#JOE MARTINO

[fullaccessdetroit]

SCAREFIELD Unleashes "Ancient Evil" - A Thrash Metal Epic with a Lovecraftian Twist!

New EP, NIGHTMARE TALES, Out NOW! SCAREFIELD, the electrifying, horror infused force in the world of thrash metal, SIMONE MANULI and MARKUS KRISTOFFERSSON, is set to shake the foundations of the music scene with their latest single and accompanying animated music video, “Ancient Evil.” This track is part of their highly anticipated EP, NIGHTMARE TALES, an H.P. Lovecraft inspired masterpiece that…

[suspiria76]

THE ANTICHRIST

Italy

1974

Directed by Alberto De Martino

[camyfilms]

THE GODFATHER PART III 1990

When they come... they come at what you love.

[radical-revolution]

"Truth emerges from a centred place of acceptance.

Whether in ourselves or in society, truth emerges from radical transparency and acceptance of what is.

In my view, it's also worth considering how we judge a truth... does our reactivity and judgement ever make truth more difficult to come out?"

— Joe Martino

[insanityclause]

Osaka Comic Con 2024 - Day 3

OSAKA, JAPAN - MAY 05: Norman Reedus, Thomas F. Wilson, Peter Weller, Christopher LIoyd, Joe Franigan, Sophia Di Martino, Tom Hiddleston, Daniel Logan, C.B. Cebulski, Mads Mikkelsen, Temuera Morrison and Jason Momoa attend the closing photocall during Osaka Comic Con 2024 at Intex Osaka on May 05, 2024 in Osaka, Japan. (Photos by Jun Sato/WireImage)

[lokiondisneyplus]

For 30 years, Dan Deleeuw has worked in visual effects, from “The Mask” to “Armageddon” to “Night at the Museum” — but he always had a dream that one day, he might get to direct. That opportunity finally arrived in 2019, when “Avengers: Endgame” directors Joe and Anthony Russo — who’d worked with Deleeuw on VFX for their three previous Marvel Studios productions — hired him to shoot some additional photography for the behemoth production. That gig led to second unit directing jobs on 2021’s “Eternals” and 2023’s “Ant-Man and the Wasp: Quantumania,” and then, finally, to the main directors chair for the second episode of Season 2 of “Loki.”

Deleeuw, who oversaw visual effects on Season 1 of the show, presumed that he was hired because of his proficiency handling the action beats of the episode, in which Loki (Tom Hiddleston) and his TVA compatriot Mobius (Owen Wilson) pursue a rogue TVA trooper (Rafael Casal) to 1970s London, and then later reunite with Loki’s variant Sylvie (Sophia Di Martino) at a McDonald’s in 1980s Oklahoma. But Deleeuw says that executive producer Kevin Wright told him he was hired as a director because, even when working on visual effects, he “always talks about story.”

Deleeuw also discussed how both he and Ke Huy Quan — who joined the show for Season 2 — were surprised by how Hiddleston approached rehearsing the show, why the production decided to have Sylvie working at McDonald’s — and his reaction to the recent decision by Marvel’s VFX artists to unionize.

Since Sylvie is living in a branched timeline, did you ever discuss having an alternative version of McDonald’s, rather than the actual McDonald’s?

We started saying, OK, she’s gonna settle down on a timeline, what restaurant do we use? At that point, there was a pitch for RoxBurger — you know, the evil corporation in the Marvel Universe, Roxxon. But it didn’t tell a story other than it was like this faux-restaurant. And so McDonald’s came up as a suggestion. And McDonald’s is timeless, in a way — it crosses countries and borders. Everyone started talking about this nostalgic moment they had with McDonald’s. So quickly getting the audience cued into what Sylvie’s feeling — being on the run so long and seeing normal people, and just wanting to have that and leave everything else behind — we’re using McDonald’s to set the audience in a place where they can pick up on that pretty quickly. That’s what kind of sealed the deal on using McDonald’s.

Rafael Casal in Episode 2 of “Loki.” Courtesy of Marvel Studios

What was one of the biggest surprises about the experience of directing this episode?

