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harleiquina · 10 months

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All TV series I've ever seen II

Let's see how many I remember from this time period.

1940 - 1970

1980 - 2000 (this post)

2010 - Now

1983 - V

Aliens have come to Earth but they are nice and willing to help us... or so they say.

Everybody remembers Diana eating rats, the dramatic face reveal of any reptilian, Freddy Krueger beeing a good guy (this time) and I'm sure Stephenie Meyers wish that Reneesme/Jacob had the same level of acceptance than "the child from the stars" (name given in Latinoamerica, don't know if it was also used in the original show) and whats-his-name.

Saw it on TV but we also bought the bootleg DVD because my mom and aunt never saw the ending of the show as kids.

1985 - Amazing Stories

I hardly remember anything (I was too young when it was played on TV) but I do remember beeing traumatized by Christopher Lloyd's severed (and reattached) head.

It was created by Spielberg, some stories land better than other ones. Maybe I should try and rewatch some?

1986 - Sledge Hammer

Is he sexist, violent, gun-lover and conservative AF? Yes... but he's also hilarious! This is satire people! Don't be like the NRA that gave somekind of award to this fictional character because they have the same level of comprehension than a brick.

Saw it on TV but it is also available on Youtube.

1986 - ALF

Alien finds himself on a typical american family house and chaos begins.

Do you live under a rock? Don't you know who ALF is? Just go watch it.

It was on TV when I was growing up, I'm pretty sure you can find it anywhere.

1989 - The Simpsons

I will keep on saying it, we argentineans speak in 3 languages: Spanish, Lunfardo (a Buenos Aires dialect but each province has their own as well) and Simpsons' quotes (latin spanish obviously, everyone agrees that it's the definitive Simpsons). Earlier seasons are better, we all know that... they kind of lose us when the original latin dubbers were replaced (it would seem that Disney brought them back but I hardly watch TV now, so I don't know)

1989 - Eureeka's castle.

I don't remember a THING about it but my family says that I was obsessed. It's a Muppet-style show of a young witch apprentice and her friends.

Upon further looking, it was co-written by R. L. Stine? So I didn't got into Goosebumps as a child but got this... who knows?

1989 - Agatha Christie's Poirot

I haven't watched everything just yet (it's been on for 20 years, people!) but I do like David Suchet's Hercules Poirot (my family disagrees because for them Poirot will always be Peter Ustinov). Hey, at least it's not Albert Finney!

1990 - Caloi en su tinta (Caloi in his own ink - Argentina)

It wasn't a series properly said... it didn't have a story to follow. Caloi was a very important artist in my country (his character Clemente became a staple in our comics just like Mafalda) and he had this TV show where he curated animations of all kinds, from all over the world. I remember seeing a stop-motion version of Barber of Sevilla and I think that I also saw Queen's Innuendo videoclip for the first time in here.

Some stories were funny, others melancholic, elegant or grotesque... but all of them were Art, with a capital A.

1990 - Twin Peaks

I don't understand the hype around this show. The only thing that I though was cool was to have a season and a half to find the killer.

Before someone tells me "you have to think how ground breaking it was in the time it came up" or "it's high end art, open your mind to it" trust me I can do that... it doesn't change the fact that I don't see why so many people like it so much.

I'll grant it a few points for showing us David Duchovny as a trans woman FBI agent that saves the day on the episode she shows up. I did like the character.

1993 - The Nanny

What would happen if instead of María taking care of Von Trapp's children in the Alps, we had a jewish it-girl from Flushing, Queens? That was Fran Drescher's pitch, the rest is history.

I got to confess I usually get bored with sit-coms but this is the only one that I can watch over and over again (and the final episode still brings single tear in my eye). Yeah, the whole plot of Fran trying to get pregnant was dragged for too long, but still it's like 3 or 4 episodes, no biggy (unless my memory fails, it's been a while).

1993 - Mighty Morphin Power Rangers

For whatever reason a alien (?) race decided that teenagers are the appropiate warriors so they choose 5 Angel Grove locals to kick Galactic-Witch Rita's ass. Monsters that grow size but still look like rubber suits, the Rangers use spandex but for whatever reason they release sparks when a blade touches them. Still sweet little 4 year old me loved this show.

I checked a few episodes on Youtube not too long ago and I was pleasently surprised by the fact that each monster represented a struggle the Rangers where having on their civilian life... so facing and defeating them actually helped these kids in their ordinary life. A nice message that I completely forgot while self-convincing myself that this show was a lot dumber than I remembered.

Oh! By the way when it was on TV I watched -maybe- up to season 2. When the movie came out I was shocked that Jason, Trini and Zack were not in it.

1993 - The X Files

The most recognizable tune ever, the OG monster-of-the-week format, a skeptic + a believer, some comedy, another bit of drama and , in ocassions, straight-up horror = one of the greatest TV shows ever made.

Regardless what people think I preffer Agent Dogget (there, I said it!!) to Mulder, but of course that sunflower-seed eater, porn aficionado, spooky guy will always be loved either way.

Of course I didn't watched on TV (my mom and aunt had that privilege, I was literally a baby) but I got the whole series on bootleg DVD.

1993 - Frasier

I only watched a few mixed up episodes and I have the first 4 seasons on bootleg DVD but it was my aunt who liked it the most.

A psicologyst with a radio TV show has to live with his dad and his brother visits very often.

You might recognize them as Sideshow Bob and his brother as well.

1994 - Friends

Watched it on cable when I had it, mixed up as usual but still... for whatever reason sitcoms bore me... and this is not the exception. Again, I don't understand the hype.

1995 - Xena: Warrior princess

Ancient Greece, a female warrior... my (probably by the time we got it in Argentina) 6 year-old self loved this show. Until certain fling with Hercules... I didn't liked romance then (or now, but I'm a little more tolerant as an adult) and it ruined the show for me.

Yes, now I see certain undertones that my youngself didn't. I get it. Leave me alone!

1995 - Hercules: The Legendary Journeys

Yeah... I didn't liked Hercules but I watched a few episodes either way. I always liked a good fight on TV.

1996 - Sabrina, the teenage witch

Who didn't wanted to have magical powers growing up becuse of her?

I can't really tell how many season I've watched because, as I said, in Argentina you were lucky if the TV channels bought more than 2 season to repeat on end. Still... I didn't quite liked it as much once she left for collage. Kinda lost its magic *wink, wink*

1996 - Millenium

The year 2000 was upon us and the promise of the end of the world, so Chris Carter decided to play a little bit with it.

Frank Black is a retired agent that has a peculiar way of getting into the mind of the criminals (the audience is the only one that knows that he can see what the criminals see... live) so he is called over an over again to help on different cases.

It ended too soon (got cancelled I believe) but it has its final episode in season 9 of The X Files (if I'm not mistaken). It deals a lot with religion (mostly Christianity) and its a lot darker than Mulder & Scully's adventures (with the exception of that one episode where 4 demons get together in a coffe shop -desguised as old men- and tell their latest works done).

1997 - Meego

I got to be honest with you... I hardly remember anything from this TV show. It was basically ALF but with a human playing an alien instead of a puppet. Still we remember it fondly at home so I guess it was good enough?

1998 - Charmed

Argentina beeing Argentina, I saw a few seasons... maybe... I do remember that I liked more the original 3 sisters.

It's fun... sometimes cheesy... as any tv or film of that time.

1998 - Will & Grace

As I said, sitcoms end up becoming boring and repetitive. But that doesn't take away that sometimes jokes are good... some are very 90, but ah, well...

2000 - Dark Angel

Maybe I saw 2 season on TV but I was obsessed.

Typical supersoldiers experiments developed this superhuman creatures that got tired of beeing an experiment and broke out the facility when they were children, so now as grown ups live in our society. The lead Max (Jessica Alba) has a job as a courrier but every now and then steals, that's how she meets Logan a journalist with vigilante tendencies that needs someone to do the dirty work.

2000 - CSI (later known as Las Vegas)

Have I ever watched a show just to laugh at it? Yes, and it was called CSI, the original (I saw a lot of Miami as well).

I had a few glimpses here and there from this procedural that were the definition of Deus-ex-machina and later I decided to give it a shot just to see if, within this universe, it made sense. And nope.

If one of mom's doctors dissed House for his nearly-impossible diagnosis... I'm pretty sure some forensics did the same with Grissom's team.

Side note I really love Ted Danson, that guy is awesome.

2001 - Law & Order: Criminal Intent.

At first I thought it was a yet another The Brain + Person that explains him like many others... but Goren and Eames are the best detective duo. PERIOD.

You get to see them investigating (so Goren, mostly, doesn't know everything off the bat... he does go to the library, kids) and Eames is not just a blank space for the audience to jump in and have Goren explain everything to her. My favourite moments are when she can add up to his theory by just having the female side of things.

Goren isn't the typical I-only-think kind of detective (like, let's say Poirot) he can -and will- get into dangerous situations when needed.

You have to watch for D'onofrio's performance.

I like Jeff Goldblum as well... but his season was kinda... meh

2002 - Los Simuladores (The Pretenders - Argentina)

What if there was a group of people to solve any kind of situations? And what if this situations are quite basic, borderline stupid, like meeting the in-laws, giving a hard exam at the end of the year and such?

This is it, that's the plot.

This was a huge hit back in the day but it took me a decade (almost) to watch because if you knew argentinean tv and film as I do... you wouldn't believe that there are actually some good ideas burried very very deep in the mud.

2002 - Monk

A detective with OCD is soooo good at his job but cannot be a detective again because of it (it got worse once his wife died in a attack). Fun and wholesome... maybe it did dragged for too long.

And no matter what... we are Sharona stans in this house!

2002 - CSI Miami.

Just like CSI I watched it just to make fun of it (and because in cable they will put all CSIs together in one afternoon so it was easier to compare them).

At least this one didn't take itself too seriously!

2003 - Tru Calling

Med student has a weird ability where dead people can reach her and make her repeat the day to try and save their lives.

It ended too soon on a great cliffhanger that we will never see resolved. Damn it!

2004 - Lost

We all know Lost... it started great... and it ended.

Luckily for me the TV channel where I was watching it stopped after season 4 and I never bothered to try and catch up again.

2004 - House MD

Sherlock Holmes goes to med school and instead of solving crimes, he solves impossible diagnostics.

Gotta give it to Hugh Laurie for beeing a lovable a-hole the whole time.

It did lasted too long for me, I didn't watch the final seasons but I did watched a few mixed up episodes in cable so I kinda know what happens after, lets say... season 4? (the final one I've watched, maybe).

2004 - CSI New York

Same as the others. Just watched for Gary Sinise and Edward Furlong's guest appearence.

2004 - Miss Marple

I was never a fan of Miss Marple in writting... but on TV she is less annoying.

How come she is never suspicious? She's always around when a crime happens!

2005 - Invasion

Does anybody else remembers this TV show set after the Katrina hurricane that, apparently, also uncovered a race of aliens living underwater that have a body-snatching way of taking over the world? It's only 1 season, got cancelled I believe and I watched it on TV at 6 or 7 AM while getting ready to go to school. Ah, old times!

2005 - Mosca & Smith (Argentina)

(Mosca can be translated as "Fly" -the bug- but in this case is the character's Last Name so I'll leave it as it is)

Buddy cop with two overly eccentric characters. A silly comedy with some really in-depth meta humor of argentinean justice system. Some jokes are in poor taste... and I think it got raunchier in it's second season (I didn't watched it because one of the leads was replaced and the 2nd actor didn't had the same punch)

2005 - Bones

A forensic anthropologyst helps the FBI to solve crimes.

This is the BrainTM taken to an extreme. Dr. Temperance Brennan just can't be good at eeeeeverything. This kinda changed as seasons passed but still... who says smart people is always entirely clueless about how to be a normal human? And why so egocentric? (Most truly smart people are usually super-humble because they know that there is a lot more to learn).

In any case, it is fun. Watched on TV (earlier seasons) and continued on bootleg DVD.

2006 - Ugly Betty

The main reason why I didn't listed Betty, la fea in here it's because it is a telenovela (soap opera) everybody in Latinoamérica watched it. Some things are not so good (maybe I'll write about it one day) but overall it had a good story.

Those dubious things got changed in the U.S version... and it changed the whole story. It was easier to create something new than trying to bring people on board using a name that is well beloved to a certain ethnicity... just saying.

2007 - El Hombre que volvió de la muerte (The man that came back from Death -Argentina)

Think of a mash up of The Count of Montecristo and V for Vendetta.

It was a remake of a TV show done in the 60s... 70s? By Narciso Ibañez Menta, a Spanish actor that was naturalized as argentinean and was our very own mix of Boris Karloff (with his love for make up) and Vincent Price (he did a lot of Edgan Allan Poe stories as well). The original story was about Elmer Van Hess, who was subject to different experiments. The lab caughts on fire, he's inside and survives. For whatever reason his organs end up being given to other people so he embarks on a quest to retrieve them.

The remake also had Elmer Van Hess who was a happy fool about to get married, his boss and associates set him up and ends up in prision for fraud. Not happy with that, his boss strikes a deal with a Doctor so Elmer can be his human guinea pig (in order to do so, he asks other inmates to torture him while in prision so his only escape would be to go with the Doctor). He's experimented on as results he gets superhuman strenght and, of course, the chemicals affect his brain turning him into a very dark and blood-lust creature. The lab is set on fire, everybody thinks he died but he comes back 10 years later ready to take revenge on all of them. He was very cruel and his idea of revenge was very Saw-like... but deep down he's still in love with his almost-wife and she's the only one that can sort of ease him in the worst moments.

For an argentinean fiction it was very good.

2008 - Fringe

The X Files but even crazier? You got it.

