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siverwrites · 1 year

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Book Log 2022

Early in the year I threw together a list of possibilities to read. I don't want to say plan, because that implies more follow-through than what I figured I'd do. So, possibilities it was and here's how that went.

I did have a goal of 50 books and made it.

* - don’t currently own or have access to

My TBR

Charmed Life by Diana Wynne Jones

The Lives of Christopher Chant by Diana Wynne Jones

Witch Week by Diana Wynne Jones

The Magicians of Caprona by Diana Wynne Jones

The Curse of Chalion by Lois McMaster Bujold

A Wizard’s Guide to Defensive Baking by T. Kingfisher

The Ten Thousand Doors of January by Alix E. Harrow

European Travel for the Monstrous Gentlewoman by Theodora Goss

The Sinister Mystery of the Mesmerizing Girl by Theodora Goss*

Bellwether by Connie Willis*

Drowned Country by Emily Tesh*

Dodger by Terry Pratchett

Pride and Prejudice by Jane Austen

The Last Unicorn by Peter S. Beagle*

Monkey Island Chronicles

Starless Sea by Erin Morgenstern

A Man Called Ove by Fredrik Backman*

The Basilwade Chronicles by Dawn Knox*

The Macaroon Chronicles by Dawn Knox*

Death in Disguise by Emma Davies

The Long Way to a Small, Angry Planet by Becky Chambers

Boss Fight Books: Chrono Trigger by Michael P. Williams

Boss Fight Books: Final Fantasy V by Chris Kohler

Boss Fight Books: Final Fantasy VI by Sebastian Deken

Boss Fight Books: Earthbound by Ken Baumann

Boss Fight Books: The Legend of Zelda: Majora’s Mask by Gabe Durham

Boss Fight Books: Super Mario Bros. 2 by Jon Irwin

Boss Fight Books: Super Mario Bros. 3 by Alyse Knorr

Boss Fight Books: Shadow of the Colossus by Nick Suttner

Boss Fight Books: Shovel Knight by David L. Craddock

Boss Fight Books: Continue: The Boss Fight Books Anthology

Boss Fight Books: Nightmare Mode: A Boss Fight Books Anthology

Boss Fight Books: Katamari Damacy by L.E. Hall

A Deception Most Deadly by Genevieve Essig*

Phantom Tollbooth by Norton Juster, Jules Feiffer

Tall Tails Secret Book Club by CeeCee James

Baking Bad by Kim M. Watt

Yule be Sorry by Kim M. Watt

Manor of Life & Death by Kim M. Watt

Game of Scones by Kim M. Watt

A Toot Hansell Christmas Cracker by Kim M. Watt

Coming up Roses by Kim M. Watt

The Tales of Beaufort Scales Kim M. Watt

Gobbelino London & a Scourge of Pleasantries by Kim M. Watt

Gobbelino London & a Contagion of Zombies by Kim M. Watt

Gobbelino London & a Complication of Unicorns by Kim M. Watt

Gobbelino London & a Melee of Mages by Kim M. Watt

Gobbelino London & a Worry of Weres by Kim M. Watt

Oddly Enough: Tales of the Unordinary by Kim M. Watt

The Cat Did It: 8 short tales of troublesome felines by Kim M. Watt

The Good, the Bad and the Smug by Tom Holt

A Guide to Japanese Role-Playing Games (in progress)

The Prim Reaper by Kim Watt

–

Books for rereading consideration:

Jonathan Strange & Mr. Norrell by Susanna Clarke

To Say Nothing of the Dog by Connie Willis

Silver in the Wood by Emily Tesh

Hogfather Terry Pratchett

The Tombs of Atuan by Ursula K. LeGuin

The Farthest Shore by Ursula K. LeGuin

Neverwhere narrated and written by Neil Gaiman (audiobook)

Howl’s Moving Castle by Diana Wynne Jones

Elfquest by Wendy & Richard Pini

Magic & Malice by Patricia C. Wrede

The Magicians & Mrs. Quent by Galen Beckett

The House on Durrow Street by Galen Beckett

The Master of Heathcrest Hall by Galen Beckett

The Wee Free Men by Terry Pratchett

The Fellowship of the Ring by J.R.R. Tolkien

The Two Towers by J.R.R. Tolkien

The Return of the King by J.R.R. Tolkien

Reaper Man by Terry Pratchett

Unfinished Tales by J.R.R. Tolkien

The Hobbit by J.R.R. Tolkien narrated by Andy Serkis (audiobook)

Moving Pictures by Terry Pratchett

The Last Hero by Terry Pratchett

–

Currently Reading:

A Guide to Japanese Role-Playing Games from Bitmap Books

A Lot Like Christmas by Connie Willis

–

Finished:

January:

The Hobbit by J.R.R. Tolkien narrated by Andy Serkis (audiobook) (reread, but first time listen)

Jonathan Strange & Mr. Norrell by Susanna Clarke (reread)

Monkey Island Chronicles

The Ten Thousand Doors of January by Alix E. Harrow

Howl’s Moving Castle by Diana Wynne Jones (reread)

Charmed Life by Diana Wynne Jones

The Lives of Christopher Chant by Diana Wynne Jones

February:

The Magicians of Caprona by Diana Wynne Jones

Witch Week by Diana Wynne Jones

Reaper Man by Terry Pratchett (reread)

March:

Boss Fight Books: Chrono Trigger by Michael P. Williams

Boss Fight Books: Super Mario Bros. 2 by Jon Irwin

Boss Fight Books: Final Fantasy VI by Sebastian Deken

Boss Fight Books: Super Mario Bros. 3 by Alyse Knorr

April:

Boss Fight Books: The Legend of Zelda: Majora’s Mask by Gabe Durham

Boss Fight Books: Continue: The Boss Fight Books Anthology

Boss Fight Books: Earthbound by Ken Baumann

Boss Fight Books: Final Fantasy V by Chris Kohler

Boss Fight Books: Shovel Knight by David L. Craddock

The Lord of the Rings: The Fellowship of the Ring by J.R.R. Tolkien (reread)

May:

Moving Pictures by Terry Pratchett (reread)

To Say Nothing of the Dog by Connie Willis (reread)

The Two Towers by J.R.R. Tolkien (reread)

June:

Feet of Clay by Terry Pratchett (reread)

The Return of the King by J.R.R. Tolkien (reread)

Baking Bad by Kim M. Watt

July:

Yule be Sorry by Kim M. Watt

Manor of Life & Death by Kim M. Watt

Game of Scones by Kim M. Watt

A Toot Hansell Christmas Cracker by Kim M. Watt

Coming up Roses by Kim M. Watt

The Tales of Beaufort Scales Kim M. Watt

Gobbelino London & a Scourge of Pleasantries by Kim M. Watt

August:

Terry Pratchett’s Discworld Imaginarium - Paul Kidby

Oddly Enough: Tales of the Unordinary by Kim M. Watt

Gobbelino London & a Contagion of Zombies by Kim M. Watt

The Prim Reaper by Kim M. Watt

The Cat Did It: 8 short tales of troublesome felines by Kim M. Watt

Gobbelino London & a Complication of Unicorns by Kim M. Watt

Gobbelino London & a Melee of Mages by Kim M. Watt

September:

Gobbelino London & a Worry of Weres by Kim M. Watt

Tall Tails Secret Book Club by CeeCee James

The Long Way to a Small, Angry Planet by Becky Chambers

Beast-Laid Plans by Kim. M Watt

October:

Who Are You? : Nintendo’s Game Boy Advance Platform by Alex Custodio

November:

To Say Nothing of the Dog by Connie Willis (reread)

December:

The Fifth Elephant by Terry Pratchett (reread)

Yule be Sorry by Kim M. Watt (reread)

A Christmas Carol by Charles Dickens (reread)

A Toot Hansell Christmas Cracker by Kim M. Watt (reread)

Hogfather by Terry Pratchett (reread)

#books #reading #my ramblings #book log

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michigandrifter · 5 years

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Hopalong Cassidy Man From Butte 1953

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oldshowbiz · 3 years

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William “Wee Willie” Davis was just one of many old time wrestlers turned menacing character actor during the classic Hollywood era.

#character actors #william 'wee willie' davis

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mitjalovse · 5 years

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youtube

To be perfectly honest, many early rock musicians burned way too fast, their careers ended with them being delegated to the nostalgia tours, where they played their biggest hits over and over again. The reasons for this might be hard to fathom, yet one of them might be the musical scene back then got tired of different singers quite quickly, which is why we have a multitude of cases in the vein of Gene Vincent. I mean, he established the greaser rock cliche, but this wouldn't matter, if he didn't have the tunes to back that image up. The latter proved he had the chops to handle this identity, though he soon managed to be overtaken by those he influenced. Actually, this happened a lot during the late 50's, i.e. the fans beat their idols and they also received their fame.

#gene vincent and his blue caps #be-bop-a-lula #gene vincent #cliff gallup #'wee' willie williams #'jumping' jack neal #dickie 'be bop' harrell #donald graves #bill 'sheriff tex' davis #50's music #rock

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odk-2 · 4 years

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Gene Vincent and His Blue Caps - Race with the Devil (1956) Sheriff Tex Davis / Gene Vincent from: "Race with the Devil" / "Gonna Back Up Baby" "The Gene Vincent Box Set: Complete Capitol and Columbia Recordings 1956 - 1964" (1990) (CD1)

JukehostUK (left click = play) (320kbps)

Personnel: Gene Vincent: Vocals / Guitar Cliff Gallup: Lead Guitar “Wee” Willie Williams: Rhythm Guitar Jack Neal: Upright Bass Dickie Harrell: Drums

Produced by Ken Nelson

Publishing: Campbell Connelly (James Campbell and Reginald Connelly)

Recorded: @ The Bradley Film & Recording Studio on May 4, 1956 in Nashville, Tennessee USA

Gene Vincent and His Blue Caps: 1956 Capitol Records Promo Photo

#Gene Vincent #Gene Vincent and His Blue Caps #Rockabilly #Race with the Devil #Sheriff Tex Davis #1950's #Capitol Records

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greatvanheflinkennethtobeypie · 4 years

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Kenneth Jesse Tobey (March 23, 1917 – December 22, 2002) was an American stage, film, and television actor, who performed in hundreds of productions during a career that spanned more than half a century, including his role as the star of the 1957-1960 Desilu Productions TV series Whirlybirds.

Kenneth Tobey

Actor Kenneth Tobey on Daniel Boone series 1967.jpg

Kenneth Tobey on the television

series Daniel Boone, 1967

Born

Kenneth Jesse Tobey

March 23, 1917

Oakland, California, U.S.

Died

December 22, 2002 (aged 85)

Rancho Mirage, California, U.S.

Occupation

Actor

Years active

1943–1997

Spouse(s)

June Hutton (1968-1973; her death)

Violet Mae Coglan (Penny Parker (1951-1962); (divorced) 1 child)

Children

Tina

Early years Edit

Tobey was born in 1917 in Oakland, California. Following his graduation from high school in 1935, Kenneth entered the University of California, Berkeley with intentions to pursue a career in law until he began to dabble in acting at the school's theater.[1] His stage experience there led to a drama scholarship, a year-and-a-half of study at New York's Neighborhood Playhouse, where his classmates included fellow actors Gregory Peck, Eli Wallach, and Tony Randall.[2][3]

During World War II, Tobey joined the United States Army Air Forces, serving in the Pacific as a rear gunner aboard a B-25 bomber.[3] Throughout the 1940s, with the exception of his time in military service, Tobey acted on Broadway and in summer stock. After appearing in a 1943 film short, The Man of the Ferry, he made his Hollywood film debut in the 1947 Hopalong Cassidy western Dangerous Venture. He then went on to appear in scores of features and on numerous television series. In the 1949 film Twelve O' Clock High, he is the negligent airbase sentry who is dressed down by General Frank Savage (played by Gregory Peck). That same year Tobey performed in a brief comedy bit in another film, I Was a Male War Bride. His performance in that minor part caught the attention of director Howard Hawks, who promised to use the thirty-two-year-old actor in something more substantial.

