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zasvepare · 5 years

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MARJANE, MARJANE!

28. april 2019.

Danas ćemo učiti jednu pesmu koja je namenjena drugu Titu za njegov rodjendan. Pre nego što predjemo na učenje melodije govorićemo u najglavni- jim crtama o drugu Titu. To su sve poznate stvari. Vi deco ste s njima upoznati iz časova srpskog jezika, iz pričanja na raznim proslavama sa raznih proslava, bilo da je to dan Armije, dan pobede, dan republike praznik žena — svuda se pominje ime našeg pretsednika. Bilo bi mnogo kada bi nabrajali sve detalje koji čine da je lik maršala Tita toliko čvrst, popularan i u narodu toliko voljen. I ne samo u našoj domovini. Drug Tito je poznat u svetskoj javnosti još odavno. Kao ilegalac, pa posle kao vodja partizanskih borbi, i najzad kao primeran državnik koji se u medjunarodni politici istakao kao jedan od najdoslednijih boraca za mir medju narodima, koji se zalaže za slobodu i nezavistnost među državama sa isto toliko energije, kao što je to činio u periodu revolucije od 1941-1945.

Rodjen je u Kumrovcu — hrvatsko Zagorje pre 65 godina u siromašnoj seljačkoj porodici. Rano je osetio svu gorčinu teškog života. Njegova mladost bila je ispunjena tugom, borbom za samoodrža- nje. Ali on nije klonuo. Kao metalski radnik on se uključuje u radnički pokret i postade član Komunističke partije, koja je tada bila ilegalna. I to zato što je bila proganjana od predratnih režima.

Maltretiran od majstora kod kojih je radio, on je marljivo čitao naprednu literaturu, u koju je još onda verovao, i koja mu je pružila nadu za bolji život radnika. Kao politički radnik istakao se kao čovek sa velikom energijom, nesebičnošću i borbenošću. I kao takvog, Partija ga 1937 predlaže za svog sekretara. Na tom odgovornom mestu drug Tito je ostao sve do danas. Kroz NO postao je legendarna ličnost. O njemu, i njegovom herojstvu pevale su se pesme širom naše zemlje. On je stekao glas najmilijeg u našem narodu. Svetska javnost je sa svim tim upoznata i prema velikim zaslugama i popularnosti koju uživa drug Tito, ona danas visoko ceni njegovu reč.

Mnogi od nas se često zapitaju odkuda našemu maršalu nadimak Tito. Da li neko od vas to zna? Teško je utvrditi pravu istinu. Time su se bavili i neprijateljski krugovi za vreme okupacije. Nadimak je zbilja interesantan već zato što je kratak, i otsečan. Mi znamo i to, da je drug Tito još pre rata imao ilegalna imena, kao n. p. Walter. Meni je poznato o današnjem nadimku ovo: kada je maršal za vreme rata davao zaduženja

svojim komandantima činio je to ovako: Ti - to, Ti - to a ti - to! tako je ostao taj, danas jako popularan nadimak! A vi svi znate, da se zove pravim ime- nom Josip Broz!

U vezi sa učenjem ove pesme, koja je namenjena pionirima, ne smemo da zaboravimo, da je drug Tito veliki prijatelj pionira, da ih rado prima, razgovara, vodi u svoj park, gde ima puno zanimljivih stvari, životinja, kao n. pr. papagaja, koji znaju da pevaju dalmatinsku narodnu: “Marjane, Marjane...”

Pređimo na učenje pomenute pesme.

Ja ću vam diktirati stih po stih, a za mnom pišite.

I (Diktirati pesmu)

II (Posle prve strofe, diktirati II!)

III Neka nekoliko njih pojedinačno pročitaju tekst I. strofe, a ostali, da kontrolišu šta [su] napisali!

IV Posle svi zajedno lagano čitaju!

(A-Dur)

Melodija ove pesme je jako laka. Ja ću vam lagano odpevati prvi stih nekoliko puta! Ko li je upamtio prvi stih?

#tito #pioniri #1957 #nastavnica muzičkog #koncept nastave #papagaji #marjane marjane #uskrs #zemun #50 kinti

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phroyd · 5 years

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We lost one of the Great Film Makers yesterday. Her soul will live on In Cinema! Rest In Peace, Agnes! - Phroyd

Agnès Varda, a groundbreaking French filmmaker who was closely associated with the New Wave — although her reimagining of filmmaking conventions actually predated the work of Jean-Luc Godard, François Truffaut and others identified with that movement — died on Friday morning at her home in Paris. She was 90.

Her death, from breast cancer, was confirmed by a spokeswoman for her production company, Ciné-Tamaris.

In recent years, Ms. Varda had focused her directorial skills on nonfiction work that used her life and career as a foundation for philosophical ruminations and visual playfulness. “The Gleaners and I,” a 2000 documentary in which she used the themes of collecting, harvesting and recycling to reflect on her own work, is considered by some to be her masterpiece.

But it was not her last film to receive widespread acclaim. In 2017, at the age of 89, Ms. Varda partnered with the French photographer and muralist known as JR on “Faces Places,” a road movie that featured the two of them roaming rural France, meeting the locals, celebrating them with enormous portraits and forming their own fast friendship. Among its many honors was an Academy Award nomination for best documentary feature. (It did not win, but that year Ms. Varda was given an honorary Academy Award for lifetime achievement.)

It was her early dramatic films that helped establish Ms. Varda as both an emblematic feminist and a cinematic firebrand — among them “Cléo From 5 to 7” (1962), in which a pop singer spends a fretful two hours awaiting the result of a cancer examination, and “Le Bonheur” (1965), about a young husband’s blithely choreographed extramarital affair.

Ms. Varda established herself as a maverick cineaste well before such milestones of the New Wave as Mr. Truffaut’s “The 400 Blows” (1959) and Mr. Godard’s “Breathless” (1960). Her “La Pointe Courte” (1955), which juxtaposed the strife of an unhappy couple with the struggles of a French fishing village, anticipated by several years the narrative and visual rule-breaking of directors like Mr. Truffaut, Mr. Godard and Alain Resnais, who edited “La Pointe Courte” and would introduce Ms. Varda to a number of the New Wave principals in Paris.

These included Mr. Truffaut, Mr. Godard, Claude Chabrol and Éric Rohmer, all of whom had gotten their start at the critic André Bazin’s magazine Cahiers du Cinema, and who became known as the Right Bank group. The more politicized and liberal Left Bank group would come to include Mr. Resnais, Chris Marker and Ms. Varda herself.

Arlette Varda was born on May 30, 1928, in Ixelles, Belgium, the daughter of a Greek father and a French mother. She left Belgium with her family in 1940 for Sète, France, where she spent her teenage years. At 18, she changed her name to Agnès.

She studied art history at the École du Louvre and photography at the École des Beaux-Arts before working as a photographer at the Théâtre National Populaire in Paris.

“I just didn’t see films when I was young,” she said in a 2009 interview. “I was stupid and naïve. Maybe I wouldn’t have made films if I had seen lots of others; maybe it would have stopped me.

“I started totally free and crazy and innocent,” she continued. “Now I’ve seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don’t do commercials, I don’t do films pre-prepared by other people, I don’t do star system. So I do my own little thing.”

Her “thing” often involved straddling the line between what was commonly accepted as fiction and nonfiction, and defying the boundaries of gender.

“She was very clear about her feeling that the New Wave was a man’s club and that as a woman it was hard for producers to back her, even after she made ‘Cléo’ in 1962,” T. Jefferson Kline, a professor of French at Boston University and the editor of “Agnès Varda: Interviews” (2013), said in an interview for this obituary. “She obviously was not pleased that as a woman filmmaker she had so much trouble getting produced. She went to Los Angeles with her husband, and she said when she came back to France it was like she didn’t exist.”