Something I’ll always try to do on any other show that I direct: It was the openness to collaboration that Kevin Wright had, particularly encouraged by Tom Hiddleston and his experience in the theater. As the scripts were getting closer to being done, we would invite all the directors to come in for their different episodes. All the actors would come in. The writers are there. And we had a week-and-a-half, two weeks where we went through every single script, and just rehearsed them and played with them and made them better. It was just this wonderfully creative moment on the show. Once we got shooting, we had a really good idea of what we wanted to do. Ke [Huy Quan] sat next to me. He saw it all happening, Owen and Tom playing with lines. He leaned over and he’s like, “Is this normal?” I’m like, “It’s normal for them!”

You’ve been working with Marvel for over 10 years now, largely in visual effects. Did you always have an ambition to direct as well?

Yeah. In high school, in college, we did small films — public access, back when there was public access. It was something I always wanted to do. Even from the visual effects standpoint — designing the sequences and doing animatics — telling the story was something I gravitated to. When I got to work with the Russos, they definitely were encouraging of that and gave me the opportunity to shoot additional photography on “Endgame” that led to me doing second unit directing. I just always approach something from a story standpoint. So Kevin Wright saw that I had that kind of brain, and invited me back for Season 2 to direct.

How did he pitch that to you?

Being at Marvel for 10 years, there’s a little bit of a rumor mill going around. So I knew that they had hired Justin and Aaron, and then heard that Kasra [Farahani], the production designer, had gotten an episode. I was like, “Ah, there’s one left!” And then Kevin called me one day and he’s like, “Yeah, so, how’d you like to direct a ‘Loki.'” “Yes!” It was as simple as that.

Last year, several VFX artists who’ve worked on Marvel projects expressed pretty deep frustration with their working conditions, which contributed to the recent decision to vote to unionize. What has your experience been with those issues?

I support everything they’re doing. I’ve been in it for a long time. The number of hours in visual effects have been ingrained in the system for years. From the very beginning, we always had that crunch time. We take a couple months off, and we come back to it again. What you’re seeing now is, the shows are so much bigger, and you’ve got so many shows. A lot of the artists on set, and especially in the visual effects houses, are going from one big show to the next big show to the next big show. 

There has to be something that makes a better work-life balance, for the artists’ sanity and for their families and just their creativity. Otherwise, you’re getting diminishing returns. It’s your crew. You have to take care of them. That is something I think we have to think about and work out.

How did your experience in visual effects have influenced your approach to directing this episode, especially with regard to the VFX?

I can tell a story with something that isn’t there. In the original draft, there was a car chase. It didn’t make a lot of sense why Loki would be in a car chase. We decided we wanted to go a little bit more towards the dark Loki side and move away from a traditional chase. I was imagining one day, “What could Loki do?” and came up with the shadow gags with the horns and things like that. 

Was anything you did that a director who hadn’t worked in visual effects might not know to do?

You already know what it costs in terms of time and difficulty, and when you’re trying to get through your day, what you’re going do to [VFX artists] if you try to shoot without getting the blue screen just right Because I know the consequences, I’ll fight harder for getting it right, so the artists don’t have to deal with it. Getting into post-production, you know how much you can use an effect to help with storytelling, in terms of if you need to change the set a little bit, just to make it make sense for where Loki is. There’s an editor we have at Marvel, Jeff Ford, who’s cut a lot of the films. Jeff is a master. He doesn’t change his cut to fit the footage, he changes the footage to match his cut. I think that’s an insightful way of knowing how to use  some visual effects in post, without getting get too carried away with it. 

[stenka-razin]

in 2023 I watched some movies

I was gonna catch up on all those best picture nominees from the last 5 years, but watched crap like Caligula 2 instead