Mom and I did got lost after season 4... but we still have the bootleg DVDs, it's just that we should start all over again and we don't have a lot of time 😝

2008 - The Mentalist

A guy is so good at reading people that decides to ripp them off saying that he's a medium. He got the wrong guy, this guy kills his family so now it's personal!

Patrick Jane's quirks might be amusing in the early episodes but after a while you, just like everyone else on the show, will want to punch him in the face.

From my little corner of the Earth I scream: Justice for Cho!! He also deserved a happy ending!

2009 - Doll House

A bunch of people got their memories wiped and now they receive other memories (fabricated sometimes) to take on dangerous tasks.

Dubious consent galore... but overall the premise was engaging. It lasted 3 seasons, the third one included a time-jump... the end didn't quite landed for me but... meh! It's entertaining at least.

2009 - Flashfoward

The entire world fainted at the same time. Everybody had visions of the future... so now some things need to be prevented for whatever reason.

Only one season, got cancelled. I don't remember a thing except the tribute to one of Jorge Luis Borges stories (El Jardín de los senderos que se bifurcan/ The garden of paths that bifurcate) and another to David Bowie's song Scary Monsters and Super Creeps. That's all I remember, I swear.

2009 - Modern Family

Sitcom that broke some barriers on what a typical family looks like. It's fun...but yeah, it also bored me.

Note to everybody: not all latinos sound like Sofía Vergara... not even Sofía Vergara sounds like Sofía Vergara the whole time.

#very vague tv reviews by harleiquina #very vague reviews by harleiquina #tv shows #1980s #1990s #2000s

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what2watch2night · 1 year

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Watch To Watch Tonight: 2022 Movie Year Recap

Another movie year ended, all the awards possible big and small have now been bestowed, most have now been made available to all democratically and most have been watched! Even though there is still soooooo much from 2022 to catch up on or sadly unreleased or not made avail to the masses (like that underwater movie we won't mention...) But we all know a lifetime will never be enough to go through years' past watchlists, and we must accept it and move on to the next one as sadly we cannot live in a EVERYTHING EVERYWHERE ALL AT ONCE multiverse where one would be able to do it all at once. So in that spirit let's take one last look at what made us want to live to see it, and that we won't forget because, as the Best Movie Quote of Movie Year 2022 (from THE FABELMAN) says: 'Movies are dreams that you never forget...'

And we sure won't forget these from another interesting 12 months that brought us a truly varied array of films, and although we might not have many “perfect” ones reaching perfect notes (well, nothing reached 9/10 or ⭐️⭐️⭐️⭐️⭐ for us this year,) it was satisfying, entertaining, and there was something for all the feels and emotions.

GREAT STORIES & GREAT FILMS

T’was a good time for wildly imaginative, to just wild and crazy stories from EEAAO to RRR to NOPE, APOLLO 10/2 or EO to even the quieter but less “bonkerz “ BANSHEES (what was it this year with fingers and donkey - definitely the “goat” of this year animal on film!) and the bold BABYLON or BARDO Then we also have our favorite with the “Eat the rich “ and “Let’s Revolt” varieties that NEVER.DISAPPOINT (We live for that sh!t!) with of course TRIANGLE OF SADNESS (that gave us great pleasure with the “I am the captain now” twist), the hit THE MENU, intense ATHENA, weirdos like FLUX GOURMET, MARCEL THE SHELL, WHITE NOISE… Anyway here are the movies that made our days/nights in 2022:

OuR Top Fave:

EVERYTHING EVERYWHERE ALL AT ONCE 8.5⭐️⭐️⭐️⭐✨ *Bonus Most Every Everywhere All At Once Scenes! (And fight scenes no doubts) TRIANGLE OF SADNESS 8.5 ⭐️⭐️⭐️⭐✨ *Bonus Most Memorable Scene!

APOLLO 10 1⁄2 8.5 ⭐️⭐️⭐️⭐ *Bonus Most Nostalgia Inducing!

BABYLON 8.5 ⭐️⭐️⭐️⭐ *Bonus Best Party and Movie-within-a-Movie Scenes! ATHENA 8 ⭐️⭐️⭐️⭐ *Bonus Best Crowd, moving, and Longtake Scene! BROKER 8 ⭐️⭐️⭐️⭐

BARDO 8.25 ⭐️⭐️⭐️⭐ *Bonus Best Dreams & Dreamy Scenes! BANSHEES OF INISHERIN 8⭐️⭐️⭐️⭐ *Bonus Most Hilarious Dialogue! WHITE NOISE 7.75 ⭐️⭐️⭐️⭐ *Bonus End Scene! NOPE 7.75 ⭐️⭐️⭐️⭐

TAR 7.75 ⭐️⭐️⭐️⭐

BOY FROM HEAVEN 7.75 ⭐️⭐️⭐️⭐

ELVIS 7.75 ⭐️⭐️⭐️⭐ *Bonus Music Scene! THE MENU 7.5 ⭐️⭐️⭐️⭐

AFTER YANG 7.5 ⭐️⭐️⭐️⭐ *Bonus Best Dance Scene! MEN 7.75 ⭐️⭐️⭐️⭐ *Most WTF Haunting SceneS! ARMAGEDDON TIMES 7.5 ⭐️⭐️⭐️⭐ EO 7.5 ⭐️⭐️⭐️⭐ *Bonus non-human actor! DECISION TO LEAVE 7.5 ⭐️⭐️⭐️⭐

RRR 7.5 ⭐️⭐️⭐️⭐ *Bonus Best Genre Switch, Crowd pleaser, & Suspension of disbelief!

We could provide a much much longer list of films from 2022 definitely worth a watch but because frankly no one has time for that with the amount of new films coming at us everywhere here is the next 20 to 100 IN ALPHABETICAL ORDER. Enjoy!

MEMORABLE ENSEMBLES There is very little doubt again that this prize should go to either EEAAO or TRIANGLE OF SADNESS. But here are 20 spectacular ensembles from 2022 movie year!

ARGENTINA 1985 ATHENA BABYLON BANSHEES OF INESHERIN BARDO BOY FROM HEAVEN BROKER EEAAO EO KLONDIKE MARS ONE PLAN 75 THE MENU THE SWIMMERS THE WHALE THE WONDER TRIANGLE OF SADNESS WAKANDA FOREVER WOMAN KING WOMEN TALKING

**Bonus: Kid actors ensemble blowing your mind 13TH LIVES AFTER YANG ALCARRAS ARMAGEDDON TIMES BLAZE CLOSE PLAYGROUND PUSSY / SOFT SCARBOROUGH THE SILENT TWIN TILL TORI AND LOKITA

MEMORABLE INDIVIDUAL PERFORMANCES Well, Yeoh was the GOAT, De Leon was MVP, but if there is one that shine brighter than most and got snubbed it was Mia Goth because; because after all she is a star (PLEASE she is a starrrr!)

Adèle Exarchopoulos ZERO FUCK GIVEN Ana de Armas BLONDE Angela Bassett WAKANDA FOREVER Aubrey Plaza EMILY AND THE CRIMINAL Austin Butler ELVIS Bill Nighy LIVING Cate Blanchett TAR Colin Farrell / Brendan Gleeson BANSHEES Danielle Deadwyler TILL Dolly De Leon TRIANGLE OF SADNESS Eddie Redmayne THE GOOD NURSE Hong Chau THE WHALE John Boyega / Michael K. Williams 892 Keke Palmer NOPE Mia Goth PEARL/X Michelle Yeoh / Ke Huy Quan EEAAO Ram Charan RRR Vicky Krieps CORSAGE Vincent Lindon ANOTHER WORLD *Soooo many more more should did fantastic works from all over the world but we wont name anymore name as this list would be way to long!

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STUNNING VISUAL Whether these movies captured the light perfectly, offered us EXTRAVAGANZA with amazing sets and wowing costumes/Hair/Makeup, had us at the edge of our seats due to the immersive action or poetic sequences, or left us emotional staring at gorgeously filmed vistas or simple shots of every day life….

There is no need to explain why EEAAO rules here! Also about snub: ATHENA was the biggest quagmire of this season, snubbed left and right even in France of all places... Sure the story is surfing on LES MISERABLE but it was quite different and the intensity and visual defo hit different too. The techniques (highly recommend watching the BTS) is mind blowing as in Nolan-level of wow every other long takes!

3000 YEARS OF LONGING AFTER YANG ALL QUIET ON THE WESTERN FRONT ATHENA BABYLON *Yes the party scene but also all other incredible to comprehend scene so left us dreaming like THIS

BARDO *Another maestro directing the hell out of another one, giving us possibly the most immersive oddities of the last season and surreal lyrical contemplations - one of our favorite thing in the whole wide world!

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DECISION TO LEAVE DON’T WORRY DARLING EEAAO *They really gave us everything imaginable and we might never see a movie so imaginative visually... ELVIS EO GODLAND MEN *The beautiful imageries one will never forget! NEPTUNE FROST *We are also still here for that keyboard jacket NOPE RRR *The category is: Most Nonsensical Mindblowing Fights! THE NORTHMAN WAKANDA FOREVER *Will always win best costumes AND hair and Make up! WHITE NOISE *Props to the props and all those sets leading to that gran finale! WOMEN KING

**Here are other movies worthy for their look (but don’t be fooled, most of these have equally share, if not more, of substance… ) 13TH LIVES AMSTERDAM APOLLO 10 ½ BANSHEES OF INESHERIN BIG BUG BLAZE BLONDE ENTERGALACTIC INU-HO KADAISI VIVASAYI LEONOR WILL NEVER DIE MAD GOD MARCEL THE SHELL WITH SHOES ON MATILDA THE MUSICAL NOTRE DAME BRULE PACIFICTION PEARL / X PINOCCHIO PREY SOMETHING IN THE DIRT TALE OF KING CRAB TED K THE BATMAN THE ETERNAL DAUGHTER THE HOUSE THE SILENT TWINS TOP GUN 2 TRIANGLE OF SADNESS TURNING RED UTAMA YOU WON'T BE ALONE

STIRRING SOUND It seems scores and OSTs were probably not as transcending as we would have liked in, but the Soundscape really outdid itself lately! Not sure if it is the advantage of watching almost everything at home with better sound in headsets that really let you drown in the sound. (and the non-annoyance of Cinema popcorn noise and often not optimal sound...) But no complaint on top of composers and supervisors giving us the right tunes at the right time conveying the right vibes, praises are seriously due to all that enhances things for our auditory pleasure from mixers to foley to engineer to musicians...

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ALL QUIET ON THE WESTERN FRONT (*How fitting that the first movie alphabetically is the one with thhose dread-inducing 3 notes! Most Memorable Notes of Movie Year 2022) APOLLO 10 1⁄2 ATHENA BABYLON BANSHEES OF INESHERIN BARDO BLACK PANTHER: WAKANDA FOREVER BLONDE ELVIS EVERYTHING EVERYWHERE ALL AT ONCE INU-HO LIVING MEN PACIFICTION RRR TAR TED K THE STRANGER THE STRANGER WHITE NOISE

Bonus: Great Music Doc YOU'RE WATCHING VIDEO MUSIC BOX MOONAGE DAYDREAM

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brennerrama · 1 year

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MOVIE QUOTE OF THE DAY:

“What criminals are we talking about? One of the men who tortured me now works for the governor. The doctor who examined me to see if I could withstand more electric prods is chief of medicine at a hospital. I have to keep living with these men. I don’t know what I am doing here.”

Fernando Gonet in Argentina, 1985

#argentina1985 #santiagomitre

#moviequotes #moviequoteoftheday

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quinn-vamp17 · 7 years

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Ella estaría muy feliz de que sus hijos se la disputarán un poco

Susana, Esperando la Carroza (1985)

#argentina #esperandolacarroza #life quotes #mother #mamacora #citas #1985 #argentinidad

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911legendsneverdie · 4 years

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Quite an uncommon view! Unloading an @Audi Sport Quattro S1 rally legend from a Porsche trailer. 😂 The S1 was a variant of the Quattro developed for homologation for Group B rallying in 1984. 🚗 © Photo: @zwart #audi #s1 #röhrl __________ HISTORY: At the end of 1985 the Audi Sport Quattro S1 E2 as an update to the Audi Sport Quattro S1. The car featured an inline 5-cylinder engine that displaced 2,110 cc (128.8 cu in) and generated an officially quoted power output figure of 480 PS (353 kW; 473 hp). 🚗 However, the turbocharger utilised a recirculating air system, with the aim of keeping the unit spinning at high rpm, when the driver closed the throttle, either to back off during cornering, or on gearshifts. 💨 This allowed the engine to resume full power immediately after the resumption of full throttle, reducing turbo lag. The actual power figure was in excess of 507 PS (373 kW; 500 hp) at 8,000 rpm. Also the weight was reduced to 1,090 kg (2,403 lb) so the S1 could accelerate from 0-100 km/h (62 mph) in just 3.1 seconds! Some of the cars were even supplied with a "power-shift gearbox", a forerunner of the DSG technology. 😎👌🏻 In 1985 the S1 E2 made its debut at Rally Argentina, with Blomqvist driving. This variant was successful in the rally circuit, with Rally Legend Röhrl and Christian Geistdörfer winning the 1985 San Remo Rally. A modified version of the E2, was also driven by Michèle Mouton. 👩🏻‍🦱 The S1 E2 would become the final Group B car produced by Audi, with the works team withdrawing from the Championship following the 1986 rally in Portugal. 🇵🇹 The final factory cars of 1986 were rated at 600 PS (441 kW; 592 hp) what made them true monsters! 🤯 In 1987 the car won the Pikes Peak International Hill Climb driven by Walter Röhrl. With his victory Röhrl set a new record for the 19.99 kilometre mountain route to the summit of Pikes Peak in the Pikes Peak International Hill Climb. Röhrl needed only 10 minutes and 47.85 seconds for the Highway, which at that time still had a continuous unpaved road surface. This made him the first driver to win on this track with a running time of less than 11 minutes. 🙏🏻 https://www.instagram.com/p/B79aYe3IXTw/?igshid=1qlt855s6zjc0

#audi #s1 #röhrl

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antoine-roquentin · 5 years

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The Vietnam War had a further pernicious effect: it helped make possible the paramilitary expression of racist sentiment. In the first half of the 20th century the American far right had conducted a campaign of violence against blacks and others, especially in the South. But while they could rely on the support of large sections of society for their cause, their main aim was to instil fear rather than to try to realise fantasies of extermination or separatism. The capacity for more directed violence among white power groups that became evident in the 1980s would not have been possible without their Vietnam training and access to weapons stolen from military bases. Faced with an economic recession exacerbated by the war’s vast expenditures, many veterans believed they would never find ordinary employment, which led some to gravitate toward the fringes of American society both left and right.

