#Dan Cornell

[nofatclips]

Searching With My Good Eye Closed (Soundgarden cover) by Transylvania Stud featuring The By Gods

[myvinylplaylist]

Alice Cooper: The Last Temptation (1994)

2018 Music On Vinyl Reissue

Epic Records

[slashingdisneypasta]

Currently I'm combing the background of The Mist screencaps for side characters I like.

[paddyfitz]

“sometimes, when you’re young

you do things that you shouldn’t...

and then you maybe have to pay for these things

maybe all your life.”

Jean Wallace as Liz in ‘Storm Fear’ (1954)

[downthetubes]

Comics guest list grows again at London Film and Comic Con

There’s a growing list of terrific comic creators heading to London Film and Comic Con

[notpango]

Top 3 Singers (My Opinion)

Freddie Mercury. Pretty Obvious, but great vocals that are displayed in both Don't Stop Me Now and even more in Bohemian Rhapsody. He also showed A great display of being able to do multiple styles, from fast paced to slow and long, high and low. No one in my opinion is better than him and never will be. Listen to any of Queen's songs and you'll hear what I'm talking about.

Chris Cornell. Singer for Soundgarden and then Audioslave and doing some covers like Patience and others, he has got a rich and such a strong voice that if I listen to any of his and his bands songs, I'm gonna be singing along, and having a great time doing it. My dad showed me "Like A Stone" and when I hear it, it reminds me of him.

Dan Reynolds. Singer and Vocalist for Imagine Dragons (one of, if not my favourite bands), fricking strong voice, but can be gentle at the same time. He can contrast, from the chorus of "Warriors" to the verses of "Demons". Also he is the only one in my top three that isnt dead.

[twittercomfrnklin2001-blog]

Black Angel

One of the crown princes of film noir, Dan Duryea, gets an acting showcase in Roy William Neill’s BLACK ANGEL (1946, TCM, YouTube). As an alcoholic pianist and composer who keeps falling for the wrong woman, he has a rare sympathetic role. He gets some terrific drunk scenes, but also has some beautifully delicate moments as he falls for leading lady June Vincent.

Vincent’s husband is spotted leaving the apartment of Duryea’s estranged wife, singer Constance Dowling, and convicted of her murder because she was blackmailing him. The reason for the blackmail is never stated, though it’s implied (this is under the Production Code, after all) that they had had a fling. With the police (headed by homicide chief Broderick Crawford) convinced he did it, Vincent takes it upon herself to find the real culprit. She enlists Duryea’s help, so they get jobs performing at Peter Lorre’s nightclub, because Duryea had seen him going into his late wife’s building before the murder. It’s all highly improbable but also highly entertaining.

The film represents a fascinating combination of good work and some of Hollywood’s worst conventions. Neill and cameraman Paul Ivano create rich, expressive visuals with a strong emphasis on the way décor reflects character, from Vincent’s homey suburban house to Dowling’s over-decorated apartment and Lorre’s sleek, modernistic nightclub. The script — based on a Cornell Woolrich novel loosely adapted by Roy Chanslor, who later wrote the novels “Johnny Guitar” and “Cat Ballou” — is rife with details that reflect or comment on character and in some cases point to the twist ending. If you listen closely and possess a degree of cultural literacy, he actually cues you in to whodunnit. And the performances are all top-notch, which makes it sad that strong actors like Vincent and Dowling didn’t have more prominent careers.

But then Hollywood throws in some absurd touches by modern standards. Dowling sings with her own voice, but Vincent is dubbed with a rich contralto that’s no match for her higher-pitched speaking voice. And though you can see there’s only a small jazz ensemble behind her at the club, the accompaniment is positively symphonic. Given the Production Code’s attitude toward divorce and the 1940s construction of woman, Vincent can’t entertain the idea of dumping her unfaithful husband once she’s saved him, even with the more attractive and supportive Duryea waiting in the wings. Couldn’t they have at least cast a younger and better-looking actor as the husband to provide some visual reason for her dogged devotion? Her devotion is just a given, though the husband is so poorly defined and the blackmail so pointless (since Vincent won’t leave him even after finding out he cheated), he’s almost a McGuffin. The one thing that slipped under the censors’ noses was Lorre’s characterization as the club owner. Although he’s revealed to have had a secret daughter, who apparently doesn’t know he exists, and seems to be enamored of Vincent (but then, SPOILERS), he's also rather close to the club’s bouncer (former boxer Freddie Steele), who consistently lights his cigarettes for him. Makes you wonder.

[comicbookclub]

Top 11 Image Comics For February 2024

From the Energon Universe to Ice Cream Man and more, here are the hottest #ImageComics of February 2024.