The Thing from Another World Edit

In 1951, Tobey was cast in Howard Hawks' production The Thing from Another World. In this classic sci-fi film he portrays Captain Patrick Hendry, a United States Air Force pilot, who at the North Pole leads a scientific outpost's dogged defense against an alien portrayed by James Arness, later the star of the television series Gunsmoke. Tobey's performance in Hawks' film garnered the actor other parts in science fiction movies in the 1950s, usually reprising his role as a military officer, such as in The Beast from 20,000 Fathoms (1953) and It Came from Beneath the Sea (1956).

Television Edit

Tobey appeared in the 1952 episode "Counterfeit Plates" on the CBS series Biff Baker, U.S.A., an espionage drama starring Alan Hale, Jr. He was cast too in the 1954-1955 CBS legal drama The Public Defender, starring Reed Hadley. He guest-starred in three episodes of NBC's western anthology series Frontier. His Frontier roles were as Wade Trippe in "In Nebraska" (1955) and then as Gabe Sharp in "Out from Texas" and "The Hostage" (1956). In 1955, he also portrayed legendary frontiersman Jim Bowie on ABC's Davy Crockett, a Walt Disney production, with Fess Parker in the title role. After Bowie's death in the series at the Battle of the Alamo, Tobey played a second character, Jocko, in the two final episodes of Davy Crockett.

Tobey then, in 1957, appeared in the syndicated religion anthology series Crossroads in the role of Mr. Alston in the episode "Call for Help" and as Jim Callahan in "Bandit Chief" in the syndicated western series The Sheriff of Cochise. Later that same year, Tobey starred in the television series The Whirlybirds, a successful CBS and then-syndicated adventure produced by Desilu Studios. In it he played the co-owner of a helicopter charter service, along with fellow actor Craig Hill. The Whirlybirds was a major hit in the United States and abroad, with 111 episodes filmed through 1960. It remained in syndication worldwide for many years.

In 1958, Tobey also appeared as John Wallach in the episode "$50 for a Dead Man" in Jeff Richards's NBC western series Jefferson Drum. In 1960, he guest-starred in the episode "West of Boston" of another NBC western series, Overland Trail, starring William Bendix and Doug McClure. Also in 1960, he appeared as Colonel Lake on Death Valley Days and on ABC's western The Rebel, starring Nick Adams. Tobey made three guest appearances on Perry Mason, twice in 1960 and once in 1962 as Jack Alvin, a deputy district attorney. On the long-running western series Gunsmoke, he portrayed a cruel, knife-wielding buffalo hunter in the 1960 episode titled "The Worm".[4] Tobey in 1962 also guest-starred on another Western series, Lawman, playing the character Duncan Clooney, an engineer who seeks to move a shipment of nitroglycerin through Laramie, Wyoming. When the town is evacuated to allow passage of the explosives, two of Clooney's employees decide they will take advantage of the situation to rob the bank.[5]

Tobey guest-starred as well in Jack Lord's 1962-1963 ABC adventure series about a rodeo circuit rider, Stoney Burke. In 1967 he performed on the series Lassie, in the episode "Lure of the Wild", playing a retired forest ranger who tames a local coyote. He also appeared as a slave owner named Taggart in "The Wolf Man", a 1967 episode of Daniel Boone, starring Fess Parker.[6] A few of the many other series in which Tobey later performed include Adam-12 (1969), Gibbsville (1976), MV Klickitat (1978), Emergency! (1975), and Night Court (1985). Tobey also appeared in Barnaby Jones; episode titled, "Fantasy of Fear" (02/25/1975).

He became a semi-regular on the NBC series I Spy as the field boss of agents Robinson and Scott. Christian Nyby, director of The Thing From Another World, often directed those episodes. Tobey also portrayed a ship's captain on the Rockford Files, in an episode titled "There's One in Every Port".

Other films Edit

In 1957, Tobey portrayed a sheriff in The Vampire (a film that some sources today often confuse with the 1935 production Mark of the Vampire). That year he also appeared in a more prestigious film, serving as a featured supporting character with John Wayne and Maureen O'Hara, the co-stars of John Ford's The Wings of Eagles.[7] In that film, Tobey—with his naturally red hair on display in vibrant Metrocolor—portrays a highly competitive United States Army Air Service officer. In one memorable scene he has the distinction of shoving a piece of gooey cake into the face of John Wayne, whose character is a rival United States Navy aviation officer. Not surprisingly, a room-wrecking brawl ensues.

Tobey's work over the next several decades was increasingly involved in television productions. He did, though, continue to perform in a range of feature films, such as Stark Fear, Marlowe, Billy Jack, Walking Tall, The Howling, the war movie MacArthur (in which he portrays Admiral "Bill"[8] Halsey), Airplane!, Gremlins, Big Top Pee-wee, and Gremlins 2: The New Batch.[9]

Broadway Edit

Although Tobey had a busy acting career in films and on television, he also periodically returned to the stage. In 1964 he began a long run on Broadway opposite Sammy Davis, Jr., in the musical version of Clifford Odets' play Golden Boy. Some of his other Broadway credits are As You Like It, Sunny River, Janie, Sons and Soldiers, A New Life, Suds in Your Eye, The Cherry Orchard, and Truckline Cafe.[10]

Later years Edit

As his long career drew to a close, Tobey still received acting jobs from people who had grown up watching his performances in sci-fi films of the 1950s, particularly Joe Dante, who included the veteran actor in his stock company of reliable players. Two appearances on the sitcom Night Court came the same way, through fans of his work. Along with other character actors who had been in 1950s sci-fi and horror films (John Agar, Robert O. Cornthwaite, Gloria Talbott, etc.), Tobey starred in a spoof originally titled Attack Of The B Movie Monster. In 2005, Anthem Pictures released the completed feature version of this spoof on DVD under the new title The Naked Monster. Tobey's scenes in that release were actually shot in 1985, so The Naked Monster is technically his final film credit, being released three years after his death. He had, however, continued to act throughout most of the 1990s. One of those notable roles is his performance in the 1994 Star Trek: Deep Space Nine episode "Shadowplay" as Rurigan, an alien who recreates his dead friends as holograms. Among other examples of Tobey's final decade of work are his two appearances as Judge Kent Watson on the series L.A. Law.

In 2002, Tobey died of natural causes at age 85 in Rancho Mirage, California.

Partial filmography Edit

The Man of the Ferry (1943, Short)

Dangerous Venture (1947) - Red

This Time for Keeps (1948) - Redheaded Soldier at Pool (uncredited)

Beyond Glory (1948) - Bit Role (uncredited)

He Walked by Night (1948) - Detective Questioning Pete (uncredited)

The Stratton Story (1949) - Detroit Player (uncredited)

Illegal Entry (1949) - Dave (uncredited)

The Great Sinner (1949) - Cabbie (uncredited)

I Was a Male War Bride (1949) - Red - Seaman (uncredited)

The Stratton Story (1949)

Task Force (1949) - Capt. Ken Williamson (uncredited)

The Doctor and the Girl (1949) - Surgeon at Bellevue (uncredited)

Free for All (1949) - Pilot

Twelve O'Clock High (1949) - Sgt. Keller - Guard at Gate (uncredited)

The File on Thelma Jordon (1950) - Police Photographer (uncredited)

When Willie Comes Marching Home (1950) - Lt. K. Geiger (uncredited)

One Way Street (1950) - Cop at Second Accident (uncredited)

Love That Brute (1950) - Henchman #1 in Cigar Store (uncredited)

The Gunfighter (1950) - Swede (uncredited)

My Friend Irma Goes West (1950) - Pilot

Kiss Tomorrow Goodbye (1950) - Det. Fowler

Right Cross (1950) - Ken, the Third Reporter

Three Secrets (1950) - Officer (uncredited)

The Flying Missile (1950) - Crewman Pete McEvoy

The Company She Keeps (1951) - Rex Fisher (uncredited)

Up Front (1951) - Cooper (uncredited)

Rawhide (1951) - Lt. Wingate (uncredited)

The Thing from Another World (1951) - Captain Patrick Hendry

Angel Face (1952) - Bill Crompton

The Beast from 20,000 Fathoms (1953) - Col. Jack Evans

Fighter Attack (1953) - George

The Bigamist (1953) - Tom Morgan, Defense Attorney

Ring of Fear (1954) - Shreveport

Down Three Dark Streets (1954) - FBI Agent Zack Stewart

The Steel Cage (1954) - Steinberg, Convict Painter (segment "The Face")

Davy Crockett, King of the Wild Frontier (1955) - Colonel Jim Bowie

Rage at Dawn (1955) - Monk Claxton

It Came from Beneath the Sea (1955) - Cmdr. Pete Mathews

Davy Crockett and the River Pirates (1956) - Jocko

The Steel Jungle (1956) - Dr. Lewy

The Man in the Grey Flannel Suit (1956) - Lt. Hank Mahoney (uncredited)

The Great Locomotive Chase (1956) - Anthony Murphy

The Search For Bridey Murphy (1956) - Rex Simmons

The Wings of Eagles (1957) - Capt. Herbert Allen Hazard

Gunfight at the O.K. Corral (1957) - Bat Masterson

The Vampire (1957) - Sheriff Buck Donnelly

Jet Pilot (1957) - Sergeant (uncredited)

Cry Terror! (1958) - Agent Frank Cole

Seven Ways from Sundown (1960) - Texas Ranger Lieutenant Herly

Perry Mason (1960) - Deputy D.A. Jack Alvin - S4 E3, the I'll Fated Faker

X-15 (1961) - Col. Craig Brewster

Sea Hunt (1961), Season 4, Episode 33

Stark Fear (1962) - Cliff Kane

40 Guns to Apache Pass (1966) - Corporal Bodine

A Man Called Adam (1966) - Club Owner

A Time for Killing (1967) - Sgt. Cleehan

Marlowe (1969) - Sgt. Fred Beifus

Billy Jack (1971) - Deputy Mike

Terror in the Sky (1971) - Capt. Wilson

Ben (1972) - Engineer

The Candidate (1972) - Floyd J. Starkey

Rage (1972) - Col. Alan A. Nickerson

Walking Tall (1973) - Augie McCullah

Dirty Mary, Crazy Larry (1974) - Sheriff Carl Donahue

Homebodies (1974) - Construction Boss

The Missiles of October (1974) - Adm. George W. Anderson Jr., Chief of Naval Operations

The Wild McCullochs (1975) - Larry Carpenter

W.C. Fields and Me (1976) - Parker

Baby Blue Marine (1976) - Buick Driver

Gus (1976) - Asst. Warden

MacArthur (1977) - Admiral Halsey

Goodbye, Franklin High (1978) - Police Captain

Hero at Large (1980) - Firechief

Airplane! (1980) - Air Controller Neubauer

The Howling (1981) - Older Cop

Strange Invaders (1983) - Arthur Newman

Gremlins (1984) - Mobil Gas Station Attendant (uncredited)

The Lost Empire (1984) - Capt. Hendry

Innerspace (1987) - Man in Restroom

Big Top Pee-wee (1988) - Sheriff

Freeway (1988) - Monsignor Kavanaugh

Ghost Writer (1989) - Cop #2

Gremlins 2: The New Batch (1990) - Projectionist

Desire and Hell at Sunset Motel (1991) - Capt. Holiday

Honey, I Blew Up the Kid (1992) - Smitty

Single White Female (1992) - Desk Clerk

Body Shot (1994) - Arthur Lassen

Hellraiser: Bloodline (1996) - Hologram-Priest (uncredited)

The Naked Monster (2005) - Col. Patrick Hendry (final film role)

References Edit

"Kenneth Tobey Probably Has Reddest Hair in the World". The Paris News. Texas, Paris. July 31, 1951. p. 6. Retrieved June 28, 2016 – via Newspapers.com. open access

"Berkeley Product Gets Dramatic Lead". Oakland Tribune. California, Oakland. August 18, 1940. p. 25. Retrieved June 28, 2016 – via Newspapers.com. open access

"Kenneth Tobey Probably Has Reddest Hair in the World". Retrieved May 24, 2017.