John Rambo, for his part, did both. In First Blood (1982), Sylvester Stallone’s character is a ‘half-German, half-Indian’ veteran, traumatised by the war, who arrives in a small town to pay his respects to a black comrade killed by exposure to Agent Orange. Mistaken for a hippie grafter, he is hounded by the local police and struggles to find work: ‘There [in Vietnam] I flew helicopters, drove tanks, had equipment worth millions. Here I can’t even work parking!’ But in Rambo: First Blood Part II (1985), Rambo turns right, fighting the Vietnam War all over again single-handed. ‘Sir,’ he asks, ‘do we get to win this time?’

‘Bring the war home’: what began as an anti-war slogan on the American left was appropriated by the extreme right as a proclamation of intent. Louis Beam – one of the major strategists of the paramilitary right and a central figure in Belew’s book – was a decorated veteran who had logged more than a thousand hours as a door-gunner on Huey choppers. Back home he promptly joined the Louisiana chapter of the KKK, beginning a career that seamlessly combined white power fanaticism with anti-communism. In 1977, Beam received a grant from the state of Texas to build a simulated Vietnamese rice paddy in swampland near Houston: here, he trained recruits as young as 13 to kill an imaginary enemy. Four years later a promising opportunity presented itself. A number of South Vietnamese refugees had been resettled on the other side of Galveston Bay, and local shrimp farmers didn’t want the competition. Beam seized on these fears and gave a speech to a crowd of 250 white farmers. Shortly afterwards a group of them set out and burned two Vietnamese boats, torched crosses on their lawns, and patrolled the bay on a ship equipped with a small cannon and a mannequin hanging from a noose. The campaign of intimidation was ended by the Southern Poverty Law Centre, which won a court order to disband Beam’s group and close his training camps.

Crucially, as Belew shows, most American paramilitary groups in the years after Vietnam considered themselves vigilantes. They were taking up the fight themselves because they believed the state was too cowardly or too paralysed to defend itself against Judeo-communist usurpers: the liberal establishment was infiltrated, or naive, or merely weak, unable to contend with a communist agenda that sought to destroy white nativist values and identity. In this conspiracy, blacks often featured as unwitting pawns, but that did not spare them from being targeted. In 1979, nine vehicles carrying Klansmen and neo-Nazis – most of them veterans – drove to the site of a march in Greensboro, North Carolina, where members of the Communist Workers’ Party were protesting against the Klan’s attempt to sabotage their organising of black textile workers. Five of the protesters were killed in a shoot-out; 12 were wounded. The trial that followed resulted in acquittals for all of the accused, including the local police informants who had guided the assailants to the march.

Then, in 1980, Ronald Reagan arrived. Here was a president who quoted Rambo, referred to the Vietnam War as ‘the noble cause’ and told veterans that they had been ‘denied permission to win’. Reagan not only made it clear that he intended to open new fronts in the Cold War, he even appeared to some on the far right to be paying tribute to their tactics. In 1981 a motley group of a dozen mercenaries in Louisiana – Klansmen, neo-Nazis, arms smugglers – were caught by the FBI hatching a hare-brained scheme to topple the government of the Caribbean island of Dominica and restore a puppet dictator through whom they would launder funds to the KKK and prepare a staging ground to conquer Grenada. The press mocked their failure as ‘the Bayou of Pigs’ (the plan to collaborate with a splinter group of local Rastafarians to take down what was already a right-wing government strained credulity). But as Belew notes, the US invaded Grenada two years later and justified its coup with language remarkably similar to that of the Dominican plotters, who, like Reagan, referred to the island as a ‘Soviet-Cuban colony’.

The paramilitary right had a tense but ultimately productive relationship with Reagan. In 1979 the anti-communist Georgia congressman Larry McDonald established the Western Goals Foundation, a privately funded version of the House Un-American Activities Committee, which had been wound up four years earlier. Like HUAC, McDonald’s database stored files on thousands of Americans deemed ‘subversives’, especially those who – it was imagined – might be agitating on behalf of communist movements in Central America. The information the foundation gathered was shared with the FBI and other state agencies, along with the recommendation that the government outsource the work of counter-insurgency to the very same private security firms that were helping to fund the foundation. The increased privatisation of US state violence under the Reagan administration fitted neatly with the president’s more general anti-statist rhetoric.

Kyle Burke provides a guide to this dark underground territory of the Cold War. Just as the civil rights movement spanned the globe, so too did the reaction against it. In some regions it was the reaction that proved more enduring. Burke devotes space to the largely neglected World Anti-Communist League, founded in Taiwan in 1966. The league was remarkable for its fusion of Eastern and Western anti-communist funding and expertise. The US branch was organised by a gay ex-socialist from Brooklyn, Marvin Liebman, who had converted to anti-communism after reading Elinor Lipper’s Gulag memoir. Having recruited the US congressman Donald Judd and the Catholic priest Daniel Lyons, Liebman travelled to Taipei and helped draft the league’s agenda; at the league’s 1974 conference William F. Buckley gave the keynote address. And then there was John Singlaub, a retired general and another of the league’s main organisers, who thought the US government had fumbled the urban counter-insurgency against the Black Panthers and other radical groups, and that lessons should be learned from the admirable ruthlessness with which Latin American and East Asian authoritarians had crushed their leftist opponents.

In its early years the league stirred with impossible ambitions, such as winning back China for the Kuomintang. By the early 1970s, however, it had narrowed its focus. League affiliates in Chile and Argentina were considered to have helped score major successes – including Pinochet’s coup and the Dirty War. But as Burke shows, the league and its offshoots’ activities gradually became too radical for most of its American members: too many of those involved, such as the Ukrainian nationalist Yaroslav Stetsko, openly flaunted their fascist pedigrees, while groups such as Tecos in Mexico, which had once been recruited by the Nazis to fight on the US-Mexico border, waged an open campaign of terror against Castro-inspired rebels that included bombings, assassinations and kidnappings, all barely countered by the Mexican security forces.

One of the league’s main purposes was to serve as a headhunting and staffing agency for anti-communist operations. Liebman and Singlaub – whom Reagan commended for giving him ‘more material for my speeches than anybody else’ – became middlemen for right-wing networks that channelled millions of dollars from respectable sources (the beer magnate Joseph Coors was a major donor) to anti-communist causes and counter-insurgency operations around the world. Their largesse was spread wide. Liebman founded the Friends of Rhodesian Independence, which led tours for US government officials and professors, while Singlaub helped fund arms shipments to groups like the Contras in Nicaragua. Special interests sometimes clashed. In Angola, Chevron managed to forge an oil exploration agreement with the communist MPLA guerrillas, just as Singlaub and others – including a young consultant called Paul Manafort – successfully lobbied to get the Reagan administration to back their client, Jonas Savimbi. That the US government would hinder American companies from operating in South Africa, an anti-communist ally, but allow them to work with a communist regime in Angola outraged Singlaub and his colleagues. They soon called for a boycott of Chevron and encouraged Savimbi to attack the company’s Angolan properties.

In Rhodesia, the interests of American white power internationalism and American anti-communism dramatically converged. In 1965, Ian Smith’s white supremacist regime unilaterally declared Rhodesian independence from Britain, emboldened by support from across the US political establishment, from Dean Acheson to Bob Dole. When Reagan, as a presidential candidate, began flirting with the idea of backing white Rhodesians against Robert Mugabe’s growing insurgency, several hundred American mercenaries were already fighting there. Congressional attempts to establish the exact number – let alone stop them – made little progress. Not-so-covert action in Rhodesia (now Zimbabwe) continued even after Mugabe came to power in 1980. As late as 1999, three Americans from a right-wing church in Indiana were arrested at Harare airport while apparently engaged in a plot to assassinate Mugabe. (His paranoia wasn’t always unjustified.)

One lingering puzzle in the history of the paramilitary American right is why, in the early 1980s, a small but significant part of the movement began to rebel against the US state itself. During Reagan’s first term a few thousand members of the KKK and various ersatz militias started down a path that would eventually lead to serious clashes with federal authorities. In 1984, the white nationalist Robert Jay Mathews founded Brüder Schweigen, also known as The Order, a group that sought to bring down the US government. After robbing a series of banks to secure funds for the cause, Mathews was killed in a shoot-out with federal agents on Whidbey Island in Washington State, though his co-conspirators were acquitted of sedition by an all-white jury. Even if we grant Belew’s point that members of the American right had periodically risen up against the US government, Reagan’s election was in part an expression – and a vindication – of an explicitly anti-government creed. So why did elements of the paramilitary right turn against the government during his first term?

Part of the answer seems to be that Reagan was simply too little, too late. The most extreme wing of the radical right was already strongly critical of some of his appointments, especially of ‘internationalists’ such as George H.W. Bush, James Baker and Caspar Weinberger. Weinberger was one of the few figures in the administration to show concern about white extremism. Reagan only made matters worse by allying himself with Jewish neoconservatives, who his far-right critics believed controlled the ‘Zionist Occupation Government’. The spectre of the ZOG had emerged in mid-1970s American neo-Nazi literature, which updated the Protocols of the Elders of Zion for a new generation. It was a case of badly dashed expectations: Reagan was surrounding himself with neoconservatives who purported to share the paramilitaries’ anti-communist passion while secretly they were scheming to divert American power to their own cabalistic hyper-capitalism. By elevating the identity-erasing power of the purely rational marketplace they were really instituting a form of communism under a different name.

So from the vantage point of white power, the Reagan ‘revolution’ was anything but. ‘We spent fifty years trying to elect a conservative and what have we got?’ Robert Weems, a former KKK chaplain, asked at a rally of paramilitaries in 1984. The Reagan administration, Weems declared, doesn’t ‘take on the international bankers and the Federal Reserve; they think that’s part of our glorious capitalist heritage … They don’t take on the Zionists at all because they are the Chosen and our Number One ally in the Middle East … [and they won’t] take any stand for the white race and its preservation either.’ The extremism of Weems’s anti-capitalism marks the point where antisemitic white power and the wider anti-communist movement parted ways on questions of principle. But this should not lead us to dismiss the wide areas of common cause between white power fellow-travellers – whom Belew estimates at around 450,000 Americans – and today’s most prominent inheritors of the anti-communist tradition: free-market internationalists, or ‘globalists’, as their enemies call them. The current US president’s appeal to white nativists – the manna raining daily from Twitter – is in this sense hardly contradicted by the fact that he surrounds himself with veterans of Wall Street.

How, then, could white nationalism further its aims in the post-Vietnam era? One possible avenue was through the democratic system. In 1984, the racialist lobbyist Willis Carto founded the Populist Party, which bundled together ideas of racial purity, anti-Jewish conspiracy thinking and concerns about the money supply – in particular any kind of inflationary monetary policy that might benefit the wrong kind of poor people. The party appeared on ballot papers in 14 states, yet Carto’s efforts amounted to little more than a publicity vehicle for figures such as the Klansman David Duke and Green Beret vigilante Bo Gritz. In a bout of white power infighting, the neo-Nazi factions of the white power movement hounded Carto as a swindler of right-wing funds, and a ‘swarthy’ man of questionable racial make-up.

The second seriously considered option was what became known as the Northwest Territorial Imperative, the aim being to consolidate the white race in the already very white Pacific Northwest, where an ‘Aryan homeland’ would be established. The ‘imperative’ appears today merely like an extreme form of gerrymandering. After years of infighting and lost lawsuits, its latter-day incarnation is the Northwest Front, which operates an innocuous-looking website that displays real-estate advice for white patriots and sells the Front’s tricolour flags: ‘The sky is the blue, and the land is the green. The white is for the people in between.’2

There was, however, a third option for white power activists, originating with Louis Beam and William Pierce, a.k.a. Andrew Macdonald, the movement’s bard. Together they concocted the most influential and enduring of the white power projects. In Essays of a Klansman, published in 1983, Beam advocated an all-out race war. The civil rights battles, he argued, had already been lost. But the best response was not to make a bid for a return to segregation: that was far too moderate an ambition. What was called for instead was white national liberation of the entire US mainland. The real culprit was ‘communist-inspired racial mixing’ and the real enemies were the ‘white racial traitors’ who had allowed it to happen. Beam wanted to redirect the energies of white power against those elements of the federal government which he believed had betrayed its original constitutional mandate to protect the white race.

Beam’s most inspired innovation was his blueprint for ‘leaderless resistance’, a model of guerrilla warfare, borrowed from communist and anti-colonial partisans, in which small cells operate in concert but without knowing the leaders of the other cells, removing any chance of their informing on one another. The move away from bands of local vigilante groups to anonymous, spread-out terror cells marked a major shift in the white power movement – reflecting an understanding that it was no longer operating merely in local contexts. Beam himself, Belew stresses, was an early and ardent adopter of the internet, making use of codeword-accessible message boards, pen pal programs and online advertising to spread the word of white power.