Unlike DC and Marvel, who are taking it easy this month (not really), Image Comics is packing a ton of great titles into the shorter month of February 2024. Yes, there’s an extra leap day, but the only thing Image is doing is leaping past the competition. Okay, I’m done. Let’s break down some of the most hotly anticipated Image comics of the month. 1. The Cull #5 Release Date: February 7,…

[comicbookclublive]

Top 11 Image Comics For February 2024

From the Energon Universe to Ice Cream Man and more, here are the hottest #ImageComics of February 2024.

Unlike DC and Marvel, who are taking it easy this month (not really), Image Comics is packing a ton of great titles into the shorter month of February 2024. Yes, there’s an extra leap day, but the only thing Image is doing is leaping past the competition. Okay, I’m done. Let’s break down some of the most hotly anticipated Image comics of the month. 1. The Cull #5 Release Date: February 7,…

[perfettamentechic]

16 ottobre … ricordiamo …

16 ottobre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2021: Betty Lynn, Elizabeth Ann Theresa Lynn, attrice statunitense. Ha interpretato Thelma Lou, la fidanzata del vice Barney Fife, in The Andy Griffith Show. Durante gli anni Quaranta e Cinquanta, è apparsa in molti film. Nel 2006, Lynn si ritirò dalla recitazione. Lynn non si è mai sposata. (n.1926) 2021: Giampiero Giarri, ballerino italiano.  (n. 1989)            Antonio Caggianelli, ballerino…

[ablackbrick]

A box provokes reflections upon Joseph Cornell...

Dan Levenson (’09) SKZ Form and Color Studies Praz-Delavallade 5 rue des Haudriettes, 75003 Paris, France 27 January - 24 February, 2018

[princesssarisa]

Opera on YouTube, Part 2

Le Nozze di Figaro (The Marriage of Figaro)

Glyndebourne Festival Opera, 1973 (Knut Skram, Ileana Cotrubas, Kiri Te Kanawa, Benjamin Luxon; conducted by John Pritchard; English subtitles)

Jean-Pierre Ponnelle studio film, 1976 (Hermann Prey, Mirella Freni, Kiri Te Kanawa, Dietrich Fischer-Dieskau; conducted by Karl Böhm; English subtitles) – Acts I and II, Acts III and IV

Tokyo National Theatre, 1980 (Hermann Prey, Lucia Popp, Gundula Janowitz, Bernd Weikl; conducted by Karl Böhm; Japanese subtitles)

Théâtre du Châtelet, 1993 (Bryn Terfel, Alison Hagley, Hillevi Martinpelto, Rodney Gilfry; conducted by John Eliot Gardiner; Italian subtitles)

Glyndebourne Festival Opera, 1994 (Gerald Finley, Alison Hagley, Renée Fleming, Andreas Schmidt; conducted by Bernard Haitink; English subtitles)

Zürich Opera House, 1996 (Carlos Chaussón, Isabel Rey, Eva Mei, Rodney Gilfry; conducted by Nikolaus Harnoncourt; English subtitles)

Berlin State Opera, 2005 (Lauri Vasar, Anna Prohaska, Dorothea Röschmann, Ildebrando d'Arcangelo; conducted by Gustavo Dudamel; French subtitles)

Salzburg Festival, 2006 (Ildebrando d'Arcangelo, Anna Netrebko, Dorothea Röschmann, Bo Skovhus; conducted by Nikolas Harnoncourt; English subtitles) – Acts I and II, Acts III and IV

Teatro all Scala, 2006 (Ildebrando d'Arcangelo, Diana Damrau, Marcella Orasatti Talamanca, Pietro Spagnoli; conducted by Gérard Korsten; English and Italian subtitles)

Salzburg Festival, 2015 (Adam Plachetka, Martina Janková, Anett Fritsch, Luca Pisaroni; conducted by Dan Ettinger; no subtitles)

Tosca

Carmine Gallone studio film, 1956 (Franca Duval dubbed by Maria Caniglia, Franco Corelli, Afro Poli dubbed by Giangiacomo Guelfi; conducted by Oliviero de Fabritiis; no subtitles)

Gianfranco de Bosio film, 1976 (Raina Kabaivanska, Plácido Domingo, Sherrill Milnes; conducted by Bruno Bartoletti; English subtitles)

Metropolitan Opera, 1978 (Shirley Verrett, Luciano Pavarotti, Cornell MacNeil; conducted by James Conlon; no subtitles)

Arena di Verona, 1984 (Eva Marton, Jaume Aragall, Ingvar Wixell; conducted by Daniel Oren; no subtitles)

Teatro Real de Madrid, 2004 (Daniela Dessí, Fabio Armiliato, Ruggero Raimondi; conducted by Maurizio Benini; English subtitles)

Royal Opera House, Covent Garden, 2011 (Angela Gheorghiu, Jonas Kaufmann, Bryn Terfel; conducted by Antonio Pappano; English subtitles)