The 1989 World Tour - Live (2015, dir. Jonas Åkerlund) Glass Onion: A Knives Out Mystery (2022, dir. Rian Johnson) Flight 666 (2008, dir. Scot McFayden and Sam Dunn) Dracula (1931, dir. Todd Browning) Moonraker (1979, dir. Lewis Gilbert) The Pez Outlaw (2022, dir. Bryan Storkel and Amy Bandlien Storkel) Encino Man (1992, dir. Les Mayfield) Star Trek: Insurrection (1998, dir. Jonathan Frakes) Once Upon a Time in… Hollywood (2019, dir. Quentin Tarantino) Cleopatra (1963, dir. Joseph L. Mankiewicz) The Alligator People (1959, dir. Roy Del Ruth) The Silence of the Lambs (1991, dir. Thomas Demme) Godzilla vs. Megalon (“ゴジラ対メガロ” 1973, dir. Jun Fukuda) Invasion of Astro-Monster (“怪獣大戦争” 1965, dir. Ishirō Honda) Breaking a Monster (2015, dir. Luke Meyer) Terror at Orgy Castle (1971, dir. Zoltan G. Spencer) Wake in Fright ("Outback" 1971, dir. Ted Kotcheff) m.A.A.d. (2014, dir. Khalil Joseph) Reservoir Dogs (1992, dir. Quentin Tarantino) Kung Pow! Enter the Fist (2002, dir. Steve Oedekerk) House (1977, dir. Nobuhiko Obayashi) Raiders of the Lost Ark (1981, dir. Steven Spielberg) Dunkirk (2017, dir. Christopher Nolan) Final Destination (2000, dir. James Wong) Glitch: The Rise & Fall of HQ Trivia (2023, dir. Salima Koroma) Basic Instinct (1992, dir. Paul Verhoeven) Pee Wee’s Big Adventure (1985, dir. Tim Burton) Caligula 2: The Untold Story (“Caligola: La storia mai raccontata” 1982, dir. Joe D’Amato) La noche del terror ciego (1972, dir. Amando de Ossorio) Rocky IV (1985, dir. Sylvester Stallone) Saw IV (2007, dir. Darren Lynn Bousman) House of Wax (1953, dir. Andre DeToth) Thir13en Ghosts (2001, dir. Steve Beck) Kashchey the Immortal (“Кащей Бессмертный” 1944, dir. Aleksandr Rou) Ghost Ship (2002, dir. Steve Beck) The Blood on Satan’s Claw (1971, dir. Piers Haggard) The Face of Fu Manchu (1965, dir. Don Sharp) The Brides of Fu Manchu (1966, dir. Don Sharp) The Vengeance of Fu Manchu (1967, dir. Jeremy Summers) The Blood of Fu Manchu (1968, dir. Jesús Franco) April Fool's Day (1986, dir. Fred Walton) It's Pat 1994, dir. Adam Bernstein) The Castle of Fu Manchu (1969, dir. Jesús Franco) Adam and Eve Meet the Cannibals ("Adam ed Eve, la prima storia d'amore" 1983, dir. Enzo Doria & Luigi Rosso) The Mountain of the Cannibal God (“La montagna del dio cannibale” 1978, dir. Sergio Martino) When Harry Met Sally… (1989, dir. Rob Reiner) Beetlejuice (1988, dir. Tim Burton) Lord of the Rings: Fellowship of the Ring (2001, dir. Peter Jackson, Long as Shit Version) The Hobbit (1977, dir. Arthur Rankin Jr. & Jules Bass) The Cabinet of Dr. Caligari (1920, dir. Robert Wiene) The Wicker Man (1973, dir. Robin Hardy) The Texas Chain Saw Massacre (1974, dir. Tobe Hooper) House of 1000 Corpses (2003, dir. Rob Zombie) Chopping Mall (1986, dir. Jim Wynorski) Basket Case (1982, dir. Frank Henenlotter) Cube (1997, dir. Vincenzo Natali) Cube 2: Hypercube (2002, dir. Andrzej Sekula) Practical Magic (1998, dir. Griffin Dunne) Tropic Thunder (2008, dir. Ben Stiller) Star Wars: The Force Awakens (2015, dir. J.J. Abrams) Star Wars: The Last Jedi (2017, dir. Rian Johnson) Star Wars: The Rise of Skywalker (2019, dir. J.J. Abrams) Eyes Wide Shut (1999, dir. Stanley Kubrick) Superbad (2007, dir. Greg Mottola) Bruce Almighty (2003, dir. Tom Shadyac) House of Flying Daggers (“十面埋伏” 2004, dir. Zhang Yimou) Saltburn (2023, dir. Emerald Fennell) Grandma’s Boy (2006, dir. Nicholaus Goossen) Five Nights at Freddy's (2023, dir. Emma Tammi) Caligula and Messalina (“Caligula et Messaline” 1981, dir. Bruno Mattei) The Wizard of Oz (1939, dir. Victor Fleming, King Vidor, George Cukor, and Norman Taurog) A Christmas Prince (2017, dir. Alex Zamm) A Christmas Prince: The Royal Wedding (2018, dir. John Schulz) The Knight Before Christmas (2019, dir. Monika Mitchell) Goldfinger (1964, dir. Guy Hamilton) Total Recall (1990, dir. Paul Verhoeven)