Ms. Varda was married to the director Jacques Demy (“Lola,” “The Umbrellas of Cherbourg”) from 1962 until his death in 1990. From 1968 to 1970 they lived in Hollywood, where Mr. Demy made “Model Shop” for Columbia Pictures and Ms. Varda made “Lions Love,” which married a meditative late-’60s Los Angeles aesthetic to the New York counterculture. (The cast included the Warhol “superstar” Viva; Gerome Ragni and James Rado, the writers of the book for the musical “Hair”; and the underground filmmaker Shirley Clarke.) During that same period, she shot the short documentary “Black Panthers” (1968), which included an interview with the incarcerated Panther leader Huey Newton; commissioned by French television, it was suppressed at the time.

It was also during that period that she befriended Jim Morrison, the frontman of the Doors, who visited her and Mr. Demy in France; according to Stephen Davis’s “Jim Morrison: Life, Death, Legend” (2004), she was one of only five mourners at Mr. Morrison’s funeral in the Père Lachaise cemetery in Paris in 1971. That same year she became one of the 343 women to sign the “Manifesto of the 343,” a French petition acknowledging that they had had abortions and thus making themselves vulnerable to prosecution.

In 1972, the birth of her son, Mathieu Demy, now an actor, prompted Ms. Varda to sideline her career. He survives her, as does the costume designer Rosalie Varda Demy, Ms. Varda’s daughter from a previous relationship, who was adopted by Jacques Demy.

“Despite my joy,” Ms. Varda told the actress Mireille Amiel in a 1975 interview, “I couldn’t help resenting the brakes put on my work and my travels.” So she had an electric line of about 300 feet for her camera and microphone run from her house, and with this “umbilical cord” she managed to interview the shopkeepers and her other neighbors on the Rue Daguerre. The result was “Daguerréotypes” (1976).

In 1977 she made what she called her “feminist musical,” and one of her better-known films, “One Sings, the Other Doesn’t,” which also seemed inspired by personal circumstance.

“It’s the story of two 15-year-old girls, their lives and their ideas,” she told Ms. Amiel. “They have to face this key problem: Do they want to have children or not? They each fall in love and encounter the contradictions — work/image, ideas/love, etc.”

One of Ms. Varda’s more controversial films, because of its casting, was “Kung-Fu Master!” (1988), a fictional work about an adult woman — played by the actress Jane Birkin, a friend of Ms. Varda’s — who falls in love with a teenage boy, played by Ms. Varda’s son. The title — it was changed in France to “Le Petit Amour” — referred to the young character’s favorite arcade game. The film was shot more or less simultaneously with “Jane B. par Agnes V.,” another of Ms. Varda’s border crossings between fact and fiction, which she called “an imaginary biopic.”

After Jacques Demy’s death, Ms. Varda made three films as a tribute: the biographical drama “Jacquot de Nantes” (1991) and the documentaries “Les Demoiselles Ont Eu 25 Ans” (1993), about the 25th anniversary of Mr. Demy’s “The Young Girls of Rochefort,” and “L’Univers de Jacques Demy” (1995).

Ms. Varda was then relatively inactive until 1999, when, armed for the first time with a digital camera, she set about making “Les Glaneurs et la Glaneuse” (“The Gleaners and I”), which resurrected an artistic career now well accustomed to under appreciation and resuscitation.

“She was a person of immense talent, but also enormously thoughtful,” said Mr. Kline of Boston University. “When you look at some of the films you might think they were more spontaneous than thought out. A film like ‘Cléo,’ for instance, you might have said, ‘O.K., she just follows Cléo around Paris,’ but the film is extremely beautifully imagined and thought out beforehand.”

In “Vagabond,” an 1985 film in which Sandrine Bonnaire plays a woman who is found dead and whose life is recounted, often in documentary style, “the traveling shots in the film are always ending, and each subsequent shot beginning, on a common visual cue,” Mr. Kline said. “It makes you look at film in a completely different way.”

Alison Smith, author of the critical study “Agnès Varda” (1998), called Ms. Varda “a poet of objects and how we use them.” In an interview for this obituary, she added, “Varda as an artist intrigued, and intrigues, me by the constant freshness and curiosity which she brings to her inquiries into the everyday world and how we relate to it, particularly how she uses the detailed fabric of life.”

Richard Peña, who as director of the New York Film Festival helped introduce “Gleaners” to an American audience, praised that film and Ms. Varda’s “The Beaches of Agnès” (2008) as “touchstones for a new generation of nonfiction filmmakers.”

Ms. Varda is represented at the Museum of Modern Art by photographs, films, videos and a three-screen installation titled “The Triptych of Noirmoutier.” “A decision to change direction and move into installation art when over 80 is, by any standards, remarkable,” Ms. Smith said. “But her energy was awe-inspiring.”

Phroyd

#france #agnes varda #rip

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ray-rabies · 6 years

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multiples of 5 for that ask meme