If Beam was known as the ‘general’ of the white power movement, Pierce – who had taught physics at Oregon State – was the ‘strategist’. In 1978 he published The Turner Diaries, a novel that went on to sell half a million copies. The book purports to be the diary of a bygone racist revolutionary who helped to overthrow the US government; the civil war begins when Congress passes the ‘Cohen Act’, banning the use of all firearms. But a small patriotic ‘organisation’ eventually prevails against this tyranny. Blacks in the South are bombed into oblivion with nuclear weapons, the Jews experience another Holocaust and women become a servant class. The US dollar is abolished, the calendar is set back to zero and the federal government goes down in flames when a biplane with a sixty-kiloton warhead flies into the Pentagon.

The collapse of the Soviet Union in 1991 presented more favourable conditions for Beam and Pierce’s fantasies to be put into action. Their views were now echoed in mainstream culture. Pat Robertson’s bestselling The New World Order (1991) claimed to unveil a vast Jewish-capitalist conspiracy, while Charles Murray and Richard Herrnstein’s pseudoscience blockbuster, The Bell Curve (1994), laboured to justify America’s racial hierarchy. In 1989, Beam had already put the question to his brethren: ‘Now that the threat of communist takeover in the United States is non-existent, who will be the enemy we all agree to hate?’ Highly publicised stand-offs in the 1990s seemed to confirm that his faction had been right to double down on the federal government as their enemy.3 At Ruby Ridge, Idaho in 1992, the Vietnam veteran Randy Weaver and his family exchanged fire with federal forces; Weaver’s wife and son were killed in paradigmatic displays of white martyrdom. During the Waco siege of 1993, federal agents stormed the compound of the Branch Davidian religious sect and 76 people were killed. Despite the sect’s lack of connection to the white power movement, the siege became a rallying cause for paramilitary groups that feared state overreach.

One television viewer galvanised by the Waco raid was Timothy McVeigh, then 24 years old. A Gulf War veteran who had seen sustained combat and been exposed in training to the same cyanocarbon tear gas used by ATF agents at Waco, McVeigh was an ideal candidate for Beam’s ‘leaderless resistance’. In 1995, after he bombed the Alfred P. Murrah Federal Building in Oklahoma City – until 9/11 the deadliest terrorist attack in US history – he was tried as a ‘lone wolf’ killer, despite his connections with wider paramilitary networks, such as the Michigan Militia and the ‘Viper’ militia of Arizona, and his stash of white power literature (he was a steady consumer of right-wing ‘zines’). In his case, the tactics of leaderless resistance paid off. Instead of hunting down the co-conspirators and publicising the networks, information and material that McVeigh had relied on, the media in general presented him as an isolated psychopath.

But McVeigh should interest us perhaps more for the person he became in prison. By the time of his execution, in 2001, he had begun to sound like a contributor to Counterpunch. Here he was, cogently, in 1998:

If Saddam is such a demon, and people are calling for war crimes charges and trials against him and his nation, why do we not hear the same cry for blood directed at those responsible for even greater amounts of ‘mass destruction’ – like those responsible and involved in dropping bombs on [Iraqi] cities. The truth is, the US has set the standard when it comes to the stockpiling and use of weapons of mass destruction.

The connections between American violence abroad and American violence at home seemed self-evident to McVeigh, but for the majority of Americans even to hint at such connections remains taboo.

Donald Trump has been the most significant beneficiary of the hypocrisy of American foreign policy as described by McVeigh. Before the last presidential election, no other candidate, Bernie Sanders included, was so savage in his reckoning of America’s recent foreign ventures. ‘A complete waste,’ he called the country’s longest war. ‘Our troops are being killed by the Afghanis we train and we waste billions there.’ Nor has any other president in recent memory capitalised more on the humiliation of those who fight in, or traditionally support, America’s wars. Winning for the president pertains to more than trade. Whatever the ultimate fortunes of the combined forces of American reaction, the ‘leaderless resistance’ is likely to continue. It has rarely been clearer that those who cheer on American interventions abroad should be prepared for more ferocious nativist terror at home.

#if you don't know all the people places and things mentioned here #then you've got a lot of reading to do

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blackkudos · 6 years

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Marvin Hagler

Marvelous Marvin Hagler (born Marvin Nathaniel Hagler; May 23, 1954) is an American former professional boxer who competed from 1973 to 1987. He reigned as the undisputed middleweight champion from 1980 to 1987, making twelve defenses of that title, and today holds the highest knockout percentage of all undisputed middleweight champions, at 78%. At six years and seven months, his reign as undisputed middleweight champion is the second longest of the last century, behind only Tony Zale, who reigned during World War II. In 1982, annoyed that network announcers often did not refer to him by his nickname, "Marvelous", Hagler legally changed his name to Marvelous Marvin Hagler.

Hagler is an inductee of the International Boxing Hall of Fame and the World Boxing Hall of Fame. He was named Fighter of the Decade (1980s) by Boxing Illustrated magazine, and twice named Fighter of the Year by The Ring magazine and the Boxing Writers Association of America (BWAA). In 2001 and 2004, The Ring named him the third greatest middleweight of all time and in 2002 named him the 17th greatest fighter of the past 80 years. The International Boxing Research Organisation (IBRO) rates Hagler as the sixth greatest middleweight of all time, while BoxRec rates him the sixth best middleweight of all time. Many analysts and boxing writers consider Hagler to have one of the best chins in boxing history.

Early life and amateur career

Hagler spent his early years in Newark, New Jersey's Central Ward. Following the Newark Riots of July 12–17, 1967, in which 26 people were killed and $11 million in property damage was caused, including the destruction of the Hagler family's tenement, the Haglers moved to Brockton, Massachusetts. In 1969, Hagler took up boxing after walking into a gym in the town owned by brothers Pat and Goody Petronelli, who became his trainers and managers. In 1973, Hagler won the National AAU 165-pound title after defeating Atlanta's Terry Dobbs.

Professional career

Early career

Hagler was a top-ranked middleweight boxer for many years before he could fight for the title. Hagler struggled to find high-profile opponents willing to face him in his early years. Joe Frazier told Hagler, 'You have three strikes against you, "You're black, you're a southpaw, and you're good.' He often had to travel to his opponents' hometowns to get fights. His first break came when he was offered --on two weeks' notice-- a chance against Willie 'the Worm' Monroe, who was being trained by Frazier. Hagler lost the decision but the fight was close, so Monroe gave him a rematch. This time Hagler knocked out Monroe in 12 rounds. In a third fight, he stopped Monroe in two rounds.

Boston promoter Rip Valenti took an interest in Hagler and began bringing in top ranked opponents for Hagler to face. He fought 1972 Olympics gold medalist Sugar Ray Seales; Hagler won the first time, the second was a draw and Hagler knocked out Seales in the third fight. Number 1 ranked Mike Colbert was knocked out in the twelfth and also had his jaw broken by Hagler. Briton Kevin Finnegan was stopped in eight. Afterwards Finnegan required 40 stitches in his face. He dropped a controversial decision to Bobby 'Boogaloo' Watts, but knocked out Watts in two rounds in a rematch. Hagler won a ten-round decision over 'Bad' Bennie Briscoe. By then, promoter Bob Arum took notice and signed him.

First title shot

In November 1979, Hagler fought World Middleweight Champion Vito Antuofermo at Caesar's Palace in Las Vegas, Nevada. After fifteen rounds, most thought that Hagler had won. Hagler claimed the ref said he won, but the ref denied ever saying it. Hagler claimed he and many others were surprised when the decision was announced as a draw and Antuofermo retained his title. This only added to Hagler's frustrations. Hagler had the boxing skills and killer instinct to knock Vito out, but instead he played it safe and it cost him the title.

World champion

Antuofermo lost his title later to British boxer Alan Minter, who gave Hagler his second title shot. Hagler went to Wembley Arena to face Minter. The tense atmosphere was stoked further when Minter was quoted as saying that "No black man is going to take my title"—Minter would later insist he meant "that black man". Hagler took command and his slashing punches soon opened up the cut prone Minter. The referee halted the contest after 3 rounds. At the conclusion of this bout a riot broke out and Hagler and his trainers had to be carried away to their locker rooms by the police, in the middle of a rain of beer bottles and glasses. After 7 years and 50 fights, Hagler was World Middleweight Champion.

Hagler proved a busy world champion. He defeated future world champion Fulgencio Obelmejias of Venezuela by a knockout in eight rounds and then former world champ Antuofermo in a rematch by TKO in four rounds. Both matches were fought at the Boston Garden near Hagler's hometown, endearing him to Boston fight fans. Syrian born Mustafa Hamsho, who won his shot in an eliminator with Wilfred Benítez and would later defeat future world champion Bobby Czyz, became Hagler's next challenger, put up a lot of resistance but was finally beaten in 11 tough rounds. Michigan fighter William "Caveman" Lee lasted only one round, and in a rematch in Italy, Obelmejias lasted five rounds. British Champion (and mutual Alan Minter conqueror) Tony Sibson followed in Hagler's ever-growing list of unsuccessful challengers. Sibson provided one of the most entertaining (to this point) fights of Marvelous Marvin's career, but he ultimately fell short, lasting six rounds. Next, came Wilford Scypion, who only lasted four. By then, Hagler was a staple on HBO, the Pay Per View of its time.

Hagler vs. Durán

A fight against Roberto Durán followed. Durán was the first challenger to last the distance with Hagler in a world-championship bout. Durán was the WBA Light Middleweight Champion and went up in weight to challenge for Hagler's middleweight crown. Hagler won a unanimous 15-round decision, although after 13 rounds, Duran was ahead by one point on two scorecards and even on the third. Hagler, with his left eye swollen and cut, came on strong in the last two rounds to win the fight.

More title defenses

Then came Juan Roldán of Argentina, who became the only man to be credited with a knockdown of Hagler, scoring one knockdown seconds into the fight – which was clearly a slip to anyone who saw it. Hagler protested bitterly that he had been pulled/pushed to the canvas. Hagler took his revenge though, he introduced his thumb in Roldan's left eye, then brutalized him over ten rounds and stopping him in the middle of round ten. Sugar Ray Leonard was calling the fight ringside with HBO analyst Barry Tompkins. He noted to Tompkins between rounds that Hagler looked older and slower. "Marvin might finally be slowing down, Barry" Leonard remarked. Many people believe this is the fight that gave Sugar Ray Leonard the idea that he could actually win a fight with the aging Hagler. Hamsho was given a rematch, but the Syrian was again TKO'd, this time in only three rounds. Hamsho angered Hagler with a trio of intentional headbutts in the second round and a fourth early in the third, goading the normally patient and cautious Hagler into a full-out attack that left Hamsho battered and defenseless in a matter of seconds.

Hagler vs. Hearns

On April 15, 1985, Hagler and Thomas Hearns met in what was billed as The Fight; later it would become known as "The War." Hagler, despite a cut to the head and being covered in blood, managed to overpower Hearns in the third round after a glancing right hand followed by two more rights and a left, scoring a decisive knockout. The first round of Hagler vs. Hearns is often considered to be among the best three minutes in boxing in middleweight history as the two fighters stood toe-to-toe trading blows. Rounds two and three couldn't live up to the first, as Hearns broke his hand in the first round, but were still very competitive. The fight only lasted eight minutes but it is rightly regarded as a classic and is considered to this day to be Hagler's greatest achievement. Commentator Al Michaels uttered the now-immortal line, "It didn't go very far, but it was a beauty!" The fight was named "Fight of the Year" by The Ring.

Hagler vs. Mugabi

Next was Olympic silver medalist John Mugabi of Uganda, who was 25–0 with 25 knockouts and was ranked the number one contender by all three major bodies. The fight was fought on March 10, 1986 as Hagler had hurt his back and could not fight on the first date booked in 1985. Hagler stopped Mugabi in the 11th round of a brutal fight. Many ringside observers, including analyst Gil Clancy, noticed that Hagler was showing signs of advanced ring wear and age. He was much slower of hand and foot and seemed much easier to hit. He had also completely morphed his ring style from a slick, quick-fisted, boxer/puncher to a strictly flat-footed, stalking, slugger to compensate for his loss of speed and reflexes. Hagler was now said to be seriously considering retirement. Hagler's promoter Bob Arum was quoted as saying he was expecting Hagler to retire in the face of being challenged by Sugar Ray Leonard.

Hagler vs Leonard

The Super Fight

Hagler's next challenger was Sugar Ray Leonard, who was returning to the ring after a three-year retirement (having fought just once in the previous five years.) During the pre-fight negotiations, in return for granting Hagler a larger share of the purse Leonard obtained several conditions which would be crucial to his strategy; a 22x22ft ring, 12oz gloves and the fight was to be over 12—not 15—rounds. Leonard was 2 years younger, had half as many fights, and unbeknownst to Hagler, had engaged in several 'real' fights behind closed doors (i.e. gloves, rounds, a referee, judges and no head gear) in order to shake off his ring rust. The fight took place at Caesars Palace in Las Vegas on April 6, 1987. Hagler was the betting favorite.

Hagler, a natural southpaw, opened the fight boxing out of an orthodox stance. After the quick and slick Leonard won the first two rounds on all three scorecards, Hagler started the third round as a southpaw. Hagler did better, though Leonard's superior speed and boxing skill kept him in the fight. But by the fifth, Leonard, who was moving a lot, began to tire and Hagler started to get closer. As he tired Leonard began to clinch with more frequency (in total referee Richard Steele gave him over 30 warnings for holding, although never deducted a point). Hagler buckled Leonard's knees with a right uppercut near the end of the round, which finished with Leonard on the ropes. Hagler continued to score effectively in round six. Leonard, having slowed down, was obliged to fight more and run less.