[californiahq-archived]

Hello! I am very interested in joining, but would like to know if there are any faceclaims you all would really like to see join the rp? There are just so many great faces that I wanted to ask before sending in an application. Thank you!

hi, thank you for your interest! here are some fcs that came to mind! mason gooding, harris dickinson, pedro pascal, oscar isaac, manny montana, rudy pankow, jonathan daviss, andrew garfield, lorenzo zurzolo, arón piper, manny jacinto, evan mock, aaron tveit, thomas doherty, archie renaux, brenton thwaites, casey deidrick, avan jogia, maxence danet fauvel, logan lerman, keith powers, raymond ablack, rahul kohli, andy samberg, joseph quinn, xolo maridueña, tanner buchanan, clayton cardenas, mario casas, bill skarsgard, zethpan smith gneist, bradley cooper, joseph morgan, alberto rosende, emilio sakraya, tom holland, manu rios, luke grimes, kedar williams stirling, regé jean page, andré lamoglia, henry zaga, chay suede, elias kacavas, josh heuston, nico tortorella, felix mallard, jamie dornan, chris wood, justice smith, luka sabbat, alex fitzalan, jeff satur, herman tømmeraas, carloto cotta, ander puig, froy gutierrez, charles michael davis, george sear, darren barnet, jon bernthal, ben barnes, anthony ramos, corey mylchreest, anthony keyvan, sinqua walls, cody christian, eddie redmayne, jaehyun, hugh dancy, michael evans behling, elliot fletcher, emre bey, joe keery, chance perdomo, ross lynch, gavin leatherwood, richard madden, alex aiono, shiloh fernandez, chris evans, chris wood, jacob elordi, danny ramirez, drew starkey, havana rose liu, davika hoorne, lalisa, lulu antariksa, christina hendricks, zion moreno, jennie kim, danielle rose russell, kaylee bryant, anya chalotra, simone ashley, charithra chandran, maia mitchell, cierra ramirez, melissa barrera, hailee steinfeld, diane guerrero, stephanie beatriz, melissa fumero, greta onieogou, maia reficco, alisha boe, paris berelc, camila mendes, bruna marquezine, camila queiroz, anne hathaway, lauren tsai, rachel hilson, inbar lavi, lesley ann brandt, giorgia whigham, antonia gentry, katie douglas, melisa asli pamuk, margot robbie, jenna coleman, halston sage, chelsea clark, brianne howey, cindy kimberly, chloe bennet, halle bailey, sara waisglass, jessica alexander, christian serratos, phoebe tonkin, claire holt, isabella gomez, courtney eaton, madelyn cline, madison bailey, abigail cowen, jessie mei li, blu hunt, auli’i cravalho, anya taylor joy, annie murphy, mila kunis, simary barlas, mimi keene, aimee lou wood, emma mackey, samantha logan, natalia dyer, megan suri, maya hawke, coco jones, jasmine tookes, ana de armas, chase sui wonders, priscilla quintana, maris rascal, keke palmer, angelique boyer, rachel sennott, benedetta porcaroli, valentina zenere, ludovica martino, joey king, fivel stewart, adeline rudolph, natasha liu bordizzo – hope these help!

[omegaremix]

Omega Radio for March 14, 2022; #301.