this is gonna be a slightly abbreviated version just cos of how many songs i have on here but here we go (under the cut so i’m not internationally hated)5: Which songs have “dream” in the title Dream Lover-DionDream Police- Cheap TrickDon’t Dream It’s Over- Crowded HouseDream a little dream of me; california dreamin’-the mamas and the papasSweet Dreams-EurythmicsDream- Mahavishnu OrchestraAnd Dream of Sheep;An Architect’s Dream;The Dreaming- Kate BushAmerican Dream;Dream For Him;Find A Dream;House Of Broken Dreams;In My Dreams-CSNYDream-Tally HallAsleep and Dreaming; Busby Berkeley Dreams-The Magnetic FieldsApocalypse Dreams-Tame ImpalaBoulevard of Broken Dreams-Green DayCircle Dream-10000 ManiacsCountry Dreamer- WingsCowboy of Dreams;Shinin On Your Dreams- Crosby NashCity of Dreams; Dream Operator- Talking HeadsCaught In A Dream-Alice CooperDeadly Dream of Freedom- TriumviratDream Again;Lucid Dreams-Franz FerdinandDream Attack-New OrderDon’t Let Me Lose This Dream- Aretha FranklinDay of The Dreamer-RenaissanceDream Away;Dream Scene-George HarrisonA Dream Away-The CarsDream Clock-Weather ReportA Dream Goes On Forever- Todd RundgrenThe Dream Nebula-NektarDream of The Archer;Dreamboat Annie-HeartDream One;Dreaming From The Waist-The WhoThe Dream of Blue Turtles-StingDream Police-Gary NumanDream Time;The Planner’s Dream Goes Wrong-The JamDream Within A Dream-PropagandaDream Within A Dream-SpiritDream Within A Dream-Alan Parsons ProjectThe Dream’s Dream-TelevisionDream World-The MonkeesDreamer-SupertrampThe Dreamer-Nicky HopkinsDreamer’s Ball-QueenDreaming-PolystyreneDreaming;Dreaming Is Dangerous-Bruno CoulaisDreaming of 4000;One Summer Dream;Ordinary Dream-Electric Light OrchestraDreaming of Me-Depeche ModeDreaming While You Sleep-GenesisDreamline;Middletown Dreams-RushDreams;Flash’s Dream;Only A Dream-The KinksDreams-Fleetwood MacDreams-Allman Brothers BandDreamtime;Endless Dream;Sweet Dreams-YesDreamy Lady-T RexxEverybody Has a Dream-Billy JoelFever Dream-Nash The SlashFurther Than Funk Dream-Medium MediumGirl of My Dreams-Charles MingusGasoline Dreams- OutkastHad A Dream (Sleeping With The Enemy)-Roger HodgsonThe Gunner’s Dream;Julia Dream;Post War Dream-Pink FloydHere I Dreamt I was An Architect- The DecemberistsI Don’t Sleep I Dream-REMHung Up On A Dream;Is This The Dream- The ZombiesI Dream Myself Alive-A -HaI Dreamaed There Was No War-The EaglesI Had Too Much To Dream Last Night-The electric PrunesI’m Only Dreaming-Small FacesIn Every Dream Home A Heartache- Roxy MusicInfinite Dreams-Iron MaidenIs It A Dream;Street of Dreams- The DamnedIt’s Only A Dream-TrapezeJohnny Panic and The Bible of Dreams-Tears For FearsLittle Dreamer- Van HalenKeep Dreaming-Pineapple ThiefMaximum Dream For Evil Knieval-Flaming LipsMoney Honey Impossible Dream-The Sensational Alex Harvey BandMusic In Dreamland-Be Bop DeluxeNew Gold Dream-Simple MindsNice Dream-RadioheadRainy Day Dream Away;Still Raining Still Dreaming-Jimi Hendrix ExperienceQueen of Dreams- StrawbsRed Brick Dream-XTCRunnin Down A Dream-Tom PettyRado’s Dream-FoxygenSex Sleep Eat Drink Dream-King CrimsonSleep of No Dreaming;Stupid Dream-Porcupine TreeSome Dreams Come True-BanglesThe State of Dreaming- Marina And The DiamondsSweet Dreams- BeyonceThese Dreams-Jim CroceTomorrow’s Dream-Black SabbathWeird Dream-HarmoniaWest County Dream-Mountain GoatsWhen Poets Dreamed of Angels-David SlyvainWildest Dreams-AsiaYou Make My Dreams Come True-Hall & Oates40 Day Dream-Edward Sharpe and The Magnetic Zeroes10: Which songs have “blue” in the titleBlue;Blue Boy;Blue Motel Room-Joni MitchellBlue-Fine Young CannibalsAcute Schizophrenia Paranoia Blues-The KinksAll Blues;Blue In Green-Miles DavisAeroplane Blues-Black KeysAmbulance Blues;Blue Eden-Neil YoungAntichrist Television Blues-Arcade FireBaby Blue-BadfingerBaby’s Tears Blues- Mort GarsonBacklash Blues;Blues;Central Park Blues;Gin House Blues;Little Girl Blue-Nina SimoneBallet For A Blue Whale-Adrian BelewBehind Blue Eyes; Red Blue and Grey;Summertime Blues-The WhoBeyond The Blue Horizon;9 Times Blues-Michael Nesmith And The First National BandBirmingham Blues;Mr Blue Sky;Boy Blue;Bluebird;Bluebird is Dead-Electric Light OrchestraBlonde Over Blue-Billy JoelBlowing The Blues Away-Max WebsterBlue As a Jewel-Be Bop DeluxeBlue Beard-Band of HorsesBlue Cheese- Courtney BarnettBlue Days Black Nights-Buddy HollyBlue Eyes- Elton JohnBlue Jay Way;For You Blue-The BeatlesBlue Letter;Jigsaw Puzzle Blues-Fleetwood MacBlue Light-Mazzy StarBlue Light-UltravoxBlue Monday-New OrderBlue Oyster Cult (Subhuman)-Blue Oyster CultBlue Overall-XTCBlue Orpheus;Drunken Blue Rooster-Todd RundgrenBlue Nile-Alice ColtraneBlue Rhumba-Aqua VelvetsBlue Ridge Mountains;Blue Spotted Tail- Fleet FoxesBlue Room In Venice-Rick WrightBlue Sky-A-haBlue Sky;Come And Go Blues-Allman Brothers BandBlue Suede Shoes;Cocaine Blues;Folsom Prison Blues-Johnny CashBlue Sunday;Runnin Blues-The DoorsBlue Turk-Alice CooperBlue You-Magnetic FieldsBluebird-WingsBluebird-Buffalo SpringfieldBluebird Revisted-Stephen StillsBluejays and Cardinals;Blues In Dallas-Mountain GoatsBlueprint-FugaziBlues De Luxe-Jeff Beck GroupBlues From An Airplane;Chauffer Blues;Eskimo Blue Day-Jefferson AirplaneBlues Man-ManassasBrilliant Blues-Pete TownshendBlue Angel-MarillionBristol Steam Convention Blues-The ByrdsBullet The Blue Sky-U2Buried Alive In The Blues;Kozmic Blues-Janis JoplinCan Blue Men Sing The Whites-Bonzo Doo Dah Dog BandCharlie Manson Blues-Flaming LipsCatfish Blues-Jimi HendrixClear Blue Skies;Suite Judy Blue Eyes-CSNYCrazy Lady Blue-UtopiaComputer Blue-PrinceDamn Right I Got The Blues-Buddy GuyDeep Blue;Electric Blue-Arcade FireDeep Blue;Devil And The Deep Blue Sea;Marwa Blues-George HarrisonDeeper Blue- Bruford Levin Upper ExtremitiesDachau Blues- Captain BeefheartEarly Morniing Blues and Greys;Papa Gene’s Blues;Some of Shelly’s Blues-MonkeesElectric Blues- HairEmpty Bottle Blues-TMBGEvening Blues-TrafficEstablishment Blues-RodriguezEveryday I Have The Blues-Rolling StonesFeelin Blue-CCRGoodbye Blue Sky;Jugband Blues-Pink Floydh20gate Blues-Gil Scott Heron and Brian JacksonHobo’s Blues-Paul SimonHoneymoon Blues;Cross Road Blues;Me and The Devil Blues;;etc-Robert JohnsonI’m So Blue-Michael JacksonInner City Blues-Marvin GayeInvitation To The Blues-Tom WaitsIt’s All Over Now Baby Blue;Tangled Up In Blue-Bob DylanJeff’s Blues;The Nazz Are blue-The YardbirdsOut Of The Blue-Roxy MusicLooking Good In Blue-BlondieMy Melancholy blues-QueenNew Blue Moon-Traveling WilburysNight Owl Blues-Lovin SpoonfulOoby Scooby Doomsday or The D Day DJ’s Got The DDT Blues-GongOtherness Blue-Sun RaPink And Blue-OutkastPoor Boy Blues- Barclay James HarvestProtex Blue-The ClashProzakc blues-King crimsonRainbows All over Your Blues-John SebastianRunning Gun Blues-David BowieSame Old Blues-Bryan FerrySeem To Have The Blues All The Time-Procol HarumSepository Nihlist Blues-FoxygenScrew You (Young Man’s Blues)-Elton JohnSky Blue-Peter GabrielSittin And Cryin The Blues-Willie DixonTurn Blue-Iggy PopWildwood Blues- NazzWinter Is Blue-Vashti BunyanWoman’s Blues-Laura NyroWorn Out Blues- Gotye9-5 Pollution Blues- Neil Innesi give up -_-

15: Which song titles start with “Where”Where Have All The Flowers Gone-Joan Baezit’s 3 am now i am giving up

20: Which song titles start with “Good”

25: A song with a strange title In And Out The Chakras We Go (Formerly Shaft Goes To Outer Space)- Todd Rundgren30: The very last song on your list of songs35: A song longer than 10 minutes (a sampling) (i apparently have hundreds) Singring And The Glass Guitar (An Electrifyed Fairytale)-Utopia (18:22)Healing-Todd Rundgren (20 min)Supper’s Ready-Genesis (23 min)Echoes- Pink Floyd (23 min)A Plague Of Lighthouse Keepers- VDGG (23 min)Ommadawn-Mike Oldfield (32:50)Mountain Jam-Allman Brothers (33:50)Treatise on Cosmic Fire- Todd Rundgren (35:19)Thick As A Brick-Jethro Tull (42:53)The Ikon (live)-Todd Rundgren’s Utopia (45 min)Journey To The Center of The Earth-Rick Wakeman (54:20)40: The first 5 songs that play when you hit “shuffle”Breakaway-The CarsMutual Surrender (What A Wonderful World)-Bourgeois TaggPassover-Joy DivisionLunar Sea-CamelJingo-Santana

#Anonymous

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iltrombadore · 2 years

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Ricordo di Mario Schifano, il pittore dissipante

Ho visitato l'ultima volta Mario Schifano a metà degli anni Novanta nello studio dietro Via della Lungara qualche anno prima della sua morte ed ero in compagnia di Achille Bonito Oliva… Mario, indaffarato e con le mani imbrattate di colore, era indaffarato a dipingere grandi scenari di lussureggiante natura con emersione di gigli d'acqua e altre brillanti figure a smalti vividi grondanti sulla tela. Era sorridente, ammiccava, ed aveva improvvise illuminazioni di idee che lo divertivano come occasioni per dare il titolo a un'opera o per impostare un nuovo ciclo di lavori . Era amico di Achille e lo stimava. Quando morì il 26 Gennnaio del 1998 sono tornato davanti al suo studio un giorno freddino per salutarlo con gli altri che lo avevano conosciuto. Io ero giunto assieme al mio amico Gino De Dominicis che lo ammirava come pochi altri. Gino trovò che il clima creatosi attorno alla salma di Schifano (un tono di circostanza poco collimante) era più che riprovevole dato che oltretutto molta gente lo piangeva senza aver fatto mai nulla per sostenerlo quanto avrebbe meritato. Ci mettemmo in disparte e ci allontanammo in fretta senza ascoltare i discorsi commemorativi. Gino quel giorno prese la decisione di non consentire a nessuno di celebrare per lui un funerale analogo. E così accadde quando nemmeno un anno dopo all'improvviso anche lui ci lasciò togliendo a Roma un altro dei suoi fari ...