"Popular Videos-Gunsmoke", episode S06E08 ["The Worm"], originally broadcast October 29, 1960. Full episode available for viewing on YouTube, a subsidiary of Amazon, Seattle, Washington. Retrieved January 31, 2019.

""Trojan Horse", Lawman, December 31, 1961". Internet Movie Data Base. Retrieved June 10, 2013.

"The Wolf Man", Daniel Boone episode S03E18, originally broadcast January 26, 1967. Full episode available for viewing on YouTube. Retrieved May 23, 2017.

Wings of Eagles Archived 2017-07-11 at the Wayback Machine, American Film Institute (AFI) catalog; production details, cast and crew, and plot summary. Retrieved May 26, 2017.

[History of United States Naval Operations in World War II, Vol. V, Pg. 183f]

"Kenneth Tobey", AFI catalog, filmography. Retrieved May 26, 2017.

"(Kenneth Tobey search)". Playbill Vault. Retrieved 28 June 2016.

12. Demetria Fulton previewed Tobey's appearance in Barnaby Jones; episode titled, "Fantasy of Fear"(02/25/1975).

External links Edit

Kenneth Tobey on IMDb

Kenneth Tobey at the Internet Broadway Database

Kenneth Tobey at Memory Alpha (a Star Trek wiki)

Kenneth Tobey at Film Buff Online.com

#wikipedia #kenneth tobey

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classicfilmfan64 · 4 years

Photo

ABOVE SUSPICION

MGM, 1943. Directed by Richard Thorpe. Camera: Robert Planck. With Joan Crawford, Fred MacMurray, Conrad Veidt, Basil Rathbone, Reginald Owen, Richard Ainley, Cecil Cunningham, Ann Shoemaker, Sara Haden, Felix Bressart, Bruce Lester, Johanna Hofer, Lotta Palfi, Alex Papana, Rex Williams, Hans von Morhart, William Yetter, Steve Geray, William "Wee Willie" Davis, Lisa Golm, Ludwig Stossel.

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nastyfreakho · 5 years

Video

May 28, 2019) They are Detroit legends, and an act that toured the world for decades delivering some of the most unique soul sounds around. And he was there from the beginning. We are sad to inform SoulTrackers of the death of Willie Ford of The Dramatics, the man who held down the bottom end of those great Dramatics harmonies. While never reaching "supergroup" status in the public's eyes, the Dramatics have been one of the most prolific, consistently entertaining groups of the last half century. Another of the great non-Motown Detroit groups formed in the late 60s, the Dramatics went through significant personnel changes over their early years as the group struggled to find a hit. They ultimately found it on Stax/Volt Records with "Whatcha See Is Whatcha Get," a latin-tinged cut lyrically based on a comic phrase popularized by Flip Wilson. It was an instant hit on both the pop and soul charts, and began a string of great cuts for the group penned by Tony Hester. The follow-ups "In The Rain" and "Toast to the Fool" were even better, and have remained in active play on many stations ever since. While the group had various compositions, once L.J. Reynolds replaced William "Wee Gee" Howard in 1973, the core of the group was set for several decades. With Reynolds' gruff baritone and Ron Banks' soaring falsetto, Willie Ford's bass sound, the smooth Lenny Mayes and singer and group choreographer Larry Demps, a unique group harmony and stage show was created and that kept The Dramatics at the top of the charts for the remainder of the 70s and early 80s. In the mid-seventies, as Stax was failing, the group and producer Don Davis switched to ABC records where they released a number of successful albums and top 10 singles, though their coverage was, at that point, limited to the Soul radio. Hits like "Be My Girl," "Shake It Well" and "Fell For You" (later remade by Snoop Doggy Dogg) carried the group into the early 80s, when their popularity began to wane. They split up in 1982 as Reynolds and Banks both embarked on solo careers (Reynolds achieving some limited success with the hit "Key to the World"), and Demps went back to school to become a teacher. (at Atlanta, Georgia) https://www.instagram.com/p/ByBAUC2l4Fa/?igshid=8br6sc8u0cin

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blackkudos · 7 years

Text

Dizzy Gillespie

John Birks "Dizzy" Gillespie (/ɡᵻˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, and singer.

AllMusic's Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [...] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time."

Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unheard in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.

In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman.

Biography

Early life and career

Gillespie was born in Cheraw, South Carolina, the youngest of nine children of James and Lottie Gillespie. James was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four. Gillespie's father died when he was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician. He received a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia.

Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, essentially replacing Roy Eldridge as first trumpet in 1937. Teddy Hill's band was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D.C., Gillespie met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York City circuit which included the Apollo Theater. Willis was not immediately friendly but Gillespie was attracted anyway. The two finally married on May 9, 1940. They remained married until his death in 1993.

Gillespie stayed with Teddy Hill's band for a year, then left and free-lanced with numerous other bands. In 1939, Gillespie joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, the instrumental "Pickin' the Cabbage", in 1940. (Originally released on Paradiddle, a 78rpm backed with a co-composition with Cozy Cole, Calloway's drummer at the time, on the Vocalion label, No. 5467).

After a notorious altercation between the two men, Calloway fired Gillespie in late 1941. The incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bach's 1997 film, The Spitball Story. Calloway did not approve of Gillespie's mischievous humor, nor of his adventuresome approach to soloing; according to Jones, Calloway referred to it as "Chinese music". Finally, their grudge for each other erupted over a thrown spitball. Calloway never thought highly of Dizzy, because he didn't view Dizzy as a good musician. Once during a rehearsal, a member of the band threw a spitball. Already in a foul mood, Calloway decided to blame this on Dizzy. In order to clear his name, Dizzy didn’t take the blame and the problem quickly escalated into a fist fight, then a knife fight. Calloway had minor cuts on the thigh and wrist. After the two men were separated, Calloway fired Dizzy. A few days later, Dizzy tried to apologize to Calloway, but he was dismissed.

During his time in Calloway's band, Gillespie started writing big band music for bandleaders like Woody Herman and Jimmy Dorsey. He then freelanced with a few bands – most notably Ella Fitzgerald's orchestra, composed of members of the late Chick Webb's band, in 1942.

Gillespie avoided serving in World War II. In his Selective Service interview, he told the local board, "in this stage of my life here in the United States whose foot has been in my ass?" He was thereafter classed as 4-F. In 1943, Gillespie joined the Earl Hines band. Composer Gunther Schuller said:

... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings.

Gillespie said of the Hines band, "People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here ... naturally each age has got its own shit".

Then, Gillespie joined the big band of Hines' long-time collaborator Billy Eckstine, and it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member. In 1945, Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums.

Rise of bebop

Bebop was known as the first modern jazz style. However, it was unpopular in the beginning and was not viewed as positively as swing music was. Bebop was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in the bebop era like Charlie Parker, Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Pettiford, and Gillespie. Through these musicians, a new vocabulary of musical phrases was created. With Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House. Parker's system also held methods of adding chords to existing chord progressions and implying additional chords within the improvised lines.

Gillespie compositions like "Groovin' High", "Woody 'n' You" and "Salt Peanuts" sounded radically different, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while Gillespie was playing with Earl Hines' band, is noted for having a feature that is common in today's music, a non-walking bass line. The song also displays Afro-Cuban rhythms. One of their first small-group performances together was only issued in 2005: a concert in New York's Town Hall on June 22, 1945. Gillespie taught many of the young musicians on 52nd Street, including Miles Davis and Max Roach, about the new style of jazz. After a lengthy gig at Billy Berg's club in Los Angeles, which left most of the audience ambivalent or hostile towards the new music, the band broke up. Unlike Parker, who was content to play in small groups and be an occasional featured soloist in big bands, Gillespie aimed to lead a big band himself; his first, unsuccessful, attempt to do this was in 1945.

After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin, Ray Brown, Kenny Clarke, James Moody, J.J. Johnson, and Yusef Lateef) and finally put together his first successful big band. Gillespie and his band tried to popularize bop and make Gillespie a symbol of the new music. He also appeared frequently as a soloist with Norman Granz's Jazz at the Philharmonic. He also headlined the 1946 independently produced musical revue film Jivin' in Be-Bop.

In 1948 Gillespie was involved in a traffic accident when the bicycle he was riding was bumped by an automobile. He was slightly injured, and found that he could no longer hit the B-flat above high C. He won the case, but the jury awarded him only $1000, in view of his high earnings up to that point.

On January 6, 1953 Gillespie threw a party for his wife Lorraine at Snookie's in Manhattan, where his trumpet's bell got bent upward in an accident, but he liked the sound so much he had a special trumpet made with a 45 degree raised bell, becoming his trademark.

In 1956 Gillespie organized a band to go on a State Department tour of the Middle East which was extremely well received internationally and earned him the nickname "the Ambassador of Jazz". During this time, he also continued to lead a big band that performed throughout the United States and featured musicians including Pee Wee Moore and others. This band recorded a live album at the 1957 Newport jazz festival that featured Mary Lou Williams as a guest artist on piano.

Afro-Cuban music

In the late 1940s, Gillespie was also involved in the movement called Afro-Cuban music, bringing Afro-Latin American music and elements to greater prominence in jazz and even pop music, particularly salsa. Afro-Cuban jazz is based on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by Mario Bauza, a Latin jazz trumpet player. Chano Pozo became Gillespie's conga drummer for his band. Gillespie also worked with Mario Bauza in New York jazz clubs on 52nd Street and several famous dance clubs such as Palladium and the Apollo Theater in Harlem. They played together in the Chick Webb band and Cab Calloway's band, where Gillespie and Bauza became lifelong friends. Gillespie helped develop and mature the Afro-Cuban jazz style.

Afro-Cuban jazz was considered bebop-oriented, and some musicians classified it as a modern style. Afro-Cuban jazz was successful because it never decreased in popularity and it always attracted people to dance to its unique rhythms. Gillespie's most famous contributions to Afro-Cuban music are the compositions "Manteca" and "Tin Tin Deo" (both co-written with Chano Pozo); he was responsible for commissioning George Russell's "Cubano Be, Cubano Bop", which featured the great but ill-fated Cuban conga player, Chano Pozo. In 1977, Gillespie discovered Arturo Sandoval while researching music during a tour of Cuba.

Later years

His biographer Alyn Shipton quotes Don Waterhouse approvingly that Gillespie in the fifties "had begun to mellow into an amalgam of his entire jazz experience to form the basis of new classicism". Another opinion is that, unlike his contemporary Miles Davis, Gillespie essentially remained true to the bebop style for the rest of his career.

In 1960, he was inducted into the Down Beat magazine's Jazz Hall of Fame.

During the 1964 United States presidential campaign the artist, with tongue in cheek, put himself forward as an independent write-in candidate. He promised that if he were elected, the White House would be renamed the Blues House, and he would have a cabinet composed of Duke Ellington (Secretary of State), Miles Davis (Director of the CIA), Max Roach (Secretary of Defense), Charles Mingus (Secretary of Peace), Ray Charles (Librarian of Congress), Louis Armstrong (Secretary of Agriculture), Mary Lou Williams (Ambassador to the Vatican), Thelonious Monk (Travelling Ambassador) and Malcolm X (Attorney General). He said his running mate would be Phyllis Diller. Campaign buttons had been manufactured years before by Gillespie's booking agency "for publicity, as a gag", but now proceeds from them went to benefit the Congress of Racial Equality, Southern Christian Leadership Conference and Martin Luther King, Jr.; in later years they became a collector's item. In 1971 Gillespie announced he would run again but withdrew before the election for reasons connected to the Bahá'í Faith.

Dizzy Gillespie, a Bahá'í since 1968, was one of the most famous adherents of the Bahá'í Faith. It brought him to see himself as one of a series of musical messengers, part of a succession of trumpeters somewhat analogous to the series of prophets who bring God's message in religion. The universalist emphasis of his religion prodded him to see himself more as a global citizen and humanitarian, expanding on his already-growing interest in his African heritage. His increasing spirituality brought out a generosity in him, and what author Nat Hentoff called an inner strength, discipline and "soul force". Gillespie's conversion was most affected by Bill Sears' bookThief in the Night. Gillespie spoke about the Bahá'í Faith frequently on his trips abroad. He is honored with weekly jazz sessions at the New York Bahá'í Center in the memorial auditorium.