Tyrone Davis: “In The Mood”

Edition Speciale: “Mr. Business”

G. Grant & S. Park: “Good Company”

Lalo Schifrin: “Midnight Woman”

Lee Gagnon: “Reve”

Scratch, The: “Surface Noise”

Sonny Rollins: “Caress”

Westbound Freeway: “Right Or Wrong”

Joe Sample: “In All My Wildest Dreams”

Skull Snaps: “It’s A New Day”

Blackrock: “Bad Cloud Overhead”

Frank Ricotti + Tony Hymas + Stan Sulzmann: “Morning Call”

Jades, The: “Lucky Fellow”

Manfredo Fest: “Braziliana No. 1”

Revolution Compared To What: “Go To Work”

Eric Hochberg & Andy Potter: “World Thing”

George Duke: “Seeing You”

Jean-Daniel Mercier: “Apres Noel”

Michelle Lamb: “Natural High”

Paz: “Solar Wind”

Annette Peacock: “Survival”

Hysear Don Walker: “Children Of The Night”

Airto: “Juntos”

Ian Carr’s Nucleus: “Ariadne”

Jacky Giordano: “Wafa”

Les Crane: “Friends”

Living Funk: “Fools Love”

Pat Martino: “M'Wandishi”

Peter Jacques & Quadriga: “Cancao”

Primitive: “You’re Everything To Me”

Thee Lakesiders: “Parachute”

David T. Walker: “Feeling Feeling”

Terry Callier: “Just As Long As We’re Together”

Tom Scott: “Sneakin’ In The Back”

Tracks: “Bottleneck”

Alberto Baldan Bembo: “Sweet Helen”

Fat Larry’s Band: “Down On The Avenue”

Alan Parker: “Aerial Camera”

Giovanni Civitenga & Lucia Frittoli: Dew Drop (2e Versione)“

Pepper Hellard & New Hollywood Gargoyles: “They’re Out There”

Anthony King: “Filigree Funk”

The Crusaders’ “A Ballad For Joe (Louis)”

Bonus crate-digging and sampling; jazz, fusion, soul, R&B, funk.

[joealwyndaily]

Joe with Mr Armani, Sam Claflin, Will Sharpe, Sophia Di Martino, and Roberta Armani in Milian at the Emporio Armani show

[theredandwhitequeen]

Favorite non-Wilmon ship?

If you mean young royals ship then Felice and Freedom to choose what she wants or who she wants. Sara and the freedom to be herself with whoever she chooses. Wille and not being crown prince, being free to live life the way he wants. Simon loving singing again and being free.

If you didn’t mean young royals, I have millions: Charlie x Nick, Alex x Henry, Malex, Robron, Steve x Kayla, John Paul x Craig, Joe x Nicolo, Buffy x Angel, Hen x Karen, Willow x Tara, Duncan x Tessa, Han x Leia, Even x Isak, Nico x Martino, David x Matteo, sander x Robbe, Eliott x Lucas, Jonas x Hanna, Senne x Zoe, Patrick X David, Elle x Tao, Diego x Lila. So many more that I can’t think of off the top of my head.

Thanks for the ask.

[kiki-de-la-petite-flaque]