…..Mario Schifano (1934-1998) aveva da poco compiuto dieci anni sul finire della Seconda Guerra Mondiale . Appena in tempo per conoscere l' esodo delle truppe italiane dalle coste del Nord Africa dove era nato: tra la polvere sollevata dagli automezzi, le case in rovina , lo schianto degli argini di difesa, la paura degli uomini in fuga e fatti prigionieri. Attorno era il deserto con le sue luci intorpidite e le distese notturne così vicine all'occhio umano da farti quasi toccare il manto delle grandi stelle e l' alone di luna. Di questo scenario parlano incessantemente i suoi quadri per allusione o per semplice assonanza tanto che solo di rado egli si svincola da quello sguardo ravvicinato di bambino atterrito e messo troppo in fretta a contatto con la durezza del mondo. E così accendeva impressioni visive isolandole in alone di meraviglia. La scuola dello sguardo nasceva dentro il cuore di Mario Schifano come gelosa custodia di una esperienza del cataclisma e della equivoca calma che ad esso consegue con la vita che recupera come dopo una violenta mareggiata. Schifano come Burri, o meglio Giuseppe Berto nelle pagine de ‘Il cielo è rosso’ . Mario, italiano del lungo dopoguerra che traccia segni sulla sabbia, filamenti di memoria, figure labili di impressioni condensate nell' istante visivo grazie ad una sensibilità che diventa tecnica espressiva e stile. Penso alle gocciolature di vernice smaltata che sembrano cadute per caso dal pennello di un militare mentre ripassa a mano la fascia metallica di un parafango blindato. E sono generalmente colori di mastice dal sapore di resina e dalla sfarinata consistenza della sabbia .

Osservare un monocromo di Mario vuol dire saper distinguere la provenienza rammemorante di certe materie colorate ( il mastice, la sabbia ; il rosso , come di sangue rappreso; il blu, nel cielo piatto della notte africana ) . Parlare di Mario Schifano come di un emulo in seconda di Jasper Johns o di Jim Dine non giova ad intendere l'essenziale: la differenza è nel contenuto dello sguardo e un identico punto di vista non assimila mai l' occhio del vinto a quello del vincitore. Quel procedere per istantanee cariche di emozione è il risultato poetico originale di un artista che cerca la vitalità espressiva in un corpo a corpo con le materie e le tecniche più fredde e indifferenti. I quadri di Schifano sembrano in apparenza segmenti visivi isolati e disseccati dal flusso di uno sguardo cosciente e appassionato. Essi conservano tuttavia la preziosa virtù di una melodìa interna con il filo di una narrazione ininterrotta che non rinnega la vita ma ad essa rimanda e allude con fresco piglio di gioventù. Mario aveva il movimento rapido, gesti del volto e segnali dell'occhio mobili e sorprendenti, un sorriso facile e la parola bruciante, anticipatrice, qualche volta visionaria o profetica. Non tollerava il conformismo. Ne sapeva cogliere il volto beota in ogni sua manifestazione. Era di estrema sinistra, però andava aldilà delle sistemazioni politiche. Si appassionava per le sorti del Viet Nam o di Cuba come di tutte le rivolte antimperialiste. Detestava le semplificazioni intellettualistiche a proposito dell'arte moderna e di quella postmoderna. Il suo disordine poetico era dispendioso con magnificenza barocca nel modo di elargire sapienza di pittura quasi in modo convulsivo sullo spazio bianco di una superficie. Ma l'automatismo o la distanza emotiva non prendevano il sopravvento sulla esistenza dell'opera come potenza di racconto figurato che deve suggerire allo sguardo la brillante autonomìa della forma.

Schifano era totalmente imprigionato nel sogno della pittura. Mostrava di crederci proprio quando più la maltrattava. Così l'ho sempre riconosciuto ed ammirato in una frequentazione sporadica e pure intensa come segno di un solidale cammino , di una avventura comune legata a Roma, ai nostri anni , a certe malsopite rabbie che prendono forma solo nella Città di Dio. Mario era figlio adottivo di Roma e si era nutrito del rosso cupo di Gino Bonichi nel modo più giusto, cioè inconsapevolmente come l'aria che si respira . per cogliere bene il ritmo della sua pittura bisogna accostare quella ombrosa decadenza romana al non senso di una coscienza translucida da ‘straniero’, come l’impiegato algerino di Camus che riflette l’assurdo del mondo nel suo stesso comportamento. Prima ancora del New Dada americano l'opera di Schifano si lega alla inquieta disperazione europea del secondo dopoguerra . Bisogna pensare al "Voyeur" e alle cellule descrittive de "La jalousie" di Robbe-Grillet per paragonare l' impasto di una visione non limitata alla fredda superficie degli oggetti . Nell’opera di Schifano il montaggio della visione non genera monumenti al feticcio ‘mid-cult’ della comunicazione di massa ma pone domande tramite un distacco, una ironìa e una disarticolazione programmata di ogni narrazione dissociando sequenze , situazioni e immagini.

Basterà per questo ricordare Anna Carini e il gioco delle sue gambe nel filmato girato ‘con l'occhio delle farfalle’ (siamo nel 1967) per misurare l' evidenza di uno stile che viene dalla vecchia Europa. L'uso della fotografia, del video , il tentativo di produrre ‘film d'artista’, erano congeniali al progetto poetico di Mario che camminava lungo la via indicata per rami letterari dalla ‘école du régard’ e non dai semplificatori giocosi della Pop-Art. Il grande equivoco estetico americano dall' enfatico entusiasmo ‘pop’ era agli antipodi dello spirito poetico di questo spirito mediterraneo tra di nordafricano e romano che gli amici chiamavano ‘il puma’ per la versatile capacità di agguantare uomini e cose riducendoli ad occasione di uno sguardo pietrificante ed istantaneo. Mario ha dipinto migliaia di quadri perché era un dissipatore di sé stesso. Era simile in ciò a Renato Guttuso che ha prodotto una grande opera accanto ad una messe innumerevole di cose assai meno ragguardevoli. Ambedue avevano in comune la radice esistenziale ed espressionistica. Ambedue avevano cercato il successo mondano senza amarlo quasi per una perversa attitudine a navigare nel mondo come condanna o come necessaria espiazione.

Al Guttuso ancora umanista ( procuratore ideologico di equivoci ‘cammini della speranza’) segue e si oppone la disperata vitalità di Mario -più consonante con un certo modo d'essere di Pier Paolo Pasolini- agganciata alle certezze elementari del qui ed ora, alla singolarità di esperienze ripetute, ossessive, e sempre rivissute in una sorta di esaltazione gridata , esilarante, stupefatta. Inquadrature, sequenze, ‘réportages’, l'intervento del proiettore nella definizione d'immagine, sono tutti ingredienti di una poetica che non si dissocia dalla vita e dalla onnivora capacità visiva. Mario era un occhio in permanente azione creativa. Sorrideva indifferente ai titoli dei suoi quadri, ma decideva in un lampo il diagramma della visione, il lascito provvisorio del colore , la disposizione della forma. I contorni dei suoi oggetti così apparentemente definiti per caso, diventavano sempre emblemi. Era il segreto della forma che in lui rinasceva dal rumore di fondo delle informazioni visive.