Gillespie published his autobiography, To Be or Not to Bop, in 1979.

Gillespie was a vocal fixture in many of John Hubley and Faith Hubley's animated films, such as The Hole, The Hat, and Voyage to Next.

In the 1980s, Gillespie led the United Nation Orchestra. For three years Flora Purim toured with the Orchestra and she credits Gillespie with evolving her understanding of jazz after being in the field for over two decades. David Sánchez also toured with the group and was also greatly influenced by Gillespie. Both artists later were nominated for Grammy awards. Gillespie also had a guest appearance on The Cosby Show as well as Sesame Street and The Muppet Show.

In 1982, Gillespie had a cameo appearance on Stevie Wonder's hit "Do I Do". Gillespie's tone gradually faded in the last years in life, and his performances often focused more on his proteges such as Arturo Sandoval and Jon Faddis; his good-humoured comedic routines became more and more a part of his live act.

In 1988, Gillespie had worked with Canadian flautist and saxophonist Moe Koffman on their prestigious album Oo Pop a Da. He did fast scat vocals on the title track and a couple of the other tracks were played only on trumpet.

In 1989 Gillespie gave 300 performances in 27 countries, appeared in 100 U.S. cities in 31 states and the District of Columbia, headlined three television specials, performed with two symphonies, and recorded four albums. He was also crowned a traditional chief in Nigeria, received the Ordre des Arts et des Lettres; France's most prestigious cultural award. He was named Regent Professor by the University of California, and received his fourteenth honorary doctoral degree, this one from the Berklee College of Music. In addition, he was awarded the Grammy Lifetime Achievement Award the same year. The next year, at the Kennedy Center for the Performing Arts ceremonies celebrating the centennial of American jazz, Gillespie received the Kennedy Center Honors Award and the American Society of Composers, Authors, and Publishers Duke Ellington Award for 50 years of achievement as a composer, performer, and bandleader. In 1993 he received the Polar Music Prize in Sweden.

November 26, 1992 at Carnegie Hall in New York City, following the Second Bahá'í World Congress was Gillespie's 75th birthday concert and his offering to the celebration of the centenary of the passing of Bahá'u'lláh. Gillespie was to appear at Carnegie Hall for the 33rd time. The line-up included: Jon Faddis, Marvin "Doc" Holladay, James Moody, Paquito D'Rivera, and the Mike Longo Trio with Ben Brown on bass and Mickey Roker on drums. But Gillespie didn't make it because he was in bed suffering from cancer of the pancreas. "But the musicians played their real hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their friend, this great soul and innovator in the world of jazz." In 2002, Gillespie was posthumously inducted into the International Latin Music Hall of Fame for his contributions to Afro-Cuban music.

Gillespie also starred in a film called The Winter in Lisbon released in 2004. He has a star on the Hollywood Walk of Fame at 7057 Hollywood Boulevard in the Hollywood section of the City of Los Angeles. He is honored by the December 31, 2006 – A Jazz New Year's Eve: Freddy Cole & the Dizzy Gillespie All-Star Big Band at The John F. Kennedy Center for the Performing Arts.

Death and legacy

A longtime resident of Englewood, New Jersey he died of pancreatic cancer January 6, 1993, aged 75, and was buried in the Flushing Cemetery, Queens, New York City. Mike Longo delivered a eulogy at his funeral. He was also with Gillespie on the night he died, along with Jon Faddis and a select few others.

At the time of his death, Gillespie was survived by his widow, Lorraine Willis Gillespie (d. 2004); a daughter, jazz singer Jeanie Bryson; and a grandson, Radji Birks Bryson-Barrett. Gillespie had two funerals. One was a Bahá'í funeral at his request, at which his closest friends and colleagues attended. The second was at the Cathedral of Saint John the Divine in New York City open to the public.

As a tribute to him, DJ Qualls' character in the 2002 American teen comedy film The New Guy was named Dizzy Gillespie Harrison.

The Marvel Comics current Hawkeye comic written by Matt Fraction features Gillespie's music in a section of the editorials called the "Hawkguy Playlist".

Also, Dwight Morrow High School, the public high school of Englewood, New Jersey, renamed their auditorium the Dizzy Gillespie Auditorium, in memory of him.

In 2014, Gillespie was inducted into the New Jersey Hall of Fame.

Style

Gillespie has been described as the "Sound of Surprise". The Rough Guide to Jazz describes his musical style:

"The whole essence of a Gillespie solo was cliff-hanging suspense: the phrases and the angle of the approach were perpetually varied, breakneck runs were followed by pauses, by huge interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he always took listeners by surprise, always shocking them with a new thought. His lightning reflexes and superb ear meant his instrumental execution matched his thoughts in its power and speed. And he was concerned at all times with swing—even taking the most daring liberties with pulse or beat, his phrases never failed to swing. Gillespies’s magnificent sense of time and emotional intensity of his playing came from childhood roots. His parents were Methodists, but as a boy he used to sneak off every Sunday to the uninhibited Sanctified Church. He said later, ‘The Sanctified Church had deep significance for me musically. I first learned the significance of rhythm there and all about how music can transport people spiritually.'"

In Gillespie's obituary, Peter Watrous describes his performance style:

"In the naturally effervescent Mr. Gillespie, opposites existed. His playing—and he performed constantly until nearly the end of his life—was meteoric, full of virtuosic invention and deadly serious. But with his endlessly funny asides, his huge variety of facial expressions and his natural comic gifts, he was as much a pure entertainer as an accomplished artist."

Wynton Marsalis summed up Gillespie as a player and teacher:

"His playing showcases the importance of intelligence. His rhythmic sophistication was unequaled. He was a master of harmony—and fascinated with studying it. He took in all the music of his youth—from Roy Eldridge to Duke Ellington—and developed a unique style built on complex rhythm and harmony balanced by wit. Gillespie was so quick-minded, he could create an endless flow of ideas at unusually fast tempo. Nobody had ever even considered playing a trumpet that way, let alone had actually tried. All the musicians respected him because, in addition to outplaying everyone, he knew so much and was so generous with that knowledge..."

Bent trumpet

Gillespie's trademark trumpet featured a bell which bent upward at a 45-degree angle rather than pointing straight ahead as in the conventional design. According to Gillespie's autobiography, this was originally the result of accidental damage caused by the dancers Stump and Stumpy falling onto the instrument while it was on a trumpet stand on stage at Snookie's in Manhattan on January 6, 1953, during a birthday party for Gillespie's wife Lorraine. The constriction caused by the bending altered the tone of the instrument, and Gillespie liked the effect. He had the trumpet straightened out the next day, but he could not forget the tone. Gillespie sent a request to Martin to make him a "bent" trumpet from a sketch produced by Lorraine, and from that time forward played a trumpet with an upturned bell.

Gillespie's biographer Alyn Shipton writes that Gillespie probably got the idea for a bent trumpet when he saw a similar instrument in 1937 in Manchester, England, while on tour with the Teddy Hill Orchestra. According to this account (from British journalist Pat Brand) Gillespie was able to try out the horn and the experience led him, much later, to commission a similar horn for himself.

Whatever the origins of Gillespie's upswept trumpet, by June 1954 he was using a professionally manufactured horn of this design, and it was to become a visual trademark for him for the rest of his life. Such trumpets were made for him by Martin (from 1954), King Musical Instruments (from 1972) and Renold Schilke (from 1982, a gift from Jon Faddis). Gillespie favored mouthpieces made by Al Cass. In December 1986 Gillespie gave the National Museum of American History his 1972 King "Silver Flair" trumpet with a Cass mouthpiece. In April 1995, Gillespie's Martin trumpet was auctioned at Christie's in New York City, along with instruments used by other famous musicians such as Coleman Hawkins, Jimi Hendrix and Elvis Presley. An image of Gillespie's trumpet was selected for the cover of the auction program. The battered instrument was sold to Manhattan builder Jeffery Brown for $63,000, the proceeds benefiting jazz musicians suffering from cancer.

Wikipedia

#Dizzy Gillespie

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New from Kevin Wozniak on Kevflix: What’s Streaming This Month? – September

Here are my picks for the movies coming to Netflix, Prime Video, Hulu, Disney+, Criterion Channel, and HBOMax in September. This month offers up many unique choices, from original films to Hollywood classics.

NETFLIX

Full list of everything coming to Netflix in September can be found here.

THE BACK TO THE FUTURE TRILOGY (Robert Zemeckis, 1984/1989/1990)

A trilogy that is full of life, fun, and originality.

THE DEVIL ALL THE TIME (Antonio Campo, 2020)

An all-star cast of Tom Holland, Robert Pattinson, Riley Keough, Sebastian Stan, Mia Wasikowska, Bill Skarsgård, and Jason Clarke lead Antonio Campos’ thriller about corruption and brutality in a postwar backwoods town.

GREASE (Randal Kleiser, 1978)

A musical classic.

I’M THINKING OF ENDING THINGS (Charlie Kaufman, 2020)

The latest directorial effort from the great Charlie Kaufman looks like a haunting mind-bender.

MAGIC MIKE (Steven Soderbergh, 2012)

One of Steven Soderbergh’s best features a scene-stealing performance from Matthew McConaughey.

NOT ANOTHER TEEN MOVIE (Joel Gallen, 2001)

This comedy satire of teen romcoms is still hilarious and has aged quite well.

RATCHED (Evan Romansky, Ryan Murphy, 2020)

I don’t usually post about shows on here, but a prequel series looking at One Flew Over the Cuckoo’s Nest villain Nurse Ratched starring Sarah Paulson in the titular role sounds too good to ignore.

THE SOCIAL DILEMMA (Jeff Orlowski, 2020)

I heard good buzz about this documentary out of Sundance 2020, as it looks at the power of social media and the effect it can have on the world

WILDLIFE (Paul Dano, 2018)

Paul Dano’s directorial debut is a quiet and powerful look at a crumbling family in the 1950’s.

PRIME VIDEO

Full list of everything coming to Prime Video in September can be found here.

THE BIRDCAGE (Mike Nichols, 1996)

Robin Williams and Nathan Lane are marvelous in this Mike Nichols comedy.

CASINO ROYALE (Martin Campbell, 2006)

The film that introduced Daniel Craig into the Bond franchise is also the best Bond film ever made.

GEMINI MAN (Ang Lee, 2019)

Will Smith plays an assassin who is being hunted by a clone of his younger self in Ang Lee’s technical marvel.

THE GRADUATE (Mike Nichols, 1967)

One of the greatest films ever made.

JUDY (Rupert Goold, 2019)

Renee Zellweger won her second Oscar for pitch-perfect portrayal of Hollywood icon Judy Garland.

KRAMER VS KRAMER (Robert Benton, 1979)

This Best Picture family drama features stellar work from Dustin Hoffman and Meryl Streep.

PATRIOT’S DAY (Peter Berg, 2016)

Peter Berg’s harrowing account of the Boston Marathon bombing.

HULU

Full list of everything coming to Hulu in September can be found here.

ANY GIVEN SUNDAY (Oliver Stone, 1999)

Olive Stone’s aggressive, chaotic look at professional football.

BABYTEETH (Shannon Murphy, 2020)

An emotional relationship drama with Ben Mendolsohn and Essie Davis giving two of my favorite performances of 2020.

HAROLD AND KUMAR GO TO WHITE CASTLE/HAROLD AND KUMAR ESCAPE GUANTANAMO BAY (Danny Leiner, 2004/Jon Hurwitz, Hayden Schlossberg, 2008)

Two-thirds of a classic stoner trilogy.

HOOSIERS (David Anspaugh, 1986)

One of the greatest sports movies ever made.

THE LAST BOY SCOUT (Tony Scott, 1991)

It’s directed by Tony Scott, written by Shane Black, and stars Bruce Willis. We could call this the “90’s Trifecta”.