Finnish National Opera, 2018 (Ausrinė Stundytė, Andrea Carè, Tuomas Pursio; conducted by Patrick Fournillier; English subtitles)

Teatro alla Scala 2019 (Anna Netrebko, Francesco Meli, Luca Salsi; conducted by Riccardo Chailly; Hungarian subtitles)

Vienna State Opera, 2019 (Sondra Radvanovsky, Piotr Beczala, Thomas Hampson; conducted by Marco Armiliato; English subtitles)

Ópera de las Palmas, 2024 (Erika Grimaldi, Piotr Beczala, George Gagnidze; conducted by Ramón Tebar; no subtitles)

Don Giovanni

Salzburg Festival, 1954 (Cesare Siepi, Otto Edelmann, Elisabeth Grümmer, Lisa della Casa; conducted by Wilhelm Furtwängler; English subtitles)

Giacomo Vaccari studio film, 1960 (Mario Petri, Sesto Bruscantini, Teresa Stich-Randall, Leyla Gencer; conducted by Francesco Molinari-Pradelli; no subtitles)

Salzburg Festival, 1987 (Samuel Ramey, Ferruccio Furlanetto, Anna Tomowa-Sintow, Julia Varady; conducted by Herbert von Karajan; no subtitles)

Teatro alla Scala, 1987 (Thomas Allen, Claudio Desderi, Edita Gruberova, Ann Murray; conducted by Riccardo Muti; English subtitles)

Peter Sellars studio film, 1990 (Eugene Perry, Herbert Perry, Dominique Labelle, Lorraine Hunt Lieberson; conducted by Craig Smith; English subtitles)

Teatro Comunale di Ferrara, 1997 (Simon Keenlyside, Bryn Terfel, Carmela Remigio, Anna Caterina Antonacci; conducted by Claudio Abbado; no subtitles) – Act I, Act II

Zürich Opera, 2000 (Rodney Gilfry, László Polgár, Isabel Rey, Cecilia Bartoli; conducted by Nikolaus Harnoncourt; English subtitles)

Festival Aix-en-Provence, 2002 (Peter Mattei, Gilles Cachemaille, Alexandra Deshorties, Mirielle Delunsch; conducted by Daniel Harding; no subtitles)

Teatro Real de Madrid, 2006 (Carlos Álvarez, Lorenzo Regazzo, Maria Bayo, Sonia Ganassi; conducted by Victor Pablo Pérez; English subtitles)

Festival Aix-en-Provence, 2017 (Philippe Sly, Nahuel de Pierro, Eleonora Burratto, Isabel Leonard; conducted by Jérémie Rohrer; English subtitles)

Madama Butterfly

Mario Lanfranchi studio film, 1956 (Anna Moffo, Renato Cioni; conducted by Oliviero de Fabritiis; no subtitles)

Jean-Pierre Ponnelle studio film, 1974 (Mirella Freni, Plácido Domingo; conducted by Herbert von Karajan; English subtitles)

New York City Opera, 1982 (Judith Haddon, Jerry Hadley; conducted by Christopher Keene; English subtitles)

Frédéric Mitterand film, 1995 (Ying Huang, Richard Troxell; conducted by James Conlon; English subtitles)

Arena di Verona, 2004 (Fiorenza Cedolins, Marcello Giordani; conducted by Daniel Oren; Spanish subtitles)

Sferisterio Opera Festival, 2009 (Raffaela Angeletti, Massimiliano Pisapia; conducted by Daniele Callegari; no subtitles)

Vienna State Opera, 2017 (Maria José Siri, Murat Karahan; conducted by Jonathan Darlington; no subtitles)

Wichita Grand Opera, 2017 (Yunnie Park, Kirk Dougherty; conducted by Martin Mazik; English subtitles)

Teatro San Carlo, 2019 (Evgenia Muraveva, Saimir Pirgu; conducted by Gabriele Ferro; no subtitles)

Rennes Opera House, 2022 (Karah Son, Angelo Villari; conducted by Rudolf Piehlmayer; French subtitles)

[myvinylplaylist]

Alice Cooper: The Last Temptation (1994)

The Last Temptations story was given in a three-part comic book written by Neil Gaiman, the first part of which accompanied the recording. In the comic, the showman was depicted as Cooper himself. Pages from the comic are seen in the Lost in America music video, while it is being read by Steven.

It was originally published by Marvel Comics and later reprinted by Dark Horse Comics, collected as trade paperback.

Epic Records

[crooked-wasteland]

Have you seen Calxiyn Cares Too Much's videos (on YouTube) on Hazbin Hotel's songs & why a lot of them don't work the best?

It's been a bit since I've watched them, but she's apparently got some theatre credits to her name & has made super in depth break downs (sometimes literally syllable by syllable) on why several of the Hazbin songs are clunky & whatnot. If you can't quite put your finger on why a certain part of a song felt off, her videos might help if needed!