Penso alla palma, questo stereotipo che non finisce di produrre meraviglia nelle sue riproduzioni ora velocemente abbozzate, ora pittoricamente trattate curando le zone di grumo cromatico con elegante sciatteria. E penso alla posizione quasi ossessivamente naturalistica di certe sistemazioni cromatiche (il grezzo della tela, l'azzurro fondo, il colore della sabbia) che segnalano l' elemento contemplativo, addirittura. E lo ripropongono negli smalti che contornano la sagoma in controluce della palma, ritagliata nel bianco della tela , qualche volta tra stelle di un cielo osservato dall'occhio meravigliato di un bambino. Si è parlato di immagini sgualcite e non a torto nel caso di Schifano. Io direi volutamente sgualcite e cariche di lusso dissipatore. Della segnaletica ‘pop’ a Schifano non importava assolutamente niente. Non era un ideologo pro o contro la ‘civiltà di massa’ e credo che non amasse le chiacchiere sul tema. Sapeva cosa era e da dove veniva il ‘potere’ nel mondo moderno e lo emblematizzava da pittore misurandone la dimensione "trash". Anche la ripetizione della segnaletica pubblicitaria era un modo di oltraggiare ingombrando la rete informativa o la disponibilità retinica.

Mario non dava molta importanza all'emblema o alla ripetizione del ‘segno’ ideologico come Franco Angeli. In lui prevaleva l'elemento pittorico come testimone del flusso vitale, del respiro personale, dell'impronta della vita tradotta in immagine . La pittura come perenne autoscatto diventava così la più difficile delle scommesse in cui una marea di imitatori inesperti, animule dal fiato corto, si sono venuti a confondere e a rompere le ossa. La dissipazione ‘fotografica’ di Schifano non riduceva l'opera a prodotto ma quasi sempre riscattava la pittura fin dentro la più riproducibile e sterilizzata delle tipologie visive. Provate a guardare una tela emulsionata da Mario con qualche personaggio televisivo incorniciato e considerate pure l'effetto che produce.

Provate ancora ad osservare la serie dei maestri dell'arte moderna rabberciati dentro la inquadratura dello schermo televisivo per cogliere tutto lo spaesamento che ne deriva (di ‘quale’ De Chirico si parla qui ? Di una copia , di una contraffazione , di una interpretazione o di una riproduzione deformante ? Oppure si parla di tutt' altro: e cioè di un quadro di Mario Schifano , con un titolo che depista volutamente il pubblico? ) . Ce n'è abbastanza per riconoscere che Schifano non si muoveva in linea con una storia facile dell'arte italiana del '900 che vede gli artisti succedersi di tendenza in tendenza come appare sulle collane dei ‘maestri’ vendute in fascicoli . Con il futurismo egli aveva ben poco a che vedere : non era ottimista, non esaltava la tecnica e non era neppure interessato alla qualità estetica del ‘movimento’. Schifano lavorava sulle immagini filmate o video per isolare la ‘superficie’ e intravedere l'alito inestimabile di vita che sfugge alla mobilità dello sguardo e alla velocità della comunicazione.

Egli era dunque per la esaltazione lirica dell'istante in quanto tale. I suoi omaggi al futurismo italiano (‘Futurismo rivisitato’ , o l'uomo che cammina di Balla) sono conferma di una energia creativa in controtendenza rispetto ai messaggi della estetica ‘pop’ (così come tale resta la sua straordinaria testa di Leonardo , o le citazioni di Michelangelo realizzate da Tano Festa , o la ‘Lupa di Roma’ di Franco Angeli....) . Nell'arte di Schifano sorprende la sicurezza del gesto, l'assenza di pentimenti che garantisce ad ogni opera una freschezza tale da riscattare perfino gli errori o le approssimazioni. Cosi meravigliosamente ‘naturale’ la pittura di Schifano piace a molti ed ha successo perché appare semplice, diretta e comunicativa. E infatti lo è. Ma è soprattutto il risultato di una complicata chimica creativa che affonda radici in una storia molto italiana come ho tentato sommariamente di delineare.7Giuliano Babini, Oliviero Rainaldi e altri 5

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architectnews · 4 years

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Knollys Road Apartments and Mews, Tulse Hill

Knollys Road Apartments and Mews, Tulse Hill Property, English Residential Development, London Homes

Knollys Road Apartments and Mews in Tulse Hill

27 Oct 2020

Knollys Road Apartments and Mews

Architects: InsideOut

Location: London, England, UK

InsideOut have unlocked the potential of a complex sloping site in Tulse Hill, south-east London, to deliver a bold contemporary residential development of 22 homes. The efficient high-density scheme challenges topography to create a new raised ‘ground’ which maximises the amount private and communal open space, while providing a mix of high-quality spacious accommodation, including apartments, duplexes and mews houses.

The Knollys Road Apartments and Mews project represents a milestone for the practice in being the first project of this scale to reach completion from a diverse range of large-scale multi-unit residential schemes that are currently underway.

InsideOut were appointed by a long-term developer / contractor Client to optimise the potential of an underutilised narrow sloping site of 0.15 hectares, situated in a suburban street containing an eclectic mixture of period houses and disparate post-war developments.

Planning permission was obtained in 2016 for a scheme of 19 apartments and 3 mews houses. The bulk of the accommodation lies in an efficient “cube” shaped block positioned next to the street and sunken into the sloping site allowing it to blend seamlessly into the immediate residential context. A new raised ‘ground’ level is created enabling generous private terraces and a large landscaped communal space leading to 3 family sized mews houses and gardens to the rear. A large space for car and bicycle parking is located 2 storeys below street level tucked discretely away from view.

The material palette respects the local context while adding some vibrancy amid the neighbouring housing schemes. The simple architectural forms are enhanced with high-quality textured brickwork which provides a material tactility to the simplicity. In playful contrast, offset and oversized windows with exaggerated splayed metal reveals animate the façade, while large recessed balconies located at the corners lighten the volume allowing daylight to spill into the depths of the apartments.

Quote from Project Architect: Following the successful planning outcome our next challenge was to tackle the complexity of the site and resolve the technical challenges associated with stitching such a dense scheme within the surrounding suburban context. In particular the installation of two and a half storey retaining wall right on the boundary with the public highway was an interesting moment to see realised, requiring close collaboration with the client / contractor and the wider consultant team.

The scale, scope and technical complexity of the project positioned it as a milestone for the practice, which has since led on to our involvement on an exciting range of large-scale multi-unit residential schemes.

Quote from the Client: InsideOut were commissioned following acquisition of our Development site at The Marziale to provide Feasibility/Appraisal and Design Proposals. This initial brief was expanded to provide a range of Services from preparing a Planning Application and obtaining Consent, Building Reg. Approval, Construction Drawings & Specification, Contract Administration and all aspect of Completion and Handover.

InsideOut’s continued involvement at every stage of the Development has proven to be a great success. Their Design which has incorporated a number of bespoke details has attracted positive comments and praise from all who have visited the finished scheme, including investors and buyers, with success in sales exceeding those of nearby competitors.

InsideOut have been a key factor in the success of The Marziale Development.

Kevin McCusker, Director of Inwood Properties Ltd & Kaymac Construction Ltd

About InsideOut: Formed in 2002, InsideOut are an established and growing RIBA chartered practice based in London. Specialising in Masterplanning, Architecture, Interiors and Aviation. InsideOut are involved from concept to delivery, offering a tailored approach to each project.

InsideOut’s close relationship with clients and delivery teams on site allows them to lead and navigate the process, ensuring the level of quality and craftsmanship the practice has become known for.