In rounds seven and eight, Hagler's southpaw jab was landing solidly and Leonard's counter flurries were less frequent. Round nine was the most exciting round of the fight. Hagler hurt Leonard with a left cross and pinned him in a corner. Leonard was in trouble, then furiously tried to fight his way out of the corner. The action see-sawed back and forth for the rest of the round, with each man having his moments. Round ten was tame by comparison, as the pace slowed after the furious action of the previous round. Clearly tiring, Leonard boxed well in the eleventh. Every time Hagler scored, Leonard came back with something flashier, if not as effective. In the final round, Hagler continued to chase Leonard. He hit Leonard with a big left hand and backed him into a corner. Leonard responded with a flurry and danced away with Hagler in pursuit. The fight ended with Hagler and Leonard exchanging along the ropes. Hagler began dancing in celebration of his performance while Leonard alternately collapsed to the canvas and raised both his arms in triumph. Leonard threw 629 punches and landed 306, while Hagler threw 792 and landed 291.

Hagler later said that, as the fighters embraced in the ring after the fight, Leonard said to him, "You beat me man". Hagler said after the fight, "He said I beat him and I was so happy". Leonard denied making the statement and claimed he only told Hagler, "You're a great champion". HBO cameras and microphones supported Hagler's version of events.

Leonard was announced as winner by split decision, which remains hotly disputed to this day.

Post-fight reaction

Official ringside judge JoJo Guerra, whose 118–110 scorecard was derided in many quarters, commented that:

Judge Dave Moretti, who scored it 115–113 for Leonard:

Lou Filippo, who scored it 115–113 for Hagler and felt that Hagler's bodyshots and aggression earned him the nod, said:

Hugh McIlvanney, commenting in the British Sunday Times and Sports Illustrated:

McIlvanny also referred to Budd Schulberg's contention about a 'compound optical illusion', namely that simply being more competitive than expected meant that Leonard appeared more effective and to be doing more than he actually was. Harry Gibbs, the British judge who ironically had been rejected by the Hagler camp, said he also scored it for Hagler.

Jim Murray, long-time sports columnist for the Los Angeles Times felt that Leonard deservedly got the decision, arguing that Leonard landed more punches and showed better defense and ring generalship, and writing:

The scorecards from the ringside press attest to the closeness of the fight (6–5, 3 drawn) more pundits awarded the fight to Leonard rather than to Hagler, although counting those who scored it even, more felt Hagler deserved to keep his title than did not:

Rematch

Hagler requested a rematch but Leonard chose to retire again (the third of five high-profile retirements announced by Leonard), having said he would do so beforehand. Hagler himself retired from boxing in June 1988, declaring that he was "tired of waiting" for Leonard to grant him a rematch. In 1990, Leonard finally offered Hagler a rematch which reportedly would have earned him $15m, but he declined. By then he had settled down to a new life as an actor in Italy and was now uninterested in boxing. He said "A while ago, yeah, I wanted him so bad, but I'm over that." At the 1994 Consumer Electronics Show Hagler and Leonard had a mock rematch by playing against each other in the video game Boxing Legends of the Ring, and claimed that an actual rematch was being planned.

Training style

Hagler had a unique training regimen in which he would hole up on Cape Cod in motels that had closed for the winter. For his "road work" he would take to the pavement in army boots, declaring running shoes "sissy shoes." He would run much of his route backwards to prepare for movements in the boxing ring.

Professional boxing record

Career after boxing

After the loss to Leonard, Hagler moved to Italy, where he became a well-known star of action films. His roles include a US Marine in the films Indio and Indio 2. In 1996, he starred alongside Giselle Blondet in Virtual Weapon. Hagler has provided boxing commentary for British television. Another foray into the entertainment field includes work in the video game Fight Night: Round 3.

Personal life

Former middleweight southpaw boxer Robbie Sims is Hagler's half brother. Hagler has five children with his first wife, Bertha, including Charelle, Celeste, James, Marvin, Jr., and Gentry. Although he owns a home in Bartlett, New Hampshire, Hagler currently lives in Milan. In May 2000, he married his second wife Kay, an Italian woman, in Pioltello, Italy.

Awards and recognitions

Named Fighter of the Decade (1980s) by Boxing Illustrated

Named Boxing Writers Association of America Fighter of the Year for 1983 and 1985.

Named Ring Magazine Fighter of the Year for 1983 and 1985.

Inducted into both the International Boxing Hall of Fame and the World Boxing Hall of Fame in 1993.

Wikipedia

#Marvin Hagler #05-23

5 notes · View notes

papermoonloveslucy · 6 years

Text

ALL STAR PARTY FOR LUCILLE BALL

December 9, 1984

Directed by Dick McDonough ~ Written by Paul Keyes

Lucille Ball (Honoree), Monty Hall (Host), Nelson Riddle and His Orchestra

Monty Hall was the honorary chairman of Variety Clubs International.

Featuring Lucy's family: Gary Morton, Lucie Arnaz, and Desi Arnaz Jr..

Lucy's former (and future) guest-stars: Sid Caesar, Sammy Davis Jr., Dean Martin, John Ritter, as well as uncredited appearances by Barbara Eden, Eva Gabor, Bernie Kopell, Rich Little, Cesar Romero, Art Linkletter, Kirk Douglas, Bea Arthur, Ken Lane (Dean Martin's pianist), and Ricardo Montalban

Presenters and entertainers also include: Joan Collins, Cary Grant, Shelley Long, Carl Reiner, and Vicky McLure

Former Variety Clubs honorees in attendance: James Stewart, Burt Reynolds, and Frank Sinatra

Also present at the party (all uncredited): Loni Anderson, Lloyd Bridges, James Caan, Sammy Cahn, Ted Danson, Barbara and Marvin Davis (Childhood Diabetes Foundation), Altovise Davis, Charles Durning, Farrah Fawcett, George Hamilton, Barbara Harris (Mrs. Cary Grant), Lisa Hartman, Ted Lange, Vicki Lawrence, Carol Lawrence, Michele Lee, Olympian Carl Lewis, Hal Linden, Karl Malden, Roddy McDowell, Gloria Hatrick McLean (Mrs. Jimmy Stewart), Donna Mills, Stefanie Powers, Barbara Sinatra, Joan Van Ark, Dick Van Patten, Dionne Warwick, Dennis Weaver, Raquel Welch, and Betty White.

Taped at Warner Brothers Studios on November 18, 1984 and aired on CBS on December 9, 1984. Due to the December air date, the room is decorated in poinsettias. Lucy makes her entrance holding a dozen long-stem roses. At Lucy's center table is her husband Gary Morton, Frank and Barbara Sinatra, Burt Reynolds and Loni Anderson, Jimmy and Gloria Stewart, Cary Grant and Barbara Harris.

Variety, the Children's Charity is an organization founded in Pittsburgh, Pennsylvania in 1927, when a group of eleven men involved in show business set up a social club which they named the Variety Club. On Christmas Eve 1928, a baby was left on the steps of the Sheridan Square Film Theatre. When efforts to trace the mother failed, the Variety Club named the child Catherine Variety Sheridan, after the club and the theatre on whose steps she was found, and undertook to fund the child's living expenses and education. Later the club decided to raise funds for other disadvantaged children. The discovery of the baby inspired the film Variety Girl (1947).

The program was the second highest rated show of the night with a 21.7 share, second only to its lead-in “Murder She Wrote” with a 22.3 share.

Monty Hall says that this is the 9th annual Variety Club All-Star Party. Two years later, Lucille Ball hosted the 1986 event honoring Clint Eastwood. In 1982 she participated in the All-Star Party for Carol Burnett.

In an interview to promote the program, Lucy said that Lucie Arnaz wrote the lyrics to the “I Love Lucy” tribute song that she and Desi Jr. sang. But on the show, Burt Reynolds claims the special lyrics were by Sammy Cahn.

Also in the interview, Lucy says she'd never do another series again. Two years later she changed her mind and agreed to do “Life With Lucy” for Aaron Spelling and ABC. She also says she'd like to do a drama about seniors being driven from their homes. It is likely that by November 1984 Lucy was already in talks to do her final film, TV's Stone Pillow, which would begin filming in April 1985 and air in November of that same year.

To kick off the event, the Nelson Riddle Orchestra plays “Hey Look Me Over” as Lucy's entrance music. Lucille Ball introduced the song in the 1960 Broadway musical Wildcat by Cy Coleman.

Joan Collins (TV's “Dynasty”) details Lucy's background and rise to fame; 76 films and over 500 television programs. She reminds Lucy that she auditioned for the role of Scarlet O'Hara in Gone With The Wind. In 1987 Collins was honored with her own All-Star Party.

Joan: “Not even Clark Gable could look into that face and say 'Frankly, my dear, I don't give a damn’”.

Frank Sinatra sings “You Are the Sunshine of My Life” to Lucy, a 1973 song written and recorded by Stevie Wonder.

Sinatra says to Lucy “You're the best thing to happen to Adam's rib.” This causes a quizzical look to come over Lucy's face. Later in life, Sinatra was known for his occasional odd references and non-sequitur. He had been honored by Variety Clubs the previous year, 1983.

Cary Grant reads a letter from President Ronald Reagan. Reagan was honored with an All-Star Party the following year, 1985. When first addressing Ball, Grant says “Lucy, Lucy, Lucy,” imitating his falsely attributed quote “Judy, Judy, Judy.” Grant would also read a congratulatory telegram from President Reagan in 1986, when Clint Eastwood was honored.

Carl Reiner introduces and interviews Sid Caesar as (all the way from Germany) Professor Ludwig Von Blearyeyes, the world's most renowned viewer of Lucille Ball's television shows. The Professor describes his second favorite episode of “I Love Lucy” which is a crazy mash-up of parts of several episodes, including “Lucy Goes To The Hospital” (ILL S2;E16), “The Audition” (ILL S1;E16), and “Pioneer Women” (ILL S1;E25). The Professor then recounts the same episode in Italian, proving that Lucy is known all over the world. The description of the Professor's favorite episode sounds like the plot to King Kong.

John Ritter is introduced as a 'member of Lucy's mutual admiration society,' a fellow comedic actor on TV. Lucille Ball had hosted a two-part retrospective of Ritter's show “Three's Company” in 1982. Ritter would be Ball's first celebrity guest-star on “Life With Lucy” in 1986.

Ritter introduces Olympian Carl Lewis and Vicki McClure, a young woman from Los Angeles chosen to sing at the opening ceremonies of the 1984 Summer Olympics. McClure reprises the song she sang at the ceremonies, “Reach Out and Touch (Somebody's Hand).” The song by Ashford and Simpson was the debut solo single of Motown singer Diana Ross, released in April 1970. McClure, a checkout girl at the Hughes Market in Canoga Park, was at first just the rehearsal stand-in for Ross but she was chosen for the real thing because as an unknown, she reflected the youthful image that organizers hoped to project for the games.

Shelley Long (TV's “Cheers”) admits that she never worked with Lucy, but admires her as a role model working mother.

Long 'passes the baton' to Dean Martin, while the Nelson Riddle Orchestra plays his signature song “Everybody Loves Somebody Sometime,” a song written in 1947 by Sam Coslow. Martin sang it in “Lucy Dates Dean Martin” (TLS S4;E21), as well as on "Lucy Gets Lucky," their 1975 special. Martin (with Ken Lane at the piano) sings “When You're Smiling” by Larry Shay, Mark Fisher and Joe Goodwin. He changes the lyrics to suit the occasion:

“When you're Lucy, When you're Lucy, You're never off TV. When you're Lucy, That's all you see, You're own life constantly. On Channel 7, 5, 4, 9, 8 or 10, Wherever you turn, That's our Lucy again. When you're Lucy, When you're Lucy, You're never off of TV.”

Jimmy Stewart says that Lucy and Gary are celebrating their wedding anniversary. Stewart introduces Gary Morton, who presents Lucy with an Olympic-style medal for being a “gold medal wife.”

Sammy Davis Jr.'s first remarks incorporate references to the 1961 musical Stop the World – I Want To Get Off by Anthony Newley and Leslie Bricusse. Davis starred in the 1978 Broadway revival of the show as well as the TV special “Sammy Stops the World” that same year. He then gives a heartfelt and emotion tribute to Lucy's world-wide and timeless appeal.

Sammy: “Lucille Desiree Ball, daughter of Desiree and Henry Ball, who stopped the world and said 'I wanna get on' in Jamestown, New York. On an August the sixth, this world of ours took little note then, but will long, long remember. Be proud, Lucy, of your legacy. Very proud. Be aware, as you sit here among your grateful friends, the sun never sets on Lucille Ball. All over this worried world tonight. Nations of untold millions are watching reruns they also watched the first time around. In Iran and Iraq on this very night, the fighting stops long enough for frightened people to laugh again as you hide the frozen meat in the furnace. In Finland after a long hard day at the factory, husbands and father are just settling down to watch the American girl they love the most get half bombed on her first TV commercial. And in Lebanon, ravished Lebanon, worried parents of many fates share a common experience, with innocent war-torn children, who tune in to forget the debris long enough to feed their hungry souls with laughter as you parade down the Champs Elysee in an outfit that drove the Paris designers to double aperitifs. Across the world in Singapore, Japan, whole families gather for a 'Lucy break' as laughter erases their problems watching you rehearse your trip to the hospital for television's first birth. And in Mexico, Brazil, Argentina, Chile, Columbia, Honduras, Guatemala, Peru, San Salvador, Venezuela, and other sunshine countries, laughter crosses friendly and unfriendly borders as you try to keep up with the chocolates on the assembly line. Yes, my dear friend, Lucy, you are the one they love most.”

The specific “I Love Lucy” episodes Davis is referring to (in order) are “The Freezer (ILL S1;E29); “Lucy Does a TV Commercial” (ILL S1;E30); “Lucy Gets a Paris Gown” (ILL S5;E20); “Lucy Goes to the Hospital” (ILL S2;E16); and “Job Switching” (ILL S2;E1). Lucy later said that Davis wrote the above speech himself.