PEE WEE’S BIG ADVENTURE (Tim Burton, 1985)

Tim Burton’s debut film is utterly insane, yet absolutely brilliant

PRISONERS (Denis Villeneuve, 2013)

Denis Villeneuve’s best film to date is a dark, disturbing crime thriller featuring incredible work from Hugh Jackman, Jake Gyllenhaal, and cinematographer Roger Deakins.

THE TERMINATOR (James Cameron, 1984)

One of the greatest sci-fi movies ever made.

THE TWILIGHT SAGA (Catherine Hardwicke, 2008/Chris Weitz, 2009/David Slade, 2010/Bill Condon, 2011/Bill Condon, 2012)

I’ve only seen one of these (I think New Moon?), but want to give them a whirl at some point. Maybe now is the time?

DISNEY+

Full list of everything coming to Disney+ in September can be found here.

BEND IT LIKE BECKHAM (Gurinder Chadha, 2003)

A rousing, inspiring indie sports film.

CHRISTOPHER ROBIN (Marc Forster, 2018)

A somber, sweet look at Winnie the Pooh and the 100 Acre Woods gang.

D2: THE MIGHT DUCKS/D3 (Sam Weisman, 1994/Robert Lieberman, 1996)

D2 is the best of the trilogy, but D3 is pretty good and bit underrated.

MULAN (Niki Caro, 2020)

You have to pay $30 to see this one, but I have a feeling Disney’s latest live-action feature is going to be worth is.

NEVER BEEN KISSED (Raja Gosnell, 1999)

A classic 90’s rom-com featuring a delightful Drew Barrymore.

THE WOLVERINE (James Mangold, 2013)

One of the best X-Men films and the BEST Wolverine movie (hot take).

CRITERION CHANNEL

Full list of everything coming to Criterion Channel in September can be found here.

*The Criterion Channel does things a little differently than every other streaming service. The Criterion Channel, a wonderful streaming service that focuses on independent, foreign, and under-appreciates movies, doesn’t just throw a bunch of random movies to stream. They get more creative by having categories like “DOUBLE FEATURES” or “FILMS FROM…”, giving us curated lists of films that somehow blend together or feature a specific artist.*

BOYHOOD (Richard Linklater, 2014)

Richard Linklater’s ambitious twelve-year project is one of the finest film accomplishments of the last decade.

THE LOVELESS (Kathryn Bigelow, Monty Montgomery, 1981)

Kathryn Bigelow’s debut is one I have been dying to see and one I am going to check out as soon as it is available.

THE COMPLETE FILMS OF AGNES VARDA

Agnes Varda was a true artist and Criterion has put all of her work into one comprehensive collection which features all of her feature length films as well as her short films.

SATURDAY MATINEE

DUCK SOUP (Leo McCarey, 1933)

My favorite Marx Brothers film and one of the greatest comedies ever made.

SATURDAY MATINEE

CHARLOTTE’S WEB (Charles A. Nichols, Iwao Takamoto, 1973)

A beautiful animated film based on the classic book.

THREE BY ROBERT GREENE

Three provocative films from a master documentarian.

Actress (2014)

Kate Plays Christine (2016)

Bisbee ’17 (2018)

DIRECTED BY ALBERT BROOKS

Albert Brooks is one of the greatest comedic minds we’ve ever had. This block of films looks at his genius behind the camera.

Real Life (1979)

Modern Romance (1981)

Lost in America (1985)

Defending Your Life (1991)

Mother (1996)

DOUBLE FEATURE: TEARS OF THE CLOWN

LENNY (Bob Fosse, 1974)

JO JO DANCER, YOUR LIFE IS CALLING (Richard Pryor, 1986)

Two unflinching films delve into the self-destructive dark sides of a pair of comedy legends. Lenny features Dustin Hoffman in a jagged portrait of Lenny Bruce. In Jo Jo Dancer, Your Life is Calling, Richard Pryor draws on his own personal demons in the only narrative feature written and directed by the comedy legend.

BY THE BOOK

A slew of films based on legendary books, from Great Expectations to The Hours and many, many more.

The Count of Monte Cristo (Rowland V. Lee, 1934)

The 39 Steps (Alfred Hitchcock, 1935)

La bête humaine (Jean Renoir, 1938)

Of Mice and Men (Lewis Milestone, 1939)

Great Expectations (David Lean, 1946)

The Killers (Robert Siodmak, 1946)

Anna Karenina (Julien Duvivier, 1948)

Oliver Twist (David Lean, 1948)

The Heiress (William Wyler, 1949)

The Passionate Friends (David Lean, 1949)

The Idiot (Akira Kurosawa, 1951)

The Life of Oharu (Kenji Mizoguchi, 1952)

Robinson Crusoe (Luis Buñuel, 1954)

Senso (Luchino Visconti, 1954)

Pather Panchali (Satyajit Ray, 1955)

Aparajito (Satyajit Ray, 1956)

The Burmese Harp (Kon Ichikawa, 1956)

Apur Sansar (Satyajit Ray, 1959)

The Cloud-Capped Star (Ritwik Ghatak, 1960)

Purple Noon (René Clément, 1960)

Zazie dans le métro (Louis Malle, 1960)

Divorce Italian Style (Pietro Germi, 1961)

Lord of the Flies (Peter Brook, 1963)

Tom Jones (Tony Richardson, 1963)

Charulata (Satyajit Ray, 1964)

Woman in the Dunes (Hiroshi Teshigahara, 1964)

Closely Watched Trains (Jirí Menzel, 1966)

War and Peace (Sergei Bondarchuk, 1966)

Memories of Underdevelopment (Tomás Gutiérrez Alea, 1968)

The Angel Levine (Ján Kadár, 1970)

Dodes’ka-den (Akira Kurosawa, 1970)

The Phantom Tollbooth (Chuck Jones, Abe Levitow, and Dave Monahan, 1970)

The Little Prince (Stanley Donen, 1974)

Picnic at Hanging Rock (Peter Weir, 1975)

The American Friend (Wim Wenders, 1977)

The Ascent (Larisa Shepitko, 1977)

The Getting Of Wisdom (Bruce Beresford, 1977)

Empire of Passion (Nagisa Oshima, 1978)

Watership Down (Martin Rosen, 1978)

My Brilliant Career (Gillian Armstrong, 1979)

Stalker (Andrei Tarkovsky, 1979)

The Tin Drum (Volker Schlöndorff, 1979)

Wise Blood (John Huston, 1979)

You Are Not I (Sara Driver, 1981)

Under the Volcano (John Huston, 1984)

Mishima: A Life in Four Chapters (Paul Schrader, 1985)

My Life as a Dog (Lasse Hallström, 1985)

Betty Blue (Jean-Jacques Beineix, 1986)

An Angel at My Table (Jane Campion, 1990)

The Comfort of Strangers (Paul Schrader, 1990)

Europa Europa (Agnieszka Holland, 1990)

The Handmaid’s Tale (Volker Schlöndorff, 1990)

Emily Brontë’s Wuthering Heights (Peter Kosminsky, 1992)

The Castle (Michael Haneke, 1997)

The Sweet Hereafter (Atom Egoyan, 1997)

The Virgin Suicides (Sofia Coppola, 1999)

The Piano Teacher (Michael Haneke, 2001)

The Hours (Stephen Daldry, 2002)

Gomorrah (Matteo Garrone, 2008)

Almayer’s Folly (Chantal Akerman, 2011)

45 Years (Andrew Haigh, 2015)

Certain Women (Kelly Reichardt, 2016)

Zama (Lucrecia Martel, 2017)

HBOMAX

Full list of everything coming to HBOMax in August can be found here.

CLERKS (Kevin Smith, 1994)

Kevin Smith’s indie sensation is a masterclass in microbudget cinema.

THE CONVERSATION (Francis Ford Coppola, 1974)

In-between The Godfather and The Godfather II, Francis Ford Coppola made this Palme d’Or winning thriller about a surveillance expert (a brilliant Gene Hackman) who has a crisis of conscience when he suspects that the couple he is spying on will be murdered.

THE CURIOUS CASE OF BENJAMIN BUTTON (David Fincher, 2008)

David Fincher’s gorgeous film about a man who ages backwards.

DOG DAY AFTERNOON (Sidney Lumet, 1975)

Sidney Lumet’s best film features masterful work from Al Pacino and John Cazzalle.

THE INVISIBLE MAN (Leigh Whannel, 2020)

Elisabeth Moss gives one of the best performances of 2020 in Leigh Whannel’s chilling remake of the Universal classic.

JFK (Oliver Stone, 1991)

Oliver Stone’s brilliant account of the assassination of John F. Kennedy and the conspiracy behind it.

JUST MERCY (Destin Daniel Cretton, 2019)

An inspiring film with excellent performances from Michael B. Jordan and Jamie Foxx.

MIDNIGHT RUN (Martin Brest, 1988)

This crime-buddy-road movie is an absolute blast and features one of Robert De Niro’s most underrated performances.

POINT BREAK (Kathryn Bigelow, 1991)

Kathryn Bigelow’s surfing-cop thriller is one of the best action movies of the 90’s.

SNAKES ON A PLANE (David R. Ellis, 2006)

An iconic B-movie featuring a truly great Samuel L. Jackson performance.

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celticnoise · 4 years

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CQN takes a trip back in time to look at the game everyone connected with Celtic would prefer to forget – the 1970 European Cup Final loss against Feyenoord in the San Siro stadium exactly FIFTY years ago today.

Hoops legend Davie Hay played that evening and devoted a chapter of his autobiography, ‘The Quiet Assassin’, which was co-authored by Alex Gordon, to the extraordinary happenings in Milan when the team squandered the opportunity of conquering Europe for a second time in three years.

Today, in another CQN special, we publish the EXCLUSIVE chapter in its entirety.

IF only Jock Stein had got his wish and we had been drawn against Feyenoord in the European Cup semi-final of 1970. I am not being churlish, but I know we would have beaten our Dutch rivals over two legs. They might have caught us cold in the first game, but we would have seen them off in the second, trust me.

It’s been a long time coming, but I can only apologise to all Celtic supporters everywhere for our feeble, appalling, miserable performance in the 2-1 European Cup Final extra-time defeat in the San Siro on 6 May 1970. I still feel a mixture of embarrassment and anger when I think back to that night in Milan. We let down everyone connected with the club.

Celtic were mere shadows of themselves in the San Siro. We were over-confident, there was maybe an unusual hint of arrogance. Unforgiveably, we might even have underestimated our opponents. Big mistake. We believed we had done the hard work in dismissing Leeds United in the semi-final and it was only a matter of turning up, going through the motions and then collecting the coveted silverware. Or so we thought.

Everything went wrong before and during that confrontation. You would have been forgiven for believing we were gearing up for some sort of bounce game at the end of a gruelling season such was the uncharacteristic ineptitude in our preparation. We are all in the dock and guilty as charged. And I include Jock Stein, our manager who was normally so meticulous and thorough in going through the minute details of opponents before a big game.

For some obscure reason, Big Jock did not prepare as he normally would against the Rotterdam outfit. Maybe he was as culpable as his players into already believing we were the best team in Europe and no upstarts from Holland would stand in our way of conquering soccer’s elite for the second time in three years. I don’t think anyone should be sacracanct or spared from criticism after by far the worst memory of my playing days.

The better team won on the night and no-one can debate that. The trophy went to the side that deserved it. How much different it would have been, though, if we had scraped a draw in the San Siro. And, remember, we were a mere three minutes from the end of extra-time when they got the winning goal. The alarm bells were ringing loud and clear throughout the two hours of action against the Dutch.

We were well and truly knocked out of our stride by a very competitive bunch of players – future Celtic manager Wim Jansen among them – whose concentration was absolute and their determination abundant.

I’ll never know why Jock changed the side from the one that beat Leeds United in the second leg at Hampden. Actually, it’s unfathomable and I am not having a go at the man to whom I owe so much just for the sake of it. Bobby Murdoch, George Connelly and Bertie Auld made up the core of that team as a midfield three. They sparked off each other and had the styles of play that dovetailed and complimented perfectly.