As a practice, they strive to integrate sustainable design and materials into all projects, but more recently InsideOut has been working on Passivhaus schemes that emphasise their commitment to both the environment and timeless design.

Project Architect: InsideOut

Photography: Jim Stephenson – clickclickjim.com

Knollys Road Apartments and Mews, Tulse Hill images / information received 271020

Location: London, England, UK

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jonathangroffcentral · 7 years

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ktkiyan Soooo much love. My heart is so full. Words truly can't express what a night this was. To the tribe ❤️ #hairthemusical #hairgrows#onceinthetribe #thepublictheater (the geniuses in the first picture...The legendary Jim Rado, Andy, and Jerome Ragni's lovely son, Eric).

#jonathan groff #hair 50th anniversary #hair #instagram

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theseventhhex · 5 years

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Foxygen Interview

Sam France and Jonathan Rado

Photo by Nicky Giraffe

‘Seeing Other People’ is curiously positioned as Foxygen’s most recent last-ever album. With every album the band dies; with every album the band is reborn. But unlike the last-ever Foxygen albums before it, this one seems to have a self-effacing bittersweetness to it that signifies some sort of passing; some sort of white flag. But it sounds in no way like a band giving up. It has experiments in tone and genre the likes of which we’ve not heard on a Foxygen record for a while. The album is filled with self-referential tales of touring, partying, of being young and in a band, and saying farewell to the grittier, darker aspects of it all. As Sam France says, “I remember a quote from Rado sticking with the press a few years ago about how we’d lived every rock n roll cliche in, about, one year. Well, here’s the album about it.”… The Seventh Hex talks to Sam France about being more transparent, unwinding and art that challenges…

TSH: As you readied ‘Seeing Other People’, was the idea of having a conceptual approach coming into play?

Sam: Yeah, in ways it always does when I work on Foxygen music. I guess having a conceptual approach with music is simply how I make stuff; I mean it’s just how the music comes out. Personally I just think I’m in a different category to most artists with how I perceive things.

TSH: What was the band dynamic like in the studio?

Sam: It’s always free-flowing and seamless, without fail.

TSH: Did you outline any changes from a production standpoint?

Sam: For me, I just had the same direction as always. I work on production and spend a lot of time on it. I think Rado was out of his mind on this record. Everything had to be sampled thorough an MPC and the tape had to be put behind a truck for a mile and fed back into the tape machine and then sampled onto an MPC. That’s why this album has this distinct sound.

TSH: Is Foxygen still an extremely developed performance art project for you?

Sam: Yeah, pretty much. I don’t know how Rado thinks of it, but that’s how I’ve always thought of Foxygen to be like.

TSH: Do you identify with this record being more transparent?

Sam: It is in ways. I mean it’s cool that transparency has been mentioned by some about this album because a lot of people think it’s ironic and fake. Even I think that sometimes. I don’t even know. I guess the music is either super-fake or super-honest. I don’t really care though; I just like it because it’s interesting.

TSH: What do you recall about forming the song ‘Mona’?

Sam: Oh man, we just wrote it and it just happened. Nothing major to say. It just came about quickly.

TSH: Also, What resonates with you most with ‘Flag at Half-Mast’?

Sam: See now his track was more free-flowing. It was all about just jamming with Jim Keltner. We were feeling the Bob Dylan vibes in the room with John’s presence. It was really great to work with him.

TSH: Is Foxygen still not touring too much because it’s a little torturous in ways for you both?

Sam: It’s not that it’s not too good for my mental health. Touring has just not been a good business decision most of the time. The money just wasn’t right for me.

TSH: What non-musical elements do you have strong attachments to?

Sam: Sports! I love all sports... even cricket, haha. Although, I’m more into skateboarding.

TSH: How do you like to kickback and unwind in your free time?

Sam: You mean like Netflix and chill? Does that mean having sex whilst watching Game of Thrones or something? I’ve mainly been watching the old reruns of Friends, just to have a vibe in the room - a noise in the background, you know? Also, I exercise and run a lot. I really enjoy being in nature mostly. I just do all the cliché stuff that artists do, like writing and painting. I make movies in my free time as well, and I’m working on a book too.

TSH: You put out a message recently asking for people living in the LA area with a piano because you wanted to play a show at someone’s house. Did you have much luck?

Sam: Absolutely! Thousands of people contacted me. I still don’t even know who to go with man, ha! All sorts of people want me to be on board.

TSH: Is your ethos to still desperately want to make art that challenges you?

Sam: Definitely. That’s what art should do. I’m an artist and my challenges define me. I can’t really describe it, but I have my own little sick and twisted mindset. I get to create my own little world and subject people to it, whether they like it or not. People are starting to realise what I’m trying to build as a statement now. It’s going to grow more and more whether people like it or not. I’m gonna continue to work really hard. I just enjoy people being subjected to my little weird fantasy world.

TSH: What’s your biggest drive as you look ahead?

Sam: Going forward I’m just looking to be as successful as possible. I want to expand my fame whether that means with Foxygen or just building myself as a brand. I just want to get more and more well-known - I want to be critically acclaimed and famous. I want to be respected as an artist and not just some guy who was in a buzz band a few years ago.

Foxygen - “Livin' a Lie”

Seeing Other People

#Interview #Foxygen #Sam france #Jonathan rado

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5brightplanets · 5 years

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Another fuzzy was he-a-she re:meme bering strait more at 5 yard arms and fastenating knots pendantential swing volt hair to their perspective on starry eyed spangled banners just inouter space reaching hiresuter bar crawls and vowless mickeys spelting contestants begining the beguine. Grateful awareness of the many artists, musicians, and technicians who present these sights and sounds. Words by Gerome Ragni and James Rado, Music by Galt MacDermot. -Jim

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rayramsayus · 5 years

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Huntington Hartford Theater is Where My Life Changed

I also spend some time with Mr. Burr before the show being presented (which meant most of the day). I had an incredible experience with Mr. Burr, but will not share it on this Blog. Over time we had many celebrities visiting us in the office. Helen Hays, Elizbeth Taylor, Rock Hudson and many more. This list doesn’t even mention some of the most famous producers in the industry. Joe Barbera and Bill Hanna who produced many of the cartoon series of the time were in attendance many times. They were credited with changing the methods of creating animation. The most famous was “The Flintstones”. So many successful producers attended shows at the Greek that I could go on forever.

My time at the Greek was an incredible learning experience but nothing compared to my experiences at the Huntington Hartford Theater. It was where I learned everything that changed my life. The Huntington Hartford only did plays and had an incredible season every year. First, the woman who was in charge of season ticket holders was Countess Florencia Falzone. She was an incredible woman, who had 6 children, probably from several different men (with the likely exception of the Count). She had many admirers and was always receiving gifts from them of incredible value. One of the largest diamond rings I ever saw was given to her as a friendship ring with no strings attached. I mention all this because she was considered royalty in Beverly Hills and managed to bring in many very prominent season ticket holders for the theatre. I got to know her quite well, I remember when I couldn’t afford to get a television. She told me she had a couple of large televisions in her garage and I was welcome to them. I thanked her and rushed to go get one which worked beautifully. Another thing she did for me was hiring my wife as her assistant in the Season Ticket Department at the theatre. Of course, this was with the blessings of Mr. Doolittle. The hiring of my wife helped us meet our living expenses. Our life at this point was making many massive changes for the good. It started when one of my fellow classmates at the Pasadena Playhouse, Sally Struthers, got a recurring role on the Smothers Brothers show and she ultimately started dating Tommy Smothers.