Amanda Lear nasce come Amanda Tapp il 18 novembre del 1939 a Saigon. Trasferitasi a Parigi dopo aver finito le scuole elementari, studia alla Scuola d'Arte di San Martino di Londra nel 1964. In quel periodo, sale agli onori della cronaca in virtù della sua storia d'amore con Bryan Ferry, frontman dei Roxy Music, e inizia a lavorare come modella per Catherine Harle. La Lear diventa molto richiesta in breve tempo: fa la modella per Paco Rabanne, e viene immortalata dalle macchine fotografiche di Charles Paul Wilp, Helmut Newton e Antoine Giacomoni per testate come "Vogue", "Marie France" ed "Elle". Partecipa, inoltre, a sfilate per Antony Price, Ossie Clark e Mary Quant a Londra, e per Coco Chanel e Yves Saint Laurent a Parigi. Nel frattempo, nel 1965 a Parigi, in un locale chiamato "Le Castel", ha conosciuto Salvador Dalì, eccentrico artista spagnolo che è rimasto immediatamente colpito dall'affinità spirituale che intercorre tra i due. Amanda accompagnerà la vita del pittore surrealista nei successivi quindici anni, passando ogni estate con lui e sua moglie: avrà così l'opportunità di visitare i salotti parigini e scoprire i musei europei, oltre che posare per alcune sue opere quali "Voguè" e "Venus to the Furs". Il nome d'arte Amanda Lear pare sia stato proprio inventato dall'eccentrico pittore, foneticamente affine a amant de Dalí. Protagonista della copertina di "For your pleasure", disco dei Roxy Music del 1973, Amanda appare insieme con David Bowie nella serie tv "Midnight special", sulla Nbc. Sempre con Bowie l'anno successivo registra la sua prima canzone, "Star", che però non viene mai pubblicata. Il suo singolo di esordio sarà, invece, "Trouble", che tuttavia non otterrà il successo sperato, a dispetto delle lezioni di canto frequentate e pagate proprio da Bowie. Del brano, per altro, viene incisa anche una versione francese, che viene notata dall'etichetta Ariola Eurodisc: la casa discografica, tramite il produttore Antony Monn, le propone un contratto di sei dischi e sette anni per una cifra eccezionale. Il disco d'esordio si chiama "I am a photograph", e ottiene un successo strepitoso in Austria e in Germania. In Italia riuscì ad arrivare alla Top 10. Dall'album furono estratti alcuni singoli, tra cui Blood and Honey, Tomorrow e Queen of Chinatown che diventò il suo primo successo a livello europeo. L'album che seguì I Am a Photograph fu Sweet Revenge, un concept album che contiene un medley continuo nel primo lato. L'album riuscì ad arrivare nella Top 10 di alcuni paesi europei e fu certificato Disco d'oro in Germania Ovest e Francia. Dall'album fu poi estratto il singolo di successo Follow Me e la Top 20 Enigma (Give A Bit Of Mmh To Me). Per promuovere l'album Amanda Lear ne cantò le canzoni in varie emittenti televisive in Europa e altrove. In Italia e in Germania la promozione fu continua. Dopo aver preso parte al programma di Raidue "Stryx", dove interpreta il personaggio ambiguo di Sexy Stryx, la Lear nel 1978 ottiene un cameo nella pellicola "Zio Adolfo in arte Fuhrer" e in "Follie di notte", di Joe D'Amato. L'artista, però, non abbandona la carriera musicale, e dà alle stampe "Never trust a pretty face". Negli anni Ottanta, Amanda incide "Diamonds for breakfast", eccezionale successo di vendite in Svezia e in Norvegia, e "Incognito": accolto tiepidamente in Europa, si rivela un successo imprevisto in Sud America; l'unica hit destinata a lasciare il segno, però è "Egal". In Italia conduce "Ma chi è Amanda?" e due edizioni di "Premiatissima" su Canale 5, nel 1982 e nel 1983. Il 1984 è l'anno della pubblicazione di "My life with Dalì", la sua prima autobiografia, intitolata in Francia "Le Dalì d'Amanda". Poi Amanda Lear si dedica nuovamente alla musica dando alle stampe "Secret Passion". La promozione dell'album, tuttavia, va incontro a una pausa forzata, a causa di un incidente automobilistico che coinvolge la Lear, costretta a una convalescenza di diversi mesi.