Monty Hall returns to tell Lucy that Variety Clubs International has added new facilities in children's hospitals dedicated to John Wayne (in Miami), Elizabeth Taylor (in New York City), Jimmy Stewart (in Minnesota), Ingrid Bergman (in Des Moines), Jack Lemmon (in Buffalo), Burt Reynolds (in Atlanta), Carol Burnett (in Los Angeles), and Frank Sinatra (in Seattle).

Burt Reynolds recounts his first meeting Lucy, through an introduction by Lucie Arnaz. Lucie and Reynolds dated for a year and a half. Nelson Riddle and the Orchestra play the “I Love Lucy” theme by Eliot Daniel. Lucie and Desi Jr. then sing the song to their mother with special lyrics by Sammy Cahn. Ball struggles to hold back the tears. Lucie Arnaz is noticeably pregnant. She would give birth to her daughter, Katherine Luckinbill, on January 11, 1985.

To the strains of the title song from Mame, Lucy joins Monty Hall at the front of the room where he informs her of the naming of a research library in her honor at the Barbara Davis Juvenile Diabetes Hospital in Denver, Colorado.

Lucille Ball thanks everyone for the tribute. She asks Mike Frankovich of Variety Clubs to stand and take a bow.

Lucy: “To everyone who said such wonderful things about me tonight, I just wish you were all under oath.”

At the very end, the entire crowd sings “Happy Anniversary” (to the tune of “Happy Birthday”) to Lucy and Gary, who were married on November 19, 1961.

Oops! Over the entrance music, Lucille Ball can be heard to greet Dionne Warwick saying “Hi Diane.” Did she think Warwick was Diahann Carroll? When Lucy sees Eva, she just repeats over and over “A Gabor! A Gabor! A Gabor!” perhaps unsure if it is Eva or Zsa Zsa. Bear in mind that Ball did not know the guest list ahead of time. While the announcer reads off the guests stars for the opening credits, Lucy can be heard to say “I hope I remember the names.”

When Gary Morton puts the Olympic medal around Lucy's neck, she says “Turn it around!” Lucy wanted the front of the medal facing the camera. She then jokes that she is “always directing.”

This Date in Lucy History – December 9

"Don Juan and the Starlets" (ILL S4;E18) filmed on December 9, 1955

"Lucy and the Military Academy" (TLS S2;E10) aired December 9, 1963

"Guess Who Owes Lucy $23.50" (HL S1;E11) aired December 9, 1968

6 notes · View notes

tasksweekly · 6 years

Photo

[TASK 074: ARGENTINA]

There’s a masterlist below compiled of over 300+ Argentinian faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever character or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK - examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

Renée Roxana (1931) Argentinian [Lebanese, Syrian] - actress and screenwriter.

Thelma Biral (1941) Argentinian [Italian] - actress.

Zulma Faiad (1944) Argentinian [Lebanese] - actress, vedette, and former model.

Vanessa Show (1945) Argentinian [British] - performer - trans!

Linda Peretz (1945) Argentinian [Bulgarian Jewish] - actress.

Graciela Alfano (1952) Argentinian - artist, model, actress and vedette.

Beatriz Pichi Malen (1953) Argentinian [Mapuche] - singer.

Beatriz Salomón (1953) Argentinian [Syrian] - actress, tv presenter, vedette, and singer.

Luisa Kuliok (1954) Argentinian - actress.

Mercedes Morán (1955) Argentinian - actress.

Carmen Barbieri (1955) Argentinian - actress, super vedette, dancer, stand-up comedian, director and theatre producer.

Celeste Carballo (1956) Argentinian - musician.

Cecilia Roth (1956) Argentinian [German-Jewish, Ukrainian-Jewish] - actress.

Velina Hasu Houston (1957) African-American, Pikuni Blackfoot, Japanese, Chinese, Native Hawaiian, Cuban, Argentinian, Brazilian, Armenian, Greek, German, English - writer.

Julia Zenko (1958) Argentinian [Polish Jewish, Latvian Jewish, Lithuanian Jewish, Russian Jewish] / Uruguayan - singer and actress.

María Socas (1959) Argentinian - actress.

Christian Bach (1959) Argentinian [Italian, German] - actress and producer.

Señorita Lee (1962) Argentinian [Korean] - actress, model, presenter, and ballerina.

Carola Reyna (1962) Argentinian - actress and director.

Alejandra Darín (1964) Argentinian [Syrian, Lebanese, Italian] - actress.

Yamila Cafrune (1965) Argentinian [Syrian, Lebanese, possibly other] - singer.

Rosalinda Serfaty (1965) Argentinian [Amazigh Moroccan Jewish] - actress.

Andrea Del Boca (1965) Argentinian [Italian] - actress.

Jacqueline Obradors (1966) Argentinian [Spanish, Italian, possibly other] - actress.

Susy Shock (1968) Argentinian [Unspecified Indigenous, possibly other] - actress, singer, and writer. - Trans!

Claudia Brant (1968) Argentinian [Armenian, British] - singer-songwriter and composer.

Érica García (1968) Argentinian [Guarani, possibly other] - actress, singer, and composer.

Almendra Gomelsky (1968) Argentinian [Egyptian, Russian, Russian Jewish] - model, singer, tv presenter, and designer.

Carolina Papaleo (1969) Argentinian - actress.

Nancy Dupláa (1969) Argentinian [Lebanese, possibly other] - actress.

Mara Croatto (1969) Italian Argentinian / Argentinian - actress.

Natalia Streignard (1970) Argentinian / German - actress.

Mariana Baraj (1970) Argentinian [Russian Jewish, Romanian] - singer, percussionist, and composer.

Camila Mac Lennan (1971) Argentinian [Scottish] / Peruvian - actress.

Carolina Peleritti (1971) Argentinian - actress and former model.

Mirta Bogdasarián (1972) Argentinian [Armenian, possibly other] - actress.

Charo Bogarín (1972) Argentinian [Guarani, possibly other] - singer and actress.

Valeria Mazza (1972) Argentinian [Italian, German, Spanish, Portuguese, possibly other] - model and businessperson.

Valentina Bassi (1972) Argentinian [Italian] - actress.

Chantal Andere (1972) Mexican [Argentinian, Basque] - actress.

Topaz Fresh (1973) Argentinian - singer, actress, dancer, art gallerist - trans!

Paz Lenchantin (1973) Argentinian [Armenian, French, possibly other] - singer, violinist, bassist, pianist, and guitarist.

Ana María Orozco (1973) Colombian, Argentinian - actress.

María Fernanda Blázquez Gil AKA Fey (1973) Mexican [Argentinian] - singer.

Sonya Walger (1974) Argentinian [Italian, Spanish, Basque, German, possibly other] / English - actress.

Mónica Ayos (1974) Argentinian - actress.

Érica Rivas (1974) Argentinian [Spanish] - actress.

Eleonora Wexler (1974) Argentinian [German] - actress.

Carla Peterson (1974) Argentinian [Swedish / Italian] - actress and director.

Denise Dumas (1974) Argentinian [Swedish, French] - actress, tv host, and former model.

Itatí Cantoral (1975) Mexican / Argentinian [Italian] - actress, singer, dancer, and producer.

Isabel Macedo (1975) Argentinian - actress.

Dorismar (1975) Argentinian [German] - model, actress, television hostess, and singer.

Géraldine Zivic (1975) Argentinian / Serbian - actress, model, and tv host.

Carina Zampini (1975) Argentinian - actress.

Mercedes Scápola (1975) Argentinian - actress.

Florence De La V (1975) Argentinian - actress, comedian and star - trans!

Betina O'Connell (1976) Argentinian - actress.

Mariana Seoane (1976) Argentinian / Cuban-Mexican - actress, model and singer.

Yamila Díaz Rahi (1976) Argentinian [Lebanese, Spanish] - model.

Bérénice Bejo (1976) Argentinian (Spanish, Italian, possibly other) - actress.

Claudia Albertario (1977) Argentinian - model, vedette and actress.

Lola Berthet (1977) Argentinian - actress.

Romina Gaetani (1977) Argentinian - actress.

Griselda Siciliani (1978) Argentinian [Italian] - actress, singer and dancer.

Pamela David (1978) Argentinian [Unspecified Arab, possibly other] - actress, model, tv personality, presenter, and journalist.

Juliana Gattas (1978) Argentinian [Palestinian, French] - singer.

Lilian Tintori (1978) Venezuelan / Argentinian - athlete and television and radio host.

Adabel Guerrero (1978) Argentinian [Ukrainian (Rusyn), Spanish (Aragonese) and Italian] - dancer, actress, and supervedette, model and singer.

Ana Carolina Ardohaín Dos Santos AKA Pampita (1978) Argentinian / Brazilian - model, television personality and actress.

Mía Maestro (1978) Argentinian [Italian, Swiss, French, possibly other] - actress, singer, songwriter.

Dolores Fonzi (1978) Argentinian - actress.

Jessica Coch (1979) Mexican [Argentinian] - actress.

Linda Karen Michibata (1979) Japanese, Italian / Argentinian - model.

Micaela Chauque (1979) Argentinian [Quechua] - singer, flutist, and composer.

Antonella Costa (1980) Argentinian / Chilean - actress.

Julie Gonzalo (1981) Argentinian - actress and producer.

Belén Scalella (1981) Argentinian [Italian] - actress and musician.

Karina Jelinek (1981) Argentinian [Japanese, Austrian, Czech, possibly other] - actress, model, and tv personality.

Alexis Bledel (1981) Argentinian [Danish, German] / Mexican [Scottish, English, Irish, Welsh, French] - actress and model.

Sofia Elliot (1981) Argentinian - actress, producer and director.

Victoria Maurette (1982) Argentinian [French] - actress, musician, singer, songwriter and composer.

Paloma Contreras (1982) Argentinian / Chilean - actress.

Malena Pichot (1982) Argentinian [French] - stand-up comedian, actress, screenwriter and internet celebrity.

Tilsa Lozano (1982) Peruvian [Argentinian] - model and actress.

Tamara Yajia (1983) Argentinian - comedian, writer, actress and musician.

Florencia Bertotti (1983) Argentinian [Italian] - actress, singer and producer.

Marcela Kloosterboer (1983) Argentinian [Dutch] - actress and musician.

Jessica Michibata (1984) Japanese, Italian / Argentinian - model.

Mariana Seligmann (1984) Argentinian [German] - actress, singer and dancer.

Annabel (1984) Argentinian [Japanese, possibly other] - jpop idol.

Camila Bordonaba (1984) Argentinian - actress, singer-songwriter, dancer, musician, Theatre director and former model.

Lourdes Cecilia Fernández (1984) Argentinian - actress and musician.

Gimena Accardi (1985) Argentinian [Italian] - actress, model and occasional singer.

Nathalie Kelley (1985) Argentinian / Peruvian [Quechua, possibly other] - actress.

Angelica Michibata (1985) Japanese, Italian / Argentinian - model.

Stephanie Bendixsen (1985) Argentinian [Danish, possibly other] / Dutch - actress, tv presenter, and author.

Micaela Vázquez (1986) Argentinian - actress.

Jazmín Beccar Varela (1986) Argentinian - actress.

Sonoya Mizuno (1986) Japanese / Argentinian, British - actress, model, and ballerina.

Noelia Marzol (1986) Argentinian - actress, dancer, hostess, gymnast, businesswoman and fashion designer.

Yésica Toscanini (1986) Argentinian (Italian, possibly other) - model.

Sofía Gala (1987) Argentinian [Italian] - actress.

Dalma Maradona (1987) Argentinian [Unspecified Indigenous, Galician, Italian, Croatian, possibly other] - actress and singer.

Araceli González (1987) Argentinian - actress, fashion model and TV host.

Emilia Attias (1987) Argentinian [Moroccan Jewish, Italian, French] - actress and model.

Luisana Lopilato (1987) Argentinian (Italian, Spanish, possibly other) - actress, singer, and model.

Carla Quevedo (1988) Argentinian - actress and designer.

Estefanía Bacca (1988) Argentinian [Israeli, Italian, Spanish] - actress, model, vedette, dancer, acrobat, and choreographer.

Joana Metrass (1988) Argentinian, Chinese, Cape Verdean, Italian, French - actress.

Elena Furiase (1988) Argentinian [Italian] / Romani, Spanish - actress and singer.

Solange Gómez (1988) Argentinian [Syrian, possibly other] - actress and model.

Rocío Igarzábal (1989) Argentinian [Basque, Spanish] - actress, singer-songwriter, model, guitarist, and ukulele player.

Justina Bustos (1989) Argentinian [Spanish] - actress and model.

Rocío Igarzábal (1989) Argentinian [Basque] - actress, singer and model.

Julieta Rada (1990) Afro Argentinian / Afro Uruguayan - singer.

Milagros Flores (1990) Argentinian - actress and musician.

Gavlyn (1990) Argentinian / Spanish, Irish, French - recording artist.

Lali Espósito (1991) Argentinian [Italian, possibly other] - actress, singer-songwriter, model, and dancer.

Brenda Asnicar (1991) Argentinian - actress, singer, model and dancer.

Gala Gordon (1991) Argentinian / English - model and actress.

Candela Vetrano (1991) Argentinian - actress.

Brenda Asnicar (1991) Argentinian [Italian, Hungarian, Austrian, Slovenian, possibly other] - actress, model, singer, and dancer.

Eugenia Suárez (1992) Argentinian [Japanese, Spanish, possibly other] - actress and model.

Macarena Achaga (1992) Argentinian [Basque] - model, actress, singer, and television hostess.

Camila Mateos (1993) Argentinian - actress and model.