The reason this helped my wife and I was the fact that Tommy Smothers decided to produce the musical “Hair” at the Aquarius Theatre in Hollywood. I can’t remember what the deal was, but my wife got loaned to the theatre to work with their opening night and celebrity ticket sales. This was all possible because of my on-again / off-again relationship with Sally. Also, we got to meet Tommy Smothers several times, as well as Jim Rado & Gerome Ragni who wrote the music and the show. We also got to spend some time with the cast. My wife moved over to the theatre and worked directly with Harry Blackstone who was, at the time, the General Manager of the Aquarius. Harry, for those of you that know your magic, k was one of the most famous Magicians in the country. He got us into the Magic Castle in Beverly Hills many times. Back then you had to be a magician or be sponsored by one in advance to gain entrance. They have opened it up somewhat today, however. The reason I bring this all up is because of my wife and friendships, we got two great tickets to the opening as well as the after-show party. The after-show themed party was mind-blowing (just like the show). Mentioning the show, it was absolutely at the time like nothing ever produced. It was so different and exciting and one of the first musicals to have a nude scene.

But the thing I remember the most was the after-party, which we attended with Josie Pollack, the booking agent for the Greek Theatre. I got to know Josie quite well and we became fast friends. Josie knew everybody who was anybody in Hollywood and was close friends with them. I have many other stories of the time I spent in her company. The party was phenomenal!

The producers had put up a massive tent in what was originally the parking lot. It was what I saw that night that gave me a sense of what a themed event could be, and the memory of the event set me up for what I wanted to do later in my life. Everybody who was anybody in Hollywood was there. The list of celebrities was endless. I remember the night to this day. The food and beverages were first class, the seafood, the specialty food stations were numerous, caviar, fillets and just about everything you could want. It also had at least 12 open bars and a staff of 24 minimum passing hors d’ oeuvres. They must also have poured 1000 bottles of champagne.

That night, my wife and I within the company of Josie Pollack, met many stars and producers. The one I remember the most was Liberace. I spent most of the time being chased around the event by him and no matter how much I tried to explain that was not into that kind of behavior, he just wouldn’t give up. He finally did, however, give up. Other than that, he was really quite nice to my wife and I. I later found out that he went to Josie Pollack and got my wife and I’s birthdays, Anniversary and address. With this information, he would always send my wife and I a present on our birthdays, anniversaries and at Christmas time. He also would send me five first row tickets to his performances in Las Vegas. We got these presents every year until he passed away. I was told that he literally did this for almost 1000 people he had met over the years.

Once we had attended the show and went back to the Greek and Huntington Hartford my wife did stay on, however, in the ticket department at the Aquarius as the Countess left the theatre and hired a new woman to run the Season Sales Department. She turned out to be great, and we got to know her and her husband quite well. As I mentioned before, my wife would suffer from depression and the new woman was a Christian Scientist and did her best to convert her to the faith, which seemed to help her a lot. It didn’t necessarily help me, as I never endorsed the faith, but we didn’t have any children so I didn’t object to her involvement.

Things really started happening for me at the Greek & Hartford (mostly the Hartford). I was getting some incredible opportunities there. First, I had the opportunity to meet Gregory Peck and his wife and one night at the theatre he invited me to join him and his wife for dinner across the street at the Brown Derby. There was another couple invited as well but I don’t remember their names. I do remember them as being quite nice. The evening was as memorable as I was star struck and he was one of my favorite actors of all time. Also, back then if my wife drank wine it would be fortified and cost a couple of dollars a gallon, This night, however, will remain in my mind forever as Mr. Peck ordered two bottles of wine that cost almost $1,500.00 a bottle. They had a Sommelier come to the table and decant the wine and serve it to us. I must admit I absolutely hated it, it tasted moldy to me. Of course, we just had no pallet for the wine of that vintage and quality. It took years for me to develop a taste for good vintages and, for that matter, spend more than $10.00 for a bottle of wine. Today, however, it’s a bit different. But I will always remember that evening,

Another evening I will never forget was when Josie Pollack decided to go out for a couple of drinks after a show and ended up at Daisies (which was a bar that a lot of celebrities went to after they did their live shows). We came into the place and got a high top table and settled in as Josie went off to say hello to some of her friends. At some point, she came back and we were just sitting there talking when Sammy Davis Jr. Came to the table to say hello to Josie and took a seat. I have to say he was a lot shorter than I could imagine. Josie introduced me and we all engaged in conversation. We had been talking for about 15 minutes when all of a sudden, up comes Johnny Carson to say hello to Josie and Sammy Davis. We sat around talking about our day when Johnny Carson asked if anybody was hungry. We all agreed that we could have a bite, so Johnny he could get a limo from the studio and we could head over to Chasen’s (famous for its Chili) for dinner. The limo arrived and off we went to the restaurant. When we got there, we were refused admission as we did not have a coat and tie. I couldn’t believe it, it was Johnny Carson and Sammy Davis Jr. and they wouldn’t admit us without a coat and tie. We started to leave when Johnny Carson held back and he said let’s all get back in the limo. He had a suite at the Sheraton so we all went to his suite and he then distributed ties, and sports jackets to me and Sammy Davis which was hilarious. When he got into one of Johnny’s jackets (wasn’t all that bad as Johnny was a very short man as well). I, however, looked ridiculous. Johnny removed his shirt as the restaurant hadn’t said anything about having to have a shirt. Back we went and the restaurant had to let us in as we were wearing coats and ties. That was a hoot.

Had another interesting evening of fun when my wife and I went to the Beverly Wilshure Hotel for dinner and were sitting in the lobby waiting for some friends to join us. A Frairs Club Dinner was going on in one of the ballrooms at the time. At some point, Don Rickles and Redd Fox came out of the ballroom and into the lobby and Rickles started doing his act with all of us in the lobby. Fortunately for us, Sydney Poitier came into the lobby and Rickles started in on him. It was hilarious. Sydney could not stop laughing. Rickles told him that if he hadn’t become an actor he would have ended up as a naked druggist from the Bronx. You had to be there. It was an evening that no one in that lobby will ever forget.

The post Huntington Hartford Theater is Where My Life Changed appeared first on Ray.

from Ray https://rayramsay.com/huntington-hartford-theater-is-where-my-life-changed/

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shopggdbonsales-blog · 5 years

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Scarpe Golden Goose Guida per aiutarvi ad avviare una piccola impresa completa

Oppure produci tutti i tuoi benefici finanziari per il modo in cui i clienti si sono incontrati sull'icona di cui si richiede l'addebito di un 'garantito per intero' a 50.000 per un mese significativo. Il cognato è vicino a certi accordi, quindi capisci che naturalmente funziona. Jim, ogni proprietario di una casa produttrice di cava di proprietari di sigari aveva Scarpe Golden Goose Outlet ttualmente venduto segni tremendamente piccoli, uno o due in via di opportunità. Ha goduto di un metro di energia cercando di trovare il vero cliente per un segno di $ 24,95. Difficilmente vale la pena. Quando ho Scarpe Golden Goose vvicinato la prima cosa a suo padre con l'Ovulo d'oro e il ggdb, ha offerto alcuni piccoli passi. Lui / lei trovò i fornitori di assicurazione di proprietà sostanziali dove Lei poteva ruotare un segno di numero per ognuno che punta a 20-30 prodotti chimici di proprietà legittimi in vendita solo. Il loro passo nella direzione. Anche se ero convinto che gli esperti avessero un Golden Ovum lì. Io e il mio compagno abbiamo sicuramente prodotto un'oca che posa una dozzina e quindi uova per noi, ma tutte le uova che dovevi non erano purtroppo di valore. Il talento del talento. Ottieni che i clienti utilizzino le tue principali competenze. Ci deve essere una ragione chiaramente ben definita per conto dell'assunzione di giovani. Programma di recessioni economiche devi mantenere ciò che le persone hanno anche essere eccessivamente diligenti intorno a chi il noleggio pubblico. Un conteggio frontale sembra essere sparato di rado durante qualsiasi tipo di esercitazione antincendio, ma l'applicazione era realizzabile. Ho pregato affinché i campanelli 'all-clear' suonassero rapidamente, prima che qualcuno pensasse all'avvio di una somma. Se Tim fosse identificato mancante, ogni singola cosa andrebbe persa. Questa campana comprensibile ha suonato in modo incredibilmente breve e ogni primo disastro è stato impedito. non ci sarebbe nessuna testa da coounting. Il rendimento mediano in termini di lunghezza indicante il mercato azionario è senza dubbio dieci zero per cento per anno in corso. Ma se produci un po 'di calcolo, vediamo quale non raggiungerai i tuoi obiettivi a quel prezzo. In questo modo si calcola qualsiasi tipo di ritorno del 15%. Quando ARM ha rimosso i nostri tappi insieme a quelli approvati pubblicamente in termini di tempi collegati a tassi bassi, hanno iniziato a essere pericolosi prestiti per l'habitat. Greenspan ha aumentato le tariffe rapidamente e, inoltre, frequentemente, la nicchia specializzata si è fatta avanti verso la metà degli anni 2000. Quelle percentuali elevate fecero sì che ARM andasse via e 2 bottiglie o più pagamenti ipotecari per chi avrebbe potuto ben meno far fronte alle spese di pagare di più. Le case pignorate iniziarono in cui sorgere. Inizialmente, ci sono buone ragioni per presumere che le persone che buttano via i loro proprietari di case avessero indirizzato i mutui che non potevano acquistare. Si presumeva che i tassi di pignoramento delle case diminuissero quando venivano visitati quei prestiti. E 'per te che accada. Oggi molti clienti che hanno perso la casa hanno avuto case per più anni. Hanno rifinanziato su tutti i consigli assegnati dagli esperti in generale all'inizio degli anni 2000 e hanno condotto prestiti che saranno approvati come il programma sicuro per fare equity dalla proprietà più un modo intelligente se si vuole sfruttare la casa. Non c'è nulla di simile nemmeno come una penalità per il pranzo di rigore e, anche se in genere il governo li tocca fare a chiunque richieda, qualcuno deve spendere, in tutti i casi, i suoi contribuenti.