Murdy was simply marvellous; a complete team man. His range of vision and the ability to thump devastatingly accurate passes all over the place was breathtaking. Big Geordie had frightening skill. He lacked pace, but he made the ball do all the work. Bertie was immense and would always accept responsibility. He and Murdy went into the tie against Leeds United up against the likes of Billy Bremner and Johnny Giles, two extremely gifted individuals.

Apart from Bremner’s goal at Hampden – and Bertie has already held his hands up to accept responsibility for not shutting him down quickly enough – he was mainly deployed in a defensive midfield role over the two legs. Giles, too, was spending too much time chasing back for his own liking against Celtic. In truth, they were largely anonymous and that was down to the fact that Murdoch, Connelly and Auld were ruling the roost.

Then, inexplicably, Big Jock dropped Geordie for the Final and gave him the substitute’s role. He went with the two in midfield – Murdy and Bertie – that had worked so wonderfully well in Lisbon in 1967. This was a different game, though. Feyenoord were exceptionally strong across the middle of the park where their main man was Wim van Hanagem, who was dismissed by Jock as being a ‘poor man’s Jim Baxter’.

It was unlike our boss to misread a situation, but on this occasion he got it wrong; very wrong. Our line-up played right into their hands. We had Jinky, Willie Wallace, John Hughes and Bobby Lennox as a four-man frontline, but with the Dutch’s stranglehold in the middle of the park, they were starved of any reasonable service. Normally, I could get forward when Jinky was buzzing, but the Wee Man was being suffocated by their defence. They double-banked and even treble-banked on him. They tried to force him inside into an already cluttered midfield where they had players waiting to pick him off.

Feyenoord played a pressing game all over the park and we were struggling to get into any sort of rhythm. They worked our defence well and didn’t give us a moment’s respite. Ove Kindvall, their Swedish striker, was keeping Billy McNeill occupied while Jim Brogan had picked up an early foot injury that curtailed his movement a bit. Tommy Gemmell was getting forward, as usual, but our cavalier full-back also had his work cut out deep in his own territory.

Even our wonderful support seemed to be strangely subdued in the 53,000 crowd. The klaxon horns of the Dutch fans drowned them out and the entire atmosphere appeared to be geared towards Feyenoord. Rather remarkably, we scored a perfectly good goal that would have certainly stood today with all the technology we can call upon. Bobby Lennox got free on the left-hand side of their penalty box and hammered an unstoppable effort wide of their keeper, Pieters Graafland. Before we even got a chance to let loose a sigh of relief and celebrate we noticed that experienced Italian referee Concetto Lo Bello was blowing for offside.

If you ever get the chance to watch TV replays of that goal again you will no doubt be astonished to find our speedy little frontman was played onside by THREE Dutch defenders. He was too fast for his own good sometimes.

And yet we still took the lead on the night through another whizzbang effort from Big Tommy on the half-hour mark. Murdy neatly back-heeled a free-kick to our rampaging defender and from about twenty yards he smashed it first time with his mighty right foot. The keeper actually looked a bit distracted by the match official who had taken up a strange position behind the Feyenoord defensive wall. He probably wouldn’t have saved it, anyway, as it thundered its way low into the net.

That was probably the worst thing that happened to us that evening! If we were more than just a shade arrogant at the start, we were even more so now. We knew we hadn’t been playing well, very little was coming off for us in our forward plays, and yet we were a goal in front. We could do no wrong.

That unlikely notion was dispelled rather quickly – all of three minutes to be precise. Our defence made a mess of trying to clear a free-kick from the right and it bounced around until their skipper Rinus Israel got in a header. The ball looped high over Evan Williams and nestled in the far corner. I know better than most that football is all about ifs and buts. However, if we had held that lead until half-time there is no saying what the outcome of the game would have been.

We could have got in at the interval, had a good talk about what was happening out on the park and where we could hopefully put things right. It was still deadlocked at the turnaround and the dressing room was strangely quiet. There were a few in that Celtic team who liked themselves to be heard, but not on this occasion. I still think we believed deep down within ourselves we would beat them. ‘The first-half was a bit of a fluke’, seemed to be the thinking. ‘They can’t be so good in the second-half.’ Or ‘We can’t be that bad again.’

The Dutch klaxons were blaring once more as we trooped out for the second period and do you know something? Yes, they could be so good in the second-half. And, yes, we could be so bad. It was like stepping back into your worst nightmare after a brief fifteen minute interlude. Hanagem, who went on to win over one hundred caps for Holland, was hitting passes with that gifted left foot; Jansen was playing like a man possessed; running, fetching, passing, shooting. Kindvall was still a handful for our central defence and we were gasping for air. Now I knew what it must have been like to be a Leeds United player facing us in the semi-finals. Bluntly put, we were getting a going over; a real doing. It was a painful experience, believe me.

Mainly thanks to our overworked goalkeeper Evan Williams we held out to take the game into extra-time. If it had been about 4-1 or 5-1 for Feyenoord at the time no-one could have argued. We defended as best we could against what appeared to be a never-ending onslaught from an eager collection of ambitious, well-primed professionals who sensed blood and knew victory was within their grasp. I recall one outstanding save from Evan as Jansen drove forward before unleashing a rasping drive from about twenty-five yards that looked destined for the roof of the net. Evan took off, twisted in mid-air and, quite magnificently, held onto the effort. In another game on another night that sort of brilliance would have inspired his team-mates. Not this game and not this night.

Three minutes remained when the ref awarded the Dutch a free-kick halfway inside our own half on the right. What happened next would have any self-respecting, defensive-minded coach sucking out his fillings and clawing out his hair. Murdy picked up the ball as soon as Lo Bello whistled for the foul and handed it to an opponent. Within seconds the Dutchman had placed it on the ground, took a quick glance up and propelled the ball towards the ever-lurking Kindvall.

We didn’t even get the opportunity to erect a defensive wall or pick up a player. Big Billy was left all on his lonesome as the ball homed in on its target. Our skipper couldn’t set himself for one of his trademark clearing headers and as he back-pedalled he threw up his hands in desperation. His actions broke the flight of the kick and the ball dropped perfectly for the inrushing Kindvall.

He raced in, Evan left his line, the Swede got a touch and his effort sailed serenely and precislely into the inviting net. And that was the end of our European dream. Those bloody, infuriating klaxons started up again and kept going all the way through the presentation. We were devastated.

There is absolutely no way that I would blame our world-class midfield man, but if only Bobby Murdoch hadn’t been such a good sport. He could have let the ball run on and the Feyenoord player would have been forced to go and fetch it himself, giving our defence the time to get in place. Honours are won and lost in such a manner.

As I have said, Feyenoord deserved their victory and there are no arguments from this quarter. However, I can assure everyone our Dutch opponents would have seen another Celtic, the real Celtic, in the replay. We would have made them pay for what they put us through at the San Siro.

Also, we would have been only too aware of their true abilities and that was something we were not afforded in the countdown to that dreadful night.

Mistakes were made and, my God, were we made to pay for them. The Celtic fans deserved so much better. We failed them miserably that evening. It’s a horrible recollection I would dearly love to obliterate from my memory banks. But, deep down, I know I never will.

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diegoricol · 5 years

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Diego Ricol Freyre recomienda:Diego Ricol Freyre recomienda: El Blues ya tiene sus nominados

El tecladista Anthony Geraci es el favorito en esta edición de los Blues Music Awards: recibió nominaciones para seis categorías. El premio se entregará el 9 de mayo.

Geraci, que nació en Boston, está en consideración para la Canción del Año (“Angelina, Angelina”); Álbum del año y Álbum de blues tradicional (“Why Did You Have To Go”); artista masculino de Blues tradicional; el Pinetop Perkins Piano Player Award y, con su grupo, Boston Blues All-Stars, como Banda del Año. Geraci también es parte de la banda The Proven Ones, que obtuvo una nominación de Disco de Blues Contemporáneo por “Wild Again”. Sus compañeros de Proven Ones, Jimi Bott y Willie J. Campbell, fueron nominados como Mejor Baterista y Mejor Bajista, respectivamente.

Shemekia Copeland y el bluesman de Chicago Nick Moss fueron nominados en cuatro categorías. Ambos luchan contra Geraci en Álbum del Año; Copeland for “America’s Child” y Moss por “The High Cost of Low Living”. Además, Copeland está en consideración para el Álbum de Blues Contemporáneo, Vocalista del Año y Artista Femenina de Blues Contemporáneo. El single de Copeland, “Ain’t Got Time for Hate”, es candidato a la Canción del Año, de los compositores John Hahn y Will Kimbrough.

Las otras tres nominaciones de Nick Moss son para Album de Blues Tradicional, Artista Masculino de Blues Tradicional y Banda del año. Gruenling, mientras tanto, consiguió su propia nominación en la categoría de instrumentista de armónica.

Los nominados de este año tienen un aumento significativo del reconocimiento para instrumentistas femeninas, lo que refleja el trabajo continuo de la Fundación Blues de diversificar su gran grupo de nominadores. Laura Chávez se encuentra distinguida como guitarrista, mientras que Marcia Ball está nominada para el Pinetop Perkins Piano Player Award (un título que ha ganado varias veces antes).

Todas las nominaciones

Álbum acústico: A Woman’s Soul, Rory Block Black Cowboys, Dom Flemons Global Griot, Eric Bibb Journeys To The Heart Of The Blues, Joe Louis Walker/Bruce Katz/Giles Robson Wish The World Away, Ben Rice

Artista acústico: Ben Rice Guy Davis Hadden Sayers Harrison Kennedy Rory Block

Album del año: America’s Child, Shemekia Copeland The High Cost Of Low Living, The Nick Moss Band Featuring Dennis Gruenling Journeys To The Heart Of The Blues, Joe Louis Walker/Bruce Katz/Giles Robson Rough Cut, Curtis Salgado and Alan Hager Why Did You have To Go, Anthony Geraci

B.B. King Entertainer: Beth Hart Bobby Rush Lil’ Ed Williams Michael Ledbetter Sugaray Rayford

Banda del año: Anthony Geraci & The Boston Blues All-Stars Larkin Poe Lil’ Ed & the Blues Imperials Nick Moss Band Welch-Ledbetter Connection

Mejor álbum de artista emergente: Burn Me Alive, Heather Newman Free, Amanda Fish Heartland And Soul, Kevin Burt Tough As Love, Lindsay Beaver Wish The World Away, Ben Rice

Album de Blues Rock: The Big Bad Blues, Billy F Gibbons High Desert Heat, Too Slim and the Taildraggers Live At The ’62 Center, Albert Cummings Poor Until Payday, The Reverend Peyton’s Big Damn Band Winning Hand, Tinsley Ellis

Arista de Blues Rock: Billy F Gibbons Eric Gales J.P. Soars Kenny Wayne Shepherd Tinsley Ellis

Album de Blues Contemporáneo: America’s Child, Shemekia Copeland Belle Of The West, Samantha Fish Chicago Plays The Stones, The Living History Band Hold On, Kirk Fletcher Wild Again, The Proven Ones

Artista Femenina de Blues Contemporáneo: Beth Hart Danielle Nicole Samantha Fish Shemekia Copeland Vanessa Collier

Artista Masculino de Blues Contemporáneo: Kenny Neal Rick Estrin Ronnie Baker Brooks Selwyn Birchwood Toronzo Cannon

Mejor Bajista: Danielle Nicole Michael “Mudcat” Ward Patrick Rynn Scot Sutherland Willie J. Campbell

Mejor Baterista: Cedric Burnside Jimi Bott June Core Tom Hambridge Tony Braunagel

Mejor Guitarrista: Anson Funderburgh Christoffer “Kid” Andersen Laura Chavez Monster Mike Welch Ronnie Earl

Mejor Armoniquista: Billy Branch Bob Corritore Dennis Gruenling Kim Wilson Mark Hummel

Mejor trompetista: Doug James Jimmy Carpenter Kaz Kazzanof Mindi Abair Nancy Wright Vanessa Collier

Pinetop Perkins Piano Player (Mejor pianista): Anthony Geraci Bruce Katz Jim Pugh Marcia Ball Mike Finnigan

Mejor Cantante: Beth Hart Danielle Nicole Janiva Magness Michael Ledbetter Shemekia Copeland