Il 1988 vede la Lear tornare in vetta alle classifiche musicali con "Tomorrow (Voulez vous un rendez vous)", reinterpretazione di "Tomorrow" realizzata con Giovanni Lindo Ferretti, cantante dei CCCP Fedeli alla linea. Torna in tv nel 1993 nella serie "Piazza di Spagna", in cui interpreta se stessa, e in "Une femme pour moi", film tv di Arnaud Selignac; nel 1998 è la volta de "Il brutto anatroccolo", programma condotto in prima serata su Italia 1 con Marco Balestri. Nel frattempo, ricompare in passerella, sfilando per stilisti come Thierry Mugler e Paco Rabanne. Il nuovo millennio si apre con una tragedia: il marito di Amanda, Alain-Philippe, nel dicembre del 2000 muore a causa di un incendio divampato in casa. La Lear lo ricorda registrando il disco "Heart". In televisione, l'artista presenta "Cockatil d'amore" e "La grande notte del lunedì sera", condotta con Gene Gnocchi. Dopo aver fatto parte, nel 2005, della giuria di "Ballando con le stelle", nel 2008 appare in Francia in "La folle histoire du disco", in Italia in "Battaglia fra sexy star" e in Germania in "Summer of the '70s". Sempre nel nostro Paese, appare in un curioso cameo all'interno della soap opera di Raitre "Un posto al sole", dove interpreta la Morte. Ma gli anni Duemila di Amanda Lear sono contrassegnati anche dal doppiaggio (nel film "Gli incredibili", presta la voce a Edna Mode) e dall'esposizione delle sue opere d'arte: per esempio con la mostra "Never mind the bollocks: here's Amanda Lear", tenuta nel 2006. Dopo essere stata nominata Cavaliere dell'Ordine delle Arti e delle Lettere dal governo francese, nel 2009 pubblica l'album "Brief encounters". In una carriera poliedrica come la sua non può mancare il teatro, e così dal 2009 al 2011 inizia un tour con "Panique au Ministere", spettacolo teatrale che attraversa la Francia, il Belgio e la Svizzera. Dopo aver preso parte, come membro della giuria, a "Ciak, si canta!", varietà in onda su Raiuno, nel 2011 Amanda Lear incide il singolo "Chinese Walk", e interpreta, nuovamente a teatro, la commedia "Lady Oscar". Pittrice, cantautrice, presentatrice, Amanda Lear vive in Francia, a Saint-Etienne-du-Gres, non lontano da Avignone. Dall'inizio della sua carriera, l'artista francese ha dovuto convivere con le dicerie riguardanti la sua sessualità: si diceva, infatti, che Amanda, prima di diventare fotomodella, in realtà fosse un ragazzo, tale Renè Tapp, che si sarebbe sottoposto a un'operazione di cambio di sesso a Casablanca. La stessa Amanda Lear, tuttavia, in più di un'occasione ha smentito le dicerie a tal proposito, sostenendo che si trattava unicamente di una strategia pensata da lei, insieme con Dalì, per attirare l'attenzione e incrementare le vendite dei suoi dischi.

(da:https://biografieonline.it/biografia-amanda-lear)

[projazznet]

Pat Martino – Strings!

Pat Martino – guitar Joe Farrell – tenor saxophone, flute Cedar Walton – piano Ben Tucker – bass Walter Perkins – drums

[boxscorehockey]

2024 Cut Tracker

Built and Current to September 9, 2024

Buffalo

Kyle Keyser Olof Lindbom Isaiah Saville Jakub Brabenec Logan Couture Dylan Duke Jack Hughes (LA) Evander Kane Alex Killorn Aleksandr Kisakov Rasmus Kupari Jacob Perreault Matthew Phillips Tom Wilson Kailer Yamamoto Tony DeAngelo Mats Lindgren Evan Nause Jusso Valimaki

Seattle

Tyler Brennan Chris Driedger Jonas Johansson Martin Jones Arvid Soderblom Jaxon Stauber Scott Wedgewood Tyler Boucher Mathieu Joseph Adam Boqvist Ryan Johnson Carson Lambos Victor Soderstrom Noah Cates Eetu Luostarinen Tobias Bjornqvist

New York

Isaac Poulter (G,NJ) Blake Coleman Peyton Krebs Mark Stone Anton Wahlberg Calen Addison Jacob Trouba Johnny Gaudreau

Winged Wheel

Jaroslav Halak Magnus Hellberg Jaret Anderson-Dolan Cam Atkinson Alex Barre- Boulet Sean Couturier Cody Glass Benoit- Olivier Groulx Taylor Hall Alex Iafallo Ryan Johansen Dominik Kubalik Luke Kunin Alexander Wennberg Filip Zadina Jake Bean Olli Ekman-Larsson Ryan Graves John Klingberg

Quebec

Pavel Francouz Filip Lindberg Ivan Prosvetov Nikita Alexandrov Dmtri Buchelnikov Gregori Denisenko Dillon Dube Danika Klimovich Evgeny Kuznetsov Ayrton Martino Nico Myatovic Joe Pavelski Taylor Raddysh James Van Riemsdyk Jacob Vrana Alex Gologoski Nikita Ishimnikov

[racingtoaredlight]

Jimmy Bruno

I'll try to keep this short, fully knowing I've already talked about this guy before. I'm not in a "Jimmy Bruno wormhole" or anything...rather he's been the most foundational guitarist inspiration in my life outside of Joe Pass and Wes Montgomery.