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weedsgg · 6 years

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Interview wih Don Briere

To get this issue of the WEEDS Newsletter go to : https://weedsgg.ca/blog/our-news-1/post/weeds-newsletter-1

Don Briere “Basically, I have nothing to hide and I don’t lie to Revenue Canada.”Roy Berger “It’s so much easier that way, isn’t it?”DB “Yeah. Yeah. And so the bottom line is, is we have to turn this around. I talk about the tax man, tax part, tax people who don’t pay taxes, all this kind of shit, right? So to me it’s more important to use our cops, our police to go after the bad peo-ple. The police can go after the bad people who do human trafficking and prey on people. That to me is the more important thing. We don’t need them to chase us.” Don Briere owns Weeds Glass & Gifts, a chain of over 20 marijuana dispensaries located in many cities through out Canada. He once went to jail for operating over 30 grow-ops using 77 thousand high pressure bulbs. Currently he signs many cheques, employs over a hundred people, and requires receipts for the buying and selling of cannabis. Lately he has engaged the city of Vancouver and Abbotsford with Charter challenges regarding the unconsti-tutionality of their marijuana dispensary laws. On July 28th I had the opportunity to talk to Don while he was in Ottawa and this is the text of that interview.“The cost of one person in a federal prison can pay the tuition fees for twenty-two of our kids. So why are you putting marijuana people, non-violent people who want a job and to pay taxes, in jail?

“You are totally engaged in a non-violent issue.”

DB “Of course, but the thing is in the pot business there’s too many people who have come to the game. The first and foremost in the past, was making it illegal. So I don’t know if you are aware but there was a little article about someone from Watergate...”

RB “Oh, Nixon, Erlichman...”

DB “Yeah, yeah, Erlichman. They were talking about it and I just happened to notice this little quote and what it said was they criminalise groups of people and associated them with heroin and marijuana. Blacks and marijuana. And, and the thing is a minuscule detail that’s extremely important to me anyway. See over the years we have been trying to educate them. They knew about it see so it was a deliberate thing. It was deliberately done and that’s a really disgusting criminal act.”

RB “But don’t you think that back then, marijuana was much more associated with Marxism, communism and the counter culture in general?”DB “Yeah but not now. Read the article. We don’t even have to speculate about that. They were specifically for hippies and the war protesters okay? So that’s who they were target-ing. This was the important thing.” RB “To break the back of the war resistance.”

DB “Yeah exactly because you know how many people were against the war in Vietnam? And you know how many people died there? Oh, God. So tell me about this. For example, there were certain recommendations in 1972.”

RB “The Le Dain Commission?”

DB “Of course so again, now picture that and picture Colo-rado after two years. What’s going on in Colorado? The police no longer have to arrest, transport, jail, do paperwork...”

RB “And they’re getting a healthy 29% sales tax.”

DB “Look at that. And that’s an amazing thing so not only is the money staying in the community where before all those millions of dollars were coming to a select few and they would, you know, spend in on whatever, mansions, or aircraft or get it out of the country. And now they spend local, there is revenue generated for the government. The cost of one person in a Federal prison can pay the tuition fees for twenty-two of our kids. So that’s part of what about the children. So why are you putting marijuana people, non-violent people who want a job and to pay taxes in jail?”

DB “Again, when we talk to anybody especially the police. We tell them that not only do we pay all the taxes every-body else does, a considerable amount but we drain money away from organized crime who buy guns, heroin, cocaine, shoot at people. Human trafficking, okay? If they can get our kids addicted to some kind of drug they will, and that’s where human trafficking comes in. So again, police officers in Vancouver and especially Abbotsford. You want to do an interview? Do a phone interview with Police Chief Jim Doxer. The mayor had been ordering him, ordering him, to go in and total my stores in Abbotsford and he’s refusing. Why? He’s too busy handling the shoot outs and there are shoot outs almost on a daily basis for weeks at a time in Vancouver and theVancouver area, in Vancouver proper itself because there seems to be one activity. The police focus more on violent people and hard drugs. They don’t have to worry about can-nabis, right? So it’s a job shift there.”

DB “Toronto and Alliston are going to get five Insites where you can consume hard drugs without picking up diseases and passing them around. The Insites have nurses there and it has the drug to save overdose patients. I believe they saved 500 lives 600 lives now. You know people who’ve taken the wrong drug and so it’s done a spectacular thing. It’s kept these people alive ‘til they can use a preventative drug called cannabis which they get at dispensaries in Vancouver. Right now because of the Fentanyl overdoses. I think Surrey had forty in one weekend and there is a drug they whack them with right away that like neutralizes it, Naloxone.”

DB “The Allard decision so, as you know, so tie that in with what the Judge said, that the dispensaries provide a valu-able service to the community. And it’s so unequal across the country just like the unequal States of America. Buy a pound of weed in Washington State and then go to another state and get two years in prison. So there is a point to this story, and that would be that. Insite announced they have seen the usage of hard drug use down considerably. And they attrib-uted that to accessibility to medical cannabis dispensaries as an exit. So when they say these people who are supporting of these laws that state you become a murderer or rapist and move on to harder drugs, go insane and a gateway drug-those are all lies and you remember in the Nixon era they lied about the criminality of all this kind of stuff.”

DB “But you have to understand then is, my stand here is, that was a criminal thing and they caused thousands of people to die okay? There are veterans who came back from Vietnam and this is well documented, who had missing body parts and were growing weed in the back country and they would come in with Blackhawk helicopters and the guy would be sitting there with his rifle and they would sniper him and kill him and this is documented.”

DB “So enforcing laws based on lies is what makes the pot laws fall. You can not enforce laws based on lies. The law is the law. But you can not enforce the law based on misconceptions, threats and lies. Okay? So now we call that. You know that we have 1,300 soldiers living on the street right now? So and now we’ve sent more of our soldiers over seas and we have three different war zones right now and WE’RE a threat to the country? That smells. There’s something wrong with this picture here, okay? The whole thing is job shifting and where are their priorities? You can see there is still a war on drugs. We are still fighting it. We just filed a Charter Appeal.This has been an excerpt from Roy Berger’s interview with Don Briere, to read the full interview please go to CORNWALLFREENEWS.COMRoy Berger is a contributor to Fogel’s 2015 Underground Comic Book Guidehippycomix.comand author of 2012 RabbitsRabbits ebookRB

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