Canción del Año: “Ain’t Got Time For Hate,” written by John Hahn and Will Kimbrough “Angelina, Angelina,” written by Anthony Geraci “Cognac,” written by Buddy Guy, Tom Hambridge, Richard Fleming “No Mercy In This Land,” written by Ben Harper “The Ice Queen,” written by Sue Foley

Mejor Album de Soul Blues: Back In Business, Frank Bey Every Soul’s A Star, Dave Keller I’m Still Around, Johnny Rawls Love Makes A Woman, The Knickerbocker All-Stars Reckoning, Billy Price

Mejor Artista Femenina de Soul Blues: Annika Chambers Barbara Blue Candi Staton Thornetta Davis Whitney Shay

Mejor Artista Masculino de Soul Blues: Frank Bey Johnny Rawls Sugaray Rayford Wee Willie Walker William Bell

Mejor Album de Blues Tradicional: The Blues Is Alive And Well, Buddy Guy The High Cost Of Low Living, Nick Moss Band Featuring Dennis Gruenling The Luckiest Man, Ronnie Earl & The Broadcasters Tribute to Carey Bell, Lurrie Bell & the Bell Dynasty Why Did You Have To Go, Anthony Geraci

Koko Taylor Award (Mejor Artista Femenina de Blues Tradicional): Fiona Boyes Lindsay Beaver Ruthie Foster Sue Foley Trudy Lynn

Mejor Artista Masculino de Blues Tradicional: Anthony Geraci Cedric Burnside James Harman Lurrie Bell Nick Moss

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andreblogson · 6 years

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1937

Morgan Bulkeley

Bulkeley was one of the founders as well as the first president of the National League. For one year, in 1876, anyway. And he was also part of the commission that falsely declared Abner Doubleday to be the inventor of baseball. Bulkeley was also the mayor of Hartford, the governor of Connecticut and a U.S. Senator. Before all that, he owned the Hartford Dark Blues of the old National Association (and briefly of the National League). which featured Candy Cummings (the dubious inventor of the curveball), Tom Barlow (the pioneer of the bunt) as well as Tommy Bond (who should probably be in the Hall). And he really wanted you to know that he was related to the JP Morgan family. Okay. Super. I’m sure tons of tourists take their photo with this plaque when they visit the hallowed halls of Cooperstown.

Ban Johnson

Johnson was the founder and president of the American League. In a time when the National League was seen as a rowdy, drunken shitshow, Johnson wanted to create a cleaner version so it wouldn’t scare women and children have to death with how vulgar it all was. Men. The league would also support its umpires and pay higher wages to its players, which lured away top talent from the N.L starting in 1901. Dude was basically Vince McMahon eighty years prior.

Everything was going great for Johnson until the Black Sox scandal of 1919, when Kenesaw Mountain Landis was put in charge of Major League Baseball and ruled with an iron fist. The two men did not get along and everything came to a head after Johnson criticized Landis for how he handled the Ty Cobb/Tris Speaker gambling affair after 1926. Johnson was forced to resign. And Landis continued on as authoritarian commissioner until his death in 1944.

Nap Lajoie

Not that many people have the distinction of having a Major League team named after them. But from 1903-1914, the Cleveland franchise was known as the Naps, after their player-manager second baseman. It would have helped if they’d gone by his last name, so we knew how to pronounce it (Lodge-Way). But then, of course, Lajoie left for Philadelphia, the 1914 Miracle Braves happened and then Cleveland decided to go with a less inclusive-sounding name and logo. But that’s a whole nother story.

Lajoie came up with Ed Delahanty’s Philadelphia Phillies before being lured away to the higher salaries of the American League in 1901. He promptly became the league’s first superstar, batting .426 in the league’s inaugural year on his way to a Triple Crown. Considering Lajoie hit .345 over five seasons with the Phillies, I’m not too sure about the level of competition in the Junior Circuit at the time. But I’ll let that slide for now.

Lajoie was the best first baseman in baseball in 1897. And the best second baseman in 1900-1901, 1903-1904 and 1906-1908, before taking a back seat to Eddie Collins. Some of those gaps are due to bizarre injuries, like the time he busted his hand fighting teammate, Elmer Flick, while they traveled separately from the team to avoid arrest in Pennsylvania. Or when he got blood poisoning in 1905 from being spiked and then having the dye from his socks enter into his bloodstream. He also had a 1904 suspension for spitting tobacco juice in an umpire’s eye. And in 1907, George Stovall broke a chair over his head in a hotel lobby. Lajoie’s response to the press was, “George didn’t mean anything by it.” And my response is, holy shit.

Being player-manager probably also negatively affected Lajoie’s play. He still managed (no pun intended) 3,243 career hits (the 3rd man in the 3000 hit club after Cap Anson and Wagner), a career .338 batting average, as well as five batting titles. And over his own career (1896-196), he was the best second baseman in baseball and the second-highest overall in fWAR after Honus Wagner. I would have given him the A.L. MVP in 1901, 1903 and 1904. And I would have given him top 10 finishes in 9 other seasons.

Lajoie is probably still most famous for that infamous Chalmers Race with Ty Cobb in 1910. And it’s still somehow a thing that people can’t seem to agree on (Lajoie totally fucking won). But Lajoie would retire second in all-time career hits. He was the third-greatest deadball era player after Wagner and Cobb. And the third greatest second baseman of all-time after Rogers Hornsby and Eddie Collins. Maybe Cleveland should think about going back to calling themselves the Naps. Just a thought.

Connie Mack

Cornelius McGillicuddy began his career in baseball as a very mediocre catcher, who was known for his dirty tricks behind home plate. As one of the first catchers to play directly behind said plate and not at the backstop, he used his vantage point to fake foul tips (all caught foul tips were outs until 1891... because of dirty tricks by Mack), play mind games with batters and just generally interfere with batters’ swings. He was a real cocksucker back there.

Mack also served as player-manager of the Pittsburgh Pirates from 1894-1896. But when the new American League opened in 1901, he came on board as manager and co-owner of the Philadelphia Athletics. And it’s a post he didn’t relinquish for the next 50 years. 5-0. Not a typo. He’s the longest-serving manager in Major League history. The owner of almost every single record in managerial history. And it’s a longevity record for all of professional North American sports. No big deal, Connie. Those A’s won 9 pennants between 1902 and 1931 as well as 5 World Series titles.

Those A’s pennant teams included Hall of Famers, Eddie Plank and Eddie Collins (6 times), Chief Bender (5 times), Frank Baker (4 times), Mickey Cochrane, Jimmie Foxx, Lefty Grove and Al Simmons (3 times), Rube Waddell and Herb Pennock (twice), as well as Waite Hoyt, Elmer Flick and Nap Lajoie (one time). Mack also managed Ty Cobb, Jimmy Collins, Stan Coveleski, Nellie Fox, George Kell, Tris Speaker and Zack Wheat on the A’s. And he managed Jake Beckley in Pittsburgh.

There were also the down years following the 1931 pennant. The A’s didn’t field a winning team between 1933 and 1947. And they were often really bad. Mack was in his 80′s and known to slip mentally, mistakenly calling for players from decades earlier to pinch-hit. Or he would just sleep in the dugout during games while his coaches ran the show. Attendance got to be so bad in Philadelphia that the other American League owners (mainly the Yankees) forced Mack to sell the team and move the franchise to Kansas City because they lost money coming to town.

Managing the team you own is kind of a major conflict. And unlike most other owners, Mack had no income outside of baseball. While he was elected to the Hall of Fame in 1937, he’d yet to tarnish his legacy. But he would eventually overstay his welcome.

On the bright side, if you stick around the game of baseball until you're in your late eighties, you probably get to see a lot of history. Mack was on the receiving end of Christy Mathewson’s masterful performance in the 1905 World Series. He saw Frank Baker earn his “Home Run” nickname against Rube Marquard and Mathewson in consecutive games in the 1911 Series. He watched the 1914 Braves finalize their Miracle season. And within two years, he fielded one of the most legendarily awful teams in baseball history.

But Mack rebuilt the team and came back in epic fashion, much like the “Mack Attack” 1929 A’s, who humiliated the Cubs for another championship. Sleeping or not, Mack was a living legend in that A’s dugout. And hey, maybe he should have called on players from decades past. Because those later years fucking suuuuucked.

John McGraw

McGraw began his baseball career as a mouthy and quick-tempered infielder for the infamous Baltimore Orioles teams of the 1890’s that won pennants in 1894, ’95 and ’96 with Dan Brouthers, “Ee-Yah” Hughie Jennings, “Wee” Willie Keeler, Joe Kelley and Wilbert Robinson. There’s some debate as to just how dirty and villainous those teams were. But apparently McGraw liked to intimidate umpires and stand in the way of runners while they were in the base paths. Listed at 5’7” and 155 pounds, I don’t know how that could be possible. But for a brief window at the end of the 1890’s, McGraw might have also been the best player in the world.

I would have given McGraw the National League MVP honors in 1898 and 1899. And I would have given him 3rd in 1900. He had a .547 on-base percentage in 1899, which is 4th all-time for a single season after Barry Bonds in 2004 and 2002 and Ted Williams in 1941. His career OBP (.466) is third all-time after Williams and Babe Ruth. For real. McGraw led the league in WAR in 1899, he’s 10th in WAR for the 1890’s and over his own career (1891-1907) he’s 15th. He was pretty good. But John McGraw is not in the Hall of Fame as a player. He’s in as a manager.

Beginning in Baltimore, managing Jennings, Robinson and Kelley, as well as Joe McGinnity and Roger Bresnahan, McGraw eventually made his way to the New York Giants, which he managed from 1902-1932. His New York squads won 10 pennants and three World Series championships during his era. He managed an absurd amount of Hall of Famers, but that was also greatly exacerbated by Frankie Frisch and Bill Terry while they were on the Veterans Committee. That list includes High Pockets Kelly and Ross Youngs and Freddie Lindstrom, who probably don’t deserve to be in there. But hey, they were part of four consecutive pennants with Frisch and Terry between 1921 and 1924. The list of deserving Hall inductees also includes Bresnahan, Christy Mathewson, McGinnity, George Davis, Brouthers, Jim O’Rourke, Keeler, Edd Roush, Bill McKechnie, Waite Hoyt, Dave Bancroft, Casey Stengel, Travis Jackson, Hack Wilson, Billy Southworth, Mel Ott, Burleigh Grimes, Carl Hubbell and Ray Schalk. And Rube Marquard as another dubious selection.

McGraw has the second-most managerial wins of all-time, after Mack. And he was ejected 131 times in his career, which was a record that stood until 2007, when it was broken by Bobby Cox. Much like Mack, McGraw saw a lot of history over the years. Including the history he made by refusing to play in the 1904 World Series. But there was also the Mathewson performance in 1905 against Mack’s Athletics. Losing to Mack and Home Run Baker in 1911. Losing his third consecutive World Series (also to Mack) in 1913. And losing in even more dubious fashion (to the point that it might not have been on the level) in 1917. He had better luck against Babe Ruth’s Yankees in 1921 and 1922. But he lost his final two, to Ruth in ’23 and Walter Johnson in ’24. McGraw even returned to manage the first ever All-Star Game in 1933. He got out with his legacy in tact.

Tris Speaker

I feel like the Grey Eagle is largely forgotten today, which is pretty odd considering everything he did on the diamond. Playing at the same time, in the same league and at the same position as Ty Cobb doesn’t really help his cause. Either does having some of his best seasons during the ascendency of Babe Ruth. Or maybe its the assertion, true or not, that Speaker was a member of the Klan that makes people want to forget his racist asshole face. I dunno. It’s not like that accusation did much to diminish Cobb, who was already seen as a heel during his career, as well as after.