India Eisley (1993) English, Argentinian [Spanish, possibly other], Scottish - actress.

Malena Ratner (1995) Argentinian - actress and dancer.

Anya Taylor-Joy (1996) Argentinian, Scottish / South African, Spanish, English - actress.

Oriana Sabatini (1996) Argentinian / Venezuelan - model, actress, and singer.

Amanda Arcuri (1997) Argentinian, Italian - actress.

Martina Stoessel (1997) Argentinian - actress, model, singer, and dancer.

Valentina Zenere (1997) Argentinian - actress and model.

Martina Stoessel (1997) Argentinian [Spanish, German, possibly other] - actress, model, singer, and dancer.

Valentina Zenere (1997) Argentinian [Italian, possibly other] - actress, model, singer, and dancer.

Prima Vikinga (1997) Argentinian - youtuber.

Maia Reficco (2000) Argentinian - actress and singer.

Natalia Kim (?) Argentinian [Korean / Japanese] - actress, model, and tv presenter.

Regina Lamm (?) Argentinian [German, Norwegian] - actress.

Julieta Ortega (?) Argentinian - actress.

Lola Ponce (?) Argentinian - musician, composer, actress and occasional model.

Leticia Siciliani (?) Argentinian - actress.

Jorge Rivera López (1934) Argentinian - actor.

Giora Feidman (1936) Argentinian [Romanian Jewish, Moldovan Jewish] - clarinet player.

Cacho de la Cruz (1937) Argentinian [Moroccan] - actor, musician, comedian, tv presenter, and producer.

José Larralde (1937) Argentinian [Iraqi, Basque] - singer-songwriter.

Roberto Carnaghi (1938) Argentinian - actor.

Jorge D'Elía (1938) Argentinian - actor.

Jaime Torres (1938) Argentinian, Bolivian - musician.

Sergio Kleiner (1939) Argentinian [German-Jewish] - actor.

Enrique Pinti (1939) Argentinian [Italian] - actor and comedian.

Miguel Ángel Estrella (1940) Argentinian [Syrian, possibly other] - pianist.

Angel Pavlovsky (1941) Argentinian [Russian=Jewish] - actor and director.

Alberto Hassán (1942) Argentinian [Lebanese] - singer.

Leo Dan (1942) Argentinian [Quechua, Diaguita] - singer and composer.

Jorge Méndez (1942) Argentinian [Syrian, Spanish] - musician.

Zamba Quipildor (1943) Argentinian [Toba] - singer and guitarist.

Hugo Arana (1943) Argentinian - actor.

Bernardo Baraj (1944) Argentinian [Russian Jewish, Romanian] - musician.

Alberto Fernández de Rosa (1944) Argentinian - actor

Eduardo Vittar Smith (1945) Argentinian [Unspecified Arab, English] - singer.

Victor Heredia (1947) Argentinian [Quechua, Romani, French] - singer-songwriter.

Juan Falú (1948) Argentinian [Syrian, possibly other] - guitarist.

Pepe Cibrián Campoy (1948) Argentinian, Cuban - actor, director, and author.

Tomás Lipán (1948) Argentinian [Aymara] - singer and multi-instrumentalist.

Juan Carlos Colombo (1950) Argentinian - actor.

Lito Epumer (1954) Argentinian [Mapuche, French, German] - guitarist and composer.

Julio Chávez (1956) Argentinian [Egyptian, German Jewish, possibly other] - actor.

Julio Chávez (1956) Argentinian - actor.

Rubén Patagonia (1956) Argentinian [Tehuelche] - singer and actor.

Ricardo Darín (1957) Argentinian [Syrian, Lebanese, Italian] - actor and filmmaker.

Lorenzo Lamas (1958) Argentinian/Spanish-Argentinian / Norwegian - actor.

Roberto Piazza (1959) Argentinian [Italian] - fashion designer, actor, singer and writer .

Chang Kim Sung (1960) Argentinian [Korean] - actor.

Javier Gómez (1960) Argentinian - actor.

Gabriel Goity (1960) Argentinian - actor.

Alejandro Awada (1961) Argentinian [Syrian / Lebanese] - actor.

Juan Palomino (1961) Argentinian / Peruvian - actor.

Rolando Saad (1961) Argentinian [Unspecified Arab] - guitarist.

Ivo Cutzarida (1962) Argentinian [Romanian] - actor and director.

Bahiano (1962) Argentinian [Unspecified Black, possibly other], Brazilian - singer and tv host.

Carlos Alazraqui (1962) Argentinian [Spanish, likely some Sephardi Jewish] - comedian and actor.

Ricardo Iorio (1962) Argentinian [Unspecified Indigenous, Italian] - singer, musician, and composer.

Dany Roland (1962) Argentinian [Egyptian Jewish, Portuguese, Italian, French] - actor, musician, and director.

Fernando Barrientos (1963) Argentinian, Chilean - singer.

Pablo Bardauil (1963) Argentinian - actor.

Kevin Johansen (1964) Argentinian / Norwegian - singer.

Humberto Tortonese (1964) Argentinian [Italian] - actor and comedian.

Pablo Molina (1965) Afro Argentinian - singer and percussionist.

Fidel Nadal (1965) Argentinian [Angolan] - singer.

Goy Ogalde (1966) Argentinian [Romanian Jewish, German Jewish] - musician.

El Turco Naím (1966) Argentinian [Syrian, Italian, Sicilian, French] - actor, musician, and comedian.

Juan Soler (1966) Argentinian [Spanish, Catalan] - former rugby player and model.

Pepe Céspedes (1966) Argentinian, Paraguayan - musician.

Federico D’Elía (1966) Argentinian [Danish, Italian] - actor and producer.

Julio Bocca (1967) Argentinian - ballet dancer.

Adrián Suar (1968) Argentinian [German Jewish, Ukrainian Jewish] - actor and producer.

Steve Lemme (1968) Argentinian / French, Puerto Rican - actor, writer, producer, director, and comedian.

Diego Olivera (1968) Argentinian - actor.

Diego Soldano (1969) Argentinian - actor.

Leonardo Sbaraglia (1970) Argentinian [Italian] - actor.

Leo García (1970) Argentinian - musician.

David Kavlin (1971) Argentinian [Belgian Jewish, Ukrainian Jewish, German Jewish] / Bolivian - actor, singer, radio host, and tv host.

Ramiro Fumazoni (1971) Argentinian - actor and model.

Facundo Arana (1972) Argentinian [German] - actor and musician.

Segundo Cernadas (1972) Argentinian [Spanish] - actor.

Juan Pablo Raba (1977) Argentinian / Colombian - actor.

Marcelo Baraj (1971) Argentinian [Russian Jewish, Romanian] - percussionist.

Osqui Guzmán (1971) Argentinian, Bolivian - actor and comedian.

Coraje Ábalos (1972) Argentinian - actor.

Carlos Morell (1972) Argentinian - musician.

Marcelo Córdob (1972) Argentinian - actor.

Diego Ramos (1972) Argentinian [Spanish] - actor, singer and conductor.

Nicolás Scarpino (1972) Argentinian [Italian] - actor.

Alberto Ajaka (1973) Argentinian [Japanese, possibly other] - actor and director.

Patricio Borghetti (1973) Argentinian [Italian] - actor and musician.

Nicolás Pauls (1973) Argentinian - actor and musician.

Hernán Piquín (1973) Argentinian - dancer.

Diego Alonso Gómez (1973) Argentinian [Cape Verdean] - actor.

Gastón Nakazato (1974) Argentinian [Japanese] - musician.

Juan Pablo Geretto (1974) Argentinian [Italian] - actor, comedian, screenwriter and director.

Juan Minujín (1975) Argentinian [Lebanese, Ukrainian Jewish, Russian, possibly other] - actor.

Pablo Ruiz (1975) Argentinian - musician.

Gustavo Conti (1975) Argentinian - actor.

Sebastián Rulli (1975) Argentinian - actor and model.

Amílcar Nadal (1975) Argentinian [Angolan] - musician.

Jey Mammón (1976) Argentinian - musician, comedian and actor.

Michel Brown (1976) Argentinian [Russian-Jewish] - actor.

Clemente Cancela (1977) Argentinian [Syrian, Spanish] - actor and journalist.

Marco Berger (1977) Argentinian [Norwegian, Scandinavian] - director and screenwriter.

Marco / Marcos Benjamin Lee (1977) Argentinian [Korean] - actor and model.

José González (1978) Argentinian (Spanish, possibly other) - singer.

Alberto Ammann (1978) Argentinian [German] - actor.

Facundo (1978) Mexican [Argentinian] - tv host.

Berta Muñiz (1978) Argentinian - actor and producer.

Mariano Martínez (1978) Argentinian - actor.

Lautaro Delgado (1978) Argentinian - actor.

Leonardo Nam (1979) Argentinian [Korean] - actor.

Juan Pablo Di Pace (1979) Argentinian [Italian] - actor, singer and director.

JD Pardo (1980) Argentinian / Salvadoran - actor and model.

Ignacio Casano (1980) Argentinian - actor and model.

David Chocarro (1980) Argentinian - actor and model.

Alan Sabbagh (1980) Argentinian [Syrian / Unspecified Other] - actor.

Ignacio Huang (1980) Argentinian [Taiwanese] - actor.

Albert Hammond, Jr. (1980) English, Irish / Spanish Argentinian - musician and fashion designer.

Rodrigo Guirao Díaz (1980) Argentinian - actor.

Jorge Maggio (1982) Argentinian - actor.

Leandro Cóccaro (1982) Argentinian - actor.

Gonzalo Heredia (1982) Argentinian - actor.

Gabriel Martina (1982) Argentinian - actor and model.

Horacio Pancheri (1982) Argentinian - actor and model.

Felipe Colombo (1983) Argentinian / Mexican - actor, singer, guitarist, and composer.

Gastón Dalmau (1983) Argentinian - actor and singer.

Martin Sipicki (1983) Argentinian - actor, comedian and dancer.

Felipe Colombo (1983) Mexican / Argentinian - singer, songwriter and musician.

José María de Tavira (1983) Mexican / Argentinian - actor.

Piru Sáez (1983) Argentinian - actor and singer.

Victorio D'Alessandro (1984) Argentinian - actor.

Santiago Ramundo (1984) Argentinian - actor, singer and model.

Matías Vázquez (1984) Argentinian - actor, model, journalist and presenter of Argentine radio and television.

Nicolás Riera (1985) Argentinian - actor and singer.

Santiago Stieben (1985) Argentinian [German] - actor.

Luciano Zacharski (1985) Argentinian - actor.

Benjamín Rojas (1985) Argentinian [Italian, Spanish] - actor, singer, musician and former model.

Eliseo Barrionuevo (1986) Argentinian - actor.

Dumbfoundead (1986) Argentinian [Korean] - rapper.

Juan Manuel Guilera (1986) Argentinian - actor and singer.

Pablo Martínez (1987) Argentinian - actor and singer.

Pablo Martínez (1987) Argentinian [Basque] - actor and musician.

Ben Cura (1988) Argentinian [Lebanese, Spanish, Basque, Italian, possibly other] - actor.

Chino Darín (1989) Argentinian [Lebanese, Italian, possibly other] - actor.

Sebastián Francini (1989) Argentinian - actor and musician.

Agustín Sierra (1990) Argentinian - actor.

Ezequiel Díaz (1990) Argentinian - actor.

Leo Deluglio (1990) Argentinian - actor.

Juan Pedro Lanzani (1990) Argentinian [Italian] - actor.

Gastón Soffriti (1991) Argentinian - actor.

Jae Park (1992) Argentinian [Korean] - singer-songwriter.

Andrés Ceballos (1992) Argentinian / Brazilian - singer.

Camilo Cuello Vitale (1992) Argentinian - actor.

Julián Serrano (1993) Argentinian - youtuber and model.

Stéfano de Gregorio (1994) Argentinian - actor and model.

Franco Masini (1994) Argentinian - actor.

Paco Mendoza (?) Argentinian, Peruvian, Paraguayan - rapper and singer.

Tito Speranza (?) Argentinian [Unspecified Arab, Spanish] - actor and personal trainer.

Juan Colucho (?) Argentinian - actor.

Damián de Santo (?) Argentinian - actor.

Ludovico Di Santo (?) Argentinian - actor.

Carlos Shaw (?) Argentinian / Bolivian [Irish, French, possibly other] - musician.

Héctor da Rosa (?) Argentinian - actor.

Juan Martín Jauregui (?) Argentinian - actor.

Joaquín Furriel (?) Argentinian - actor.

René Strickler (?) Argentinian [British, German] - actor.

Intersex:

Mauro Cabral Grinspan (?) Argentinian - he/him - activist.

Problematic

Juan Darthés (1964) Argentinian [Unspecified Arab, possibly other] - actor and singer - accused of sexual assault and harassment by Calu Rivero.

Kat Von D (1982) Argentinian [German, Spanish, Italian] - musician, model, tv personality, tattoo artist, and entrepreneur - dated a neo nazi and never condemned them, wrote on a headshot she sent to Ami James (her ex employer, an Egyptian Jewish tattoo artist) “Burn in hell J**” as well as drew a swastika and the Star of David engulfed in flames, posted graphic Holocaust footage on Instagram to compare eating meat to the Holocaust, has said she “doesn’t see race”, and has given names in her lipstick line that are in nature pedophiliac (“Underage Red”) and ableist (“Celebutard”).

Mike Zubi (1987) Argentinian - actor, singer, and composer - worked with Roman Polanski.

Jake T. Austin (1994) Puerto Rican, Argentinian, Spanish / Polish, English, Irish - actor - cultural appropriation and charged with a hit and run.

