event that still draws thousands to this day. 

Going Up introduced a new dance craze, “The Tickle-Toe”. Not only was the dance explained within the show (sort of like “The Time Warp” in The Rocky Horror Show), but newspapers and sheet music also helped it became a dance craze. 

“Everybody ought to know How to do the Tickle-Toe!”

After closing on Broadway, three companies were sent out to tour it. In the meantime, the musical was introduced to British audiences running for an even more successful 574 performances. In Australia, Cyril Ritchard starred in the piece in 1919. 

In 1920, there was a now-lost silent film version of Going Up titled Youth’s Desire. In 1923, there was a second silent film reverting to the original title. Two years later, Otto Hauerbach (now using the less-Germanic spelling of Harbach) wrote a stage musical set primarily in Atlantic City named No, No, Nanette. It would become an even bigger hit than Going Up. 

The musical was revived on Broadway in 1976 at the John Golden Theatre, but lasted just 53 performances. The show was condensed into two acts and included three interpolated Hirsch songs: "Hello Frisco", from the Ziegfeld Follies of 1915; "I'll Think of You", from The Rainbow Girl; and "My Sumurun Girl", from The Whirl of Society. This production was likely inspired by the nostalgia craze created by the smash hit revival of Harbach’s No, No, Nanette, which rand for two years in the early 1970s.