That said, Speaker was the best player on the Red Sox (and their Million Dollar Outfield) from 1909-1915. And he won two World Series with Boston in 1912 and 1915. Then he was the best player in Cleveland from 1916-1925, including their first World Series title in 1920 (the same year as the death of his teammate, Ray Chapman). And going off fWAR, where Speaker was a better fielder than Cobb (Speaker played extremely shallow and they nicknamed him ‘where triples go to die’), he actually would have been the best center fielder in baseball in 1909, 1912, 1913, 1916, 1920, 1922 and 1923. He won the American League MVP in 1912. I would have given it to him in 1912, 1914, 1916, 1922 and 1925 for a total of five. Again, that’s impressive in any era, but especially when Cobb and Ruth were in the same league at the same time. I also would have given Speaker top 10 finishes (and usually top 5 finishes) in 13 other seasons. He was fucking good.

Speaker may have only been second-best at his position while he played. But he’s still the #3 center fielder of all-time on JAWS. When he retired, he was also #3 all-time in career WAR. He was the 5th man in the 3,000 hit club. His 3,514 hits still ranks 5th all time. His .345 batting average ranks 6th all time. And he still has the all-time career record for doubles. He was so good that he and Ty Cobb basically got away with fixing games in 1926. Maybe.

As a manager, Speaker introduced the platoon system into Major League Baseball. And he was a staunch supporter of Larry Doby when he broke the American League color barrier in 1947. So either Speaker chilled out about race, or the Klan shit is overblown. I hope it’s the latter. Because, second Hall of Fame class or not, Tris Speaker is criminally underrated.

George Wright

They say Wright was the best player on baseball’s first professional team, the Cincinnati Red Stockings. That Cincinnati team went undefeated in 1869, with Wright hitting .633 with 49 home runs in 57 games. Next, Wright moved on to the Boston Red Stockings, who won National Association pennants every year from 1872-1875 and were so goddamned good that it essentially caused the league to disband. Wright was the second-best position player on those Red Stockings, which made him the second-best player in the league. Wright was also the first batter in National League history. He managed the Providence Grays in 1879 and won the pennant his only year as a manager. Wright also served on the commission that falsely named Cooperstown as the birthplace of baseball. And he’d go on to design America’s first public golf course in 1890. Unless that’s made up too.

Cy Young

Yeah, you’ve heard of him. Cy Young began his career in 1890, when the pitching rules were so different from today’s game that they would anger you. He didn’t even wear a glove until his 6th season. But over his 22-year career, Cy Young became a one-man bridge from the old timey 19th Century style of base ball into the era of modern baseball. The confusion over which era Young belonged to was probably the sole reason he wasn’t in the first class of Hall of Famers in 1936. And over that 22-year career he set basically ever pitching record that would ever be broken, along with some that won’t be touched in a billion years.

Denton True Young got the name “Cy” because his fastball tore enough boards off of backstops that it looked like a cyclone had hit them. Or so the story goes. But he, Amos Rusie and Jouett Meekin get credited as the reason the pitching distance (the box, as they called it) was moved back ten feet to give hitters a fighting chance. Most star pitchers of the 50-feet days couldn’t cut it after the rule change. Cy Young could. But his catcher did have to start wearing a piece of raw steak under his glove to handle the heat.

I would have given Young his namesake award in 1892, 1893, 1895, 1896, 1899, 1901, 1903 and 1905. That’s eight times. And I would have had him in the top 5 eight other times. Young threw three no-hitters, including the first perfect game under modern rules. The third no-hitter was in his age 41 season. He won a Triple Crown in 1901. He once went 25.1 innings without giving up a hit and 45 innings without giving up a run. He threw the first pitch in a modern World Series in 1903. And his rivalry with Rube Waddell is great. But let’s be honest, Cy Young won the war. He also won 511 games. And Major League Baseball honored his legacy with the award given to the year’s best pitcher the year after his death.

Should Have Chosen:

In 1936, 5 men were voted in. They were Ty Cobb, Walter Johnson, Christy Mathewson, Babe Ruth and Honus Wagner. You could argue that Tris Speaker and Cy Young should have gone in on the first try. In every scenario (fWAR and JAWS) Ruth, Cobb, Speaker and Young are in the top 5. But all men are worthy, so it’s fairly moot.

Now, if the Veteran’s Committee had done its job and selected 5 19th Century players, they should have been Cap Anson, Roger Connor, Dan Brouthers, Tim Keefe and John Clarkson.

In 1937, three players (Lajoie, Speaker and Young) went in. Young and Speaker are certainly correct. And Rogers Hornsby had just retired, so I think it should have been Eddie Collins over Lajoie

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jayfingers · 6 years

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As mentioned in my previous post, I’m going to take you through a quick(ish) recap of my recent trip to Los Angeles, where the sun always shines, the people are friendly (and always seemingly high), the fast food is plentiful and cheap, and the overall quality of life just seems to be that much fuckin’ better.

Ready for the next set of adventures? OK, leggo …

Day 3

Today was just a day to futz around and see the city, namely parts of it that I hadn’t before explored. But first things first — breffus!

Mane, look, this was good as hell!

I made my way to Jack in the Box, except not the one I usually frequent at Sunset and Cahuenga, which, oddly, has the distinction of being the worst restaurant in the world. (I humbly disagree.)

After taking a morning walk around Hollywood, I ended up at a JITB somewhere on Highland Avenue. It was there that I had to ridiculously inexpensive breakfast you see posted above.

Now, you’ll note, I love me some fast food. It is what it is. But what I marveled at during my time in Los Angeles is just how much cheaper fast food is out there. An entire meal at In-N-Out might cost me $7; the breffus pictured above, $5. Shit in NYC is so overpriced it’s offensive. This is but one example of why I don’t buy into the whole “L.A. is just as expensive as New York” nonsense.

But, I digress.

After breakfast, I made my way down to Wilshire and over to the La Brea Tar Pits.

Yeah, yeah, I already know. The Tar Pits are the pits — literally. But I’ve been intrigued by them since I was a kid, and I finally had the opportunity to visit. It’s actually quite fascinating.

For starters, tar and methane continue to seep up to the surface to this day. I could see it all bubbling up in one of the pits. Pretty freaky — and cool.

There are places on the grounds where tar emerges and so the staff has put out cones warning people to “look out” for “sticky” areas. I found that most visitors like to poke sticks into the tar, proving that we are all still children, no matter our actual age.

I also bugged out at the fact that, to this day, small animals and bugs still get trapped in some of the tar pits. Crazy, son.

After touring the La Brea Tar Pits, I went next door to LACMA — you know, the Los Angeles County of Museum of Art. While there, I walked around its outdoor sculpture garden, where I saw, among other works, the iconic Urban Light installation. It’s pretty damned cool, if you ask me.

All of the lights.

After checking out the art, I went around the corner, where Johnie’s Coffee Shop sits.

Declared a historical landmark by the Los Angeles City Council back in 2013, Johnie’s Coffee Shop is another example of the Googie-style architecture that once dominated Los Angeles. It’s appeared in numerous films, including Reservoir Dogs, The Big Lebowski, Miracle Mile, and Gone in 60 Seconds (the Nicolas Cage one, not the good one).

Interestingly enough, it became a hub for Bernie Sanders supporters during the 2016 election, and much of the political artwork and messaging remains, as you can see above.

There were a few other notable places I passed and saw on my journey back to Hollywood. The SAG-AFTRA headquarters were right there near the Tar Pits; the Petersen Automotive Museum was across the street from Johnie’s; although I didn’t get to go during this trip, I passed by the classic Canter’s Deli on Fairfax; and I also saw the Groundlings improv and sketch comedy school, retro burger house the Oinkster, and, of course, Winchell’s donut house.

And then it was on to Big Wangs, mane. They had little Buffalo bites, like four for $2, son. I had to get down on some. And while I was there, I worked on a screenplay and treatment, because even on vacation I gots to get some work in, ju heard!

After dark (and a quick beer-induced nap), I made my way back over to the Chinese Theatre so that I could get a good look at some of the celebrity handprints in its forecourt. I spotted classic and contemporary stars such as Sidney Poitier, Sophia Loren, Jane Fonda, George Clooney, and Michael Jackson.

Feeling a wee tinge of hunger, I also revisited Dave & Buster’s, where they had specials galore, including $4 beers and $5 nachos. So that was dinner. Tee-hee.

Day 4

I woke up a bit later than I had planned, so I decided to get something quick and easy for breffus …

In-N-Out for breffus

In-N-Out, mane!

Oh my God, I so love the Double-Double. So delicious, so sublime.

Once my belly was stuffed, I moseyed on over to the tourist trap of all tourist traps, Madame Tussauds. Now I know what you’re thinking: “How corny!”

Yeah, I actually thought the same thing. But then I went through the exhibit …

This dude greets you as you walk into the exhibit

Elton John

Simon Cowell

Rihanna … HI RIHANNA!

Angelina Jolie

Zoe Saldana

Jennifer Lopez

Jamie Foxx

Taylor Swift

Ryan Reynolds

Demi Lovato

Snoop Dogg

Kylie Jenner

These are just a few of the wax figures at Madame Tussauds Hollywood. Just a few.

Will Smith

Betty White

Julia Roberts

Joan Rivers

Bette Davis

Marlene Dietrich

Ingrid Bergman

Vivien Leigh

Charlton Heston

Marilyn Monroe

Alfred Hitchcock

Audrey Hepburn

Elizabeth Taylor

Raquel Welch

Robert Redford & Paul Newman

Clint Eastwood

Marlon Brando

Anthony Hopkins

Robert De Niro

John Travolta

Dustin Hoffman

Tom Hanks

Sylvester Stallone

Patrick Stewart & William Shatner

Johnny Depp

Jim Carrey

Steven Spielberg

Uma Thurman & Quentin Tarantino

Uma Thurman

Quentin Tarantin

Martin Scorsese

Cameron Diaz

Leonardo DiCaprio

Robin Williams

E.T.

Arnold Schwarzenegger

Daniel Craig

Jennifer Lawrence

Sarah Michelle Gellar

Bruce Willis

Bruce Lee

Master Chief

Spider-Man

Jackie Chan

Barack Obama

Selena

Madame Tussaud

Beyoncé

The Queen Bey up close

S.H.I.E.L.D.

Chris Hemsworth

Robert Downey Jr.

Hugh Jackman

Chris Evans

Iron Man

Bruh. Madame Tussauds takes you on a 45-minute journey through Hollywood, showcasing stars from the 1930s up to the present day. As you can see above, they had wax figures of everyone from Audrey Hepburn to Rihanna, from Alfred Hitchcock to Quentin Tarantino, from Bette Davis to Kylie Jenner.

The Marvel room was the very end of the exhibit, and I was wearing a Marvel T-shirt. One of the employees was like, “Man, you’re gonna love the next room.”

Seriously, I had so much fun, it’s ridiculous.

Hanging out in NoHo … that’s North Hollywood, not North of Houston.

After the tour at Madame Tussauds, I hopped on the Metro and journeyed out to North Hollywood.

Ah, yes. North Hollywood. The Valley. I kinda dug it. It’s a bit quieter than Hollywood proper or Downtown L.A., with its arty sensibility and retro-chic aesthetic. I imagine it would be a cool place to live.

Beer goblet, as per usual

Jay drinketh

Taps

Glassware

Happy Hour menu

LOL

Mjölnir key chain!

Im here so much Im the mayor!

I loitered around North Hollywood for a bit, and then it was time to head to — where else? — Big Wangs! More beer, more bites, more music, more fun.

Also, did I really snatch the Big Wangs mayorship on Foursquare Swarm? Bruh, I’m from out of town! LOL.

Seeing Thor: Ragnarok again!

And because it was a relatively chill day, I decided to end the night with a movie. So of course I saw Thor: Ragnarok a second time!

This time I saw it at Regal’s L.A. Live 14. On Tuesdays, they screen first-run movies for just $8. That’s a bargain!

And, yes, I enjoyed Ragnarok just as much as I did the first time. Hell, it’s so good, it may be the first film I see three times this year.

If only this were true …

And on the way back to the hotel, I saw this … on a street named Hope.

One day … maybe … one day …

OK, song time until next time! Here’s “MotorSport” by Migos featuring Nicki Minaj and Cardi B.

📸 | My Trip to Los Angeles, Days 3 & 4 As mentioned in my previous post, I'm going to take you through a quick(ish) recap of my recent trip to…

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