#rph #fc list #fc help #argentinia fc #underused fc #task: 074 #task: argentinia

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firazn82 · 5 years

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#Repost @historylatam (@get_repost) ・・・ #HoyEnLaHistoria Un día como hoy, de 1940, nacía el genial escritor y periodista uruguayo Eduardo Germán María Hughes Galeano, reconocido como una de las plumas más destacadas e influyentes de la cultura popular Latinoamérica. Con más de una década trabajando como periodista, fue obligado a exiliarse por el gobierno militar de su país, en 1973. Se trasladó a la Argentina, en donde fundó la revista cultural "Crisis". En 1976, tras la asunción del gobierno militar de Jorge Rafael Videla, Galeano debió exiliarse una vez más, en esta ocasión a España, donde escribió algunas de sus obras más reconocidas. En 1985, de regreso en su Montevideo natal, fundó el semanario “Brecha”. Sus libros más conocidos, Las venas abiertas de América Latina (1971) y Memoria del fuego (1986), han sido traducidos a veinte idiomas. Falleció el 13 de abril de 2015 tras padecer durante varios años cáncer de pulmón. . . . #Galeano #Escritor #Literatura #AméricaLatina #Quotes https://www.instagram.com/p/B19fKf0Ar9uqFX-QSlNZ8mquHNaPN9bqpZMDi40/?igshid=1ddmsv3fmhd0a

#repost #hoyenlahistoria #galeano #escritor #literatura #américalatina #quotes

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lovequotescom · 4 years

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watchfacts-blog1 · 6 years

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IWJG March 2018 Las Vegas Show Report

Our reports indicated that it was a Very Good Show...

Ted Chan was glad he was in Las Vegas... He bought some merchandise. Sold some merchandise and all in all had a Good Show!!! Peter Geykman from Los Angeles reported in with a Good Show!!! Jose Montilla, from Argentina had a Good Show in Las Vegas... Nory Yezekyan had a Good Show and Gary Zumalt sitting right next to him had a Great Las Vegas Show!!!

Robert Beggs and Eddie Kuryayev both reported in with Good Vegas Shows.

Luke Rottman had a Very Good Show at Planet Hollywood... Daniel Hong had a Good, Solid IWJG March Show... Marcus Dolph reported Good Results from the Desert!!! Bob Wingate had a Good Event as did his partner in crime from Texas, Joe Demesy who said "I'm glad I came to Las Vegas"... Manny Fuzilov reported in with Good results. "The Market is tough but I had a Good Show," quoting Manny!!!

Charlie Jansen said that he came a little early, worked LVN before our Event and by Tuesday Afternoon Charlie had a Good outing in Sin City!!! Izzy Fuld had Good Results in Vegas.

Andrew Cohen had a Great Show...John Wall reported in with Good Results as did Leon Elterman from Chicago... Jennifer Chu thought her Show results were Very Good...Abdalla Alyhabibhad reported Good Results in Las Vegas...Miami's own Max Bankin, had a Good Show...Pete Davis reported he was having a Good Event... Alex Pinkhasov was Very Happy with his Results at the IWJG March Event.

And last but not least, from Atlanta Georgia, Kris Strizzi reports that the March Event in Las Vegas was his Best Show Ever!!! Way to Go Kris and Thank all of you for your reports on the March IWJG Event in Vegas!!!

About the International Watch and Jewelry Guild (IWJG) Since 1985, the IWJG has been conducting 12 to 14 annual cash and carry trade show events throughout the US. The members only shows are supported by over 7,400 of the world's foremost professional watch and jewelry dealers from 72 countries. The IWJG members and shows stake claim to hundreds of millions of dollars in watch and jewelry inventory. For general questions or information on becoming a member visit our website at www.iwjg.com or call us toll free at 800-554-4992. You can also visit us on Facebook at http://www.iwjg.net/facebook for more information or Twitter at http://www.twitter.com/iwjg.

#joe nelson #nelson report

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clubofinfo · 6 years

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Expert: Unpersons One reason it’s so easy to get an American administration, the mainstream media, and the American people to jump on an anti-Russian bandwagon is, of course, the legacy of the Soviet Union. To all the real crimes and shortcomings of that period the US regularly added many fictitious claims to agitate the American public against Moscow. That has not come to a halt. During a debate in the 2016 Republican presidential primary, candidate Ben Carson (now the head of the US Housing and Urban Development agency) allowed the following to pass his lips: “Joseph Stalin said if you want to bring America down, you have to undermine three things: Our spiritual life, our patriotism, and our morality.” This is a variation on many Stalinist “quotes” over the years designed to deprecate both the Soviet leader and any American who can be made to sound like him. The quote was quite false, but the debate moderators and the other candidates didn’t raise any question about its accuracy. Of course not. Another feature of Stalinism that was routinely hammered into our heads was that of the “non-person” or “unperson” – the former well-known official or writer, for example, who fell out of favor with the Stalinist regime for something he said or did, and was thereafter doomed to a life of obscurity, if not worse. In his classic 1984 George Orwell speaks of a character who “was already an unperson. He did not exist: he had never existed.” I was reminded of this by the recent sudden firing of Rex Tillerson as Secretary of State. Matthew Lee, the courageous Associated Press reporter who has been challenging State Department propaganda for years, had this to say in an April 1 article: Rex Tillerson has all but vanished from the State Department’s website as his unceremonious firing by tweet took effect over the weekend. The “Secretary of State Tillerson” link at the top of the department’s homepage disappeared overnight Saturday and was replaced with a generic “Secretary of State” tab. When clicked, it leads to a page that informs visitors in a brief statement that Deputy Secretary of State John Sullivan “became acting Secretary of State on April 1, 2018.” It shows a photo of Sullivan signing his appointment papers as deputy in June 2017 but offers no explanation for the change in leadership. In addition to that change, links that had connected to Tillerson’s speeches, travels and other events now display those of Sullivan. The link to Tillerson’s biography as the 69th secretary of state briefly returned a “We’re sorry, that page can’t be found” message. After being notified of the message, the State Department restored the link and an archive page for Tillerson’s tenure was enabled. The most repeated Cold War anti-Communist myth was, of course, Nikita Khrushchev’s much quoted – No, eternally quoted! – line: “We will bury you.” On November 20 1956 the New York Times had reported: “In commenting on coexistence last night Mr. Khrushchev said communism did not have to resort to war to defeat capitalism. “Whether you like it or not, history is on our side,” he said. “We will bury you.” Obviously, it was not a military threat of any kind. But tell that to the countless individuals who have cited it as such forever.1 So, as matters turned out, did communism, or call it socialism, bury capitalism? No. But not for the reason the capitalists would like to think – their superior socio-economic system. Capitalism remains the world’s pre-eminent system primarily because of military power combined with CIA covert actions. It’s that combination that irredeemably crippled socialist forces in Vietnam, Cambodia, Laos, Philippines, Guatemala, Haiti, Ecuador, the Congo, Brazil, Dominican Republic, Chile, Angola, Grenada, Nicaragua, Bulgaria, Albania, Afghanistan, Yugoslavia, El Salvador, etc., etc., etc. We’ll never know what kind of societies would have resulted if these movements had been allowed to develop without US interference; which, of course, was the idea behind the interference. Political assassination. Political propaganda. In the Cold War struggles against the Soviets/Russians the United States has long had the upper hand when it comes to political propaganda. What do the Russkis know about sales campaigns, advertising, psychological manipulation of the public, bait-and-switch, and a host of other Madison Avenue innovations. Just look at what the American media and their Western partners have done with the poisoning of the two Russians, Sergei Skripal and his daughter, in the UK. How many in the West doubt Russia’s guilt? Then consider the case of Hugo Chávez. When he died in 2013 I wrote the following: [W]hen someone like Chávez dies at the young age of 58 I have to wonder about the circumstances. Unremitting cancer, intractable respiratory infections, massive heart attack, one after the other … It is well known that during the Cold War, the CIA worked diligently to develop substances that could kill without leaving a trace. I would like to see the Venezuelan government pursue every avenue of investigation in having an autopsy performed. (None was performed apparently.) Back in December 2011, Chávez, already under treatment for cancer, wondered out loud: “Would it be so strange that they’ve invented the technology to spread cancer and we won’t know about it for 50 years?” The Venezuelan president was speaking a day after Argentina’s leftist president, Cristina Fernández de Kirchner, announced she had been diagnosed with thyroid cancer. This was after three other prominent leftist Latin America leaders had been diagnosed with cancer: Brazil’s president, Dilma Rousseff; Paraguay’s Fernando Lugo; and the former Brazilian leader Luiz Inácio Lula da Silva. “Evo take care of yourself. Correa, be careful. We just don’t know,” Chávez said, referring to Bolivia’s president, Evo Morales, and Rafael Correa, the president of Ecuador, both leading leftists. Chávez said he had received words of warning from Fidel Castro, himself the target of hundreds of failed and often bizarre CIA assassination plots. “Fidel always told me: ‘Chávez take care. These people have developed technology. You are very careless. Take care what you eat, what they give you to eat … a little needle and they inject you with I don’t know what.”2 When the new Venezuelan president, Nicolas Maduro, suggested possible American involvement in Chávez’s death, the US State Department called the allegation “absurd” even though the United States had already played a key role in the short-lived overthrow of Chávez in 2002. I don’t know of any American mainstream media that has raised the possibility that Chávez was murdered. I personally believe, without any proof to offer, (although no less than is offered re Russia’s guilt in the UK poisoning) that Hugo Chávez was indeed murdered by the United States. But unlike the UK case, I do have a motivation to offer: Given Chávez’s unremitting hostility towards American imperialism and the CIA’s record of more than 50 assassination attempts against such world political leaders, if his illness and death were NOT induced, the CIA was not doing its job. The world’s media, however, did its job by overwhelmingly ignoring such “conspiracy” talk, saving it for a more “appropriate” occasion, one involving their favorite bad guy, Russia. If I could speak to British prime-minister Theresa May and her boorish foreign minister Boris Johnson I’d like to ask them: “What are you going to say when it turns out that it wasn’t Russia behind the Skripal poisonings?” Stay tuned. Another of the many charming examples of Cold War anti-communism Nostalgia is on the march in Brazil, a longing for a return to the military dictatorship of 1964-1985, during which nearly 500 people were killed by the authorities or simply disappeared. It was a time when the ruling generals used systemic brutality, including electric shocks, as well as psychological torture in their effort to cement power and ward off what they called “communism”. They also stole many of the very young children of their victims and gave them to their followers, whom the children then believed to be their parents. Crime is the main problem in Brazil today, the leading reason for the desire to return to the good old days of dictatorial rule. An estimated 43 percent of the Brazilian population supports at least a temporary revival of military control, according to a 2017 poll, up from 35 percent in 2016. Fear of violence, whether it be terrorism or street crime, has fueled support for authoritarian parties and bolstered populist leaders with tough-on-crime, anti-immigrant platforms around the world, from President Rodrigo Duterte in the Philippines to Chancellor Sebastian Kurz in Austria to a fellow named Trump in the good ol’ US of A. “Thanks to you, Brazil did not become Cuba!” the crowd chanted at a recent demonstration in Brazil, some snapping salutes.3 This is indeed the height of irony. In all likelihood many of those people were not strangers to hunger, struggling to pay their rent, could not afford needed medical care, or education; yet, they shouted against a country where such deprivations are virtually non-existent. The United States, of course, played a significant role in the 1964 overthrow of the Brazilian democracy. How could it be otherwise in this world? Here is a phone conversation between US President Lyndon B. Johnson and Thomas Mann, Assistant Secretary of State for Inter-American Affairs, April 3, 1964, two days after the coup: Mann: I hope you’re as happy about Brazil as I am. LBJ: I am. Mann: I think that’s the most important thing that’s happened in the hemisphere in three years. LBJ: I hope they give us some credit instead of hell.4 Does the man ever feel embarrassed? In his desperation for approval, our dear president has jumped on the back of increased military spending. Speaking to the presidents of Estonia, Latvia and Lithuania he said that he should be given “credit” for pressuring countries like theirs to give more money to NATO. None of presidents had the nerve to ask Mr. Trump why that is a good thing; perhaps pointing out that some of the millions of dollars could have been used to improve the quality of their people’s lives. A few days later, at the White House Easter Egg Roll the president “bragged to a crowd of children about increasing military spending to $700 billion.” One can imagine what their young minds made of this. Will they one day realize that this man called “The President” was telling them that large amounts of money which could have been spent on their health and education, on their transportation and environment, was instead spent on various weapons used to kill people? The size of the man’s ego needs can not be exaggerated. The Washington Post observed that Trump instructed the Lithuanian president to praise him on camera, just as he said she had done privately in the Oval Office. She obliged, saying changes to NATO would not be possible without the United States and that its ‘vital voice and vital leadership’ are important. Trump pressed her: ‘And has Donald Trump made a difference on NATO?’ Those in the room laughed, as she confirmed he has made a difference.5 Thank God some of those in the room laughed. I was beginning to think that all hope was lost. The stars we honor Is it a sign of America’s moral maturation that numerous celebrities have been forced to resign or retire because of being exposed as sexual predators? Maybe. To some extent. I hope so. But I’d be much more impressed if talk shows and other media stopped inviting and honoring much worse people as guests – war criminals, torturers, serial liars, and mass murderers; people like George W. Bush, Dick Cheney, Madeline Albright, Colin Powell, Condoleezza Rice, Hillary Clinton, Bill Clinton, Henry Kissinger, Donald Rumsfeld, John Bolton, and many military officials. * For a book-length discussion of cold-war anti-communist propaganda see Morris Kominsky, The Hoaxers (1970). * The Guardian (London), December 29, 2011. * Washington Post, March 16, 2018. * Michael Beschloss, Taking Charge: The White House Tapes 1963-1964 (1997), p.306. * Washington Post, April 5, 2018. http://clubof.info/

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