I look forward to reading your next break downs on Hazbin/Helluva things, it's always a pleasure to see your posts on my dashboard!

I appreciate you Anon, as I have never heard of this creator before. I have been listening to musical theory through creators like Sideways, Astor Rhymemaster, Jonah Who Two, Charles Cornell, and Maxwell Greene. I also try to intertwine their knowledge of music and musicals into the broader circuit of multi-media technicalities conveyed through creators like Lindsey Ellis and Dan Olsen.

I will definitely look into Calxiyn's videos and I will be referencing most if not all of these creators throughout the essay as well. As I said, I do not have the ethos of being a professional in this field, but I am fascinated by concepts like music theory and perhaps my essay can contribute to a sharing of knowledge and draw attention to the actual professionals who have taught me.

I am always open to recommendations. Please never shy from reaching out.

[vintage-every-day]

𝑩𝒍𝒂𝒄𝒌 𝑨𝒏𝒈𝒆𝒍 is a 1946 American film noir starring Dan Duryea, June Vincent and Peter Lorre. Directed by Roy William Neill, it was his final feature film. Produced by Universal Pictures, it is set in Los Angeles and broadly adapted from Cornell Woolrich's 1943 novel 𝑻𝒉𝒆 𝑩𝒍𝒂𝒄𝒌 𝑨𝒏𝒈𝒆𝒍.

(Wiki)

[aurevoirmonty]

Énorme : Le GNL (gaz naturel liquéfié) émet plus de gaz à effet de serre que le charbon 😂

Quand est-ce qu'on arrête cette comédie ?

De nouvelles recherches parviennent à la conclusion que le gaz naturel liquéfié laisse une empreinte de gaz à effet de serre de 33 % supérieure à celle du charbon, lorsque la transformation et le transport maritime sont pris en compte…

Pour en arriver à ces résultats, Robert W. Howarth, professeur à l'Université Cornell, s’est intéressé à l’ensemble du cycle de vie du GNL américain destinée à l’exportation.

▶️ C’est en prenant en compte les émissions de gaz à effet de serre à chaque étape de production (extraction, liquéfaction, transport, stockage) que l’empreinte carbone du gaz naturel devient pire que celle du charbon, selon l’étude qui a été révisée par des pairs. Et cela n’est pas sans conséquences…

Les estimations antérieures du gouvernement et de l'industrie ont supposé que le GNL est considérablement plus faible que le charbon, offrant la promesse qu'il pourrait le remplacer dans des pays comme la Chine, ainsi qu'à l'aide d'alliés européens menacés par l'invasion de l'Ukraine.

▶️ La recherche conclue que jusqu'à 3,5 % du gaz livré aux clients fuit dans l'atmosphère, beaucoup plus que ce que l'on supposait auparavant. En tant que gaz à effet de serre, le méthane est plus de 80 fois plus puissant que le dioxyde de carbone lorsqu'il est considéré sur une période de 20 ans.

▶️ Les émissions de méthane en amont et intermédiaire sont les principales sources d'émission du GNL. Les émissions totales en amont et à mi-parcours représentent en moyenne 47 % de l'empreinte totale de gaz à effet de serre du GNL. D'autres émissions importantes sont le processus de liquéfaction (8,8 % du total en moyenne) et le transport des camions-citernes (5,5 % du total). Les émissions des navires-citernes varient de 3 % à 8 % selon le type de pétrolier.

▶️ « Presque toutes les émissions de méthane se produisent en amont lorsque vous extrayez le gaz de schiste et que vous le liquéfiez », a déclaré Howarth. « Tout cela est amplifié pour mettre le gaz naturel liquéfié sur le marché. Même considéré dans les délais de 100 ans après les émissions qui sous-estiment gravement les dommages climatiques du méthane, l'empreinte de GNL est égale ou supérieure à celle du charbon. (…) Le GNL aura donc toujours une + grande empreinte climatique que le gaz naturel, quelles que soient les hypothèses d’être une énergie de transition »

Le document a généré une tempête politique depuis sa première publication à l'avant-projet l'année dernière, car il remet en question un principe central de l'expansion rapide de l'industrie mondiale du GNL. Le projet initial a joué un rôle critique en persuadant l'administration de Biden pour suspendre l'approbation des nouveaux terminaux d'exportation de GNL en janvier 2024.

La polémique est loin de s'arrêter, des contres études ont été dilligentées. Les conséquences de ces révélations sont littéralement vertigineuses. Sur tous les plans et où que l'on se place…

https://doi.org/10.1002/ese3.1934

ft.com/content/ae59729d-48f8-4b10-be3d-a41f7d13295b

theguardian.com/us-news/2024/oct/04/exported-liquefied-natural-gas-coal-study