I also think he's one of the most underrated guitarists of all time...I legitimately don't understand how someone like John Scofield, an inferior player by every single measure possible, has had such an illustrious career while Bruno is currently living in a basement apartment in Philly.

Straight up, nobody...and I mean NOBODY...has chops like Jimmy Bruno. Not Joe or Wes, not Pat Metheny, not Pat Martino, not any of the young gun giants like Mike Moreno or Pasquale Grasso. In my opinion, the chops debate ends with Bruno.

And yea, I get it...chops aren't everything. But man, nobody cooks like this guy when he hits full gear. His shit just absolutely sizzles with incredible stuff...you never know what's coming next, you never know where he's going to come from...all you know is that it's going to be perfectly in time and flawlessly executed.

Check out these two solos. This is as good as jazz guitar gets.

I could just keep going on and on and on...he's a guy I've listened to a ton, transcribed some of his solos and who inspired me to work on my chops in a big way. Now here's John Scofield.

[thebandcampdiaries]

Neveragain introducing a brand new album: "Despite Everything."

Neveragain is an Emo/Punk quartet based in New Jersey.

The line-up includes Joe Drew, Nick Rossano, Zach Rossano, and Max Martino, who managed to find their chemistry and create a powerful sound with a very kaleidoscopic twist and a huge range of styles on tap. From the bittersweet melodic sheen of early 2000s emo to the upbeat energy of modern pop-punk, anything goes. The group's most recent release," Despite Everything" feels like a perfect opportunity to push the boundaries of the band's vision and sound.

The album was written in a dark place, with the aim of capturing Joe Drew's mental state at the time. Each song essentially serves as a love letter to the impact his mental illness has had on his life over time.

The album features ten songs, each exploring a different direction while retaining a very personal sound. The opener, "Catching Fire," begins with some reversed parts to build a layered ambiance and texture. Soon after, the whole band goes off, unleashing a powerful rhythm and going for a smooth, dynamic sound that immediately sets the bar higher. The following track, "Red," is another distinctive piece of music and one of the highlights of the album. The call and response between the guitar parts in the intro leads to a huge sound, with massive drums and harmonized vocals soaring over a thick wall of electric guitars. "Rewritten" enables the band to dive deeper into their most atmospheric side, going for a deeper tone that combines hard-hitting punk influences with a darker tone, at times reminiscent of artists such as Armor For Sleep or Taking Back Sunday. "Dead and Gone" dives further into modern Pop-Punk aesthetics but with a more aggressive sound, especially in terms of vocals and guitars pushing the envelope. Fans of Sum-41 will instantly connect with this track! The song "Interstates" is one of the most melodic songs on the album, and the arrangement is immediately easy to relate to. The drums, in particular, build some great dynamics, with a slightly more laid-back vibe in the verses to allow the choruses to really go wild. "Painted Wings" is fast-paced and colorful, bringing the energy levels to a whole new level. The melodic guitar leads are catchy and well-executed, perfectly complementing the hooky vocal parts. "Despite Everything, It's Still You" is another great example of how good the band is at building immersive textures. The introductory segment features spoken word accompanied by suspended guitar chords, creating a captivating overlap that sets a powerful tone for the song. The mesmerizing blend of the spoken word and guitar chords gradually builds up to an exhilarating drum crescendo, signaling the imminent launch into the full-bodied performance of the song.

"Sapphire" is a more mellow song with exciting parts and a floaty, dream-like arrangement that offers another outlook on the diverse range of sounds the band has to offer. This track is quite reflective and finely crafted, demonstrating that this group is just as comfortable performing heavier material as they are with more introspective moments.

The next track, "Attention: Deficit," begins with a drum intro that feels powerful and thundering, a perfect beginning to one of the album's most poignant and diverse songs. The song's chorus is fantastic, featuring a gritty guitar part that is just as memorable as the chorus itself. Said riffs exhibit an intriguingly spacious and captivating quality, while the vocal harmonies delicately and flawlessly adorn each lyrical line.

Last but not least, the closing track, "No Sleep For The Dead," feels like a perfect final salvo, enabling the band to end with a very energetic outburst.

Ultimately, what makes "Despite Everything" special is definitely the fact that it showcases the band's diverse stylistic references, as well as signaling their ability to blur the lines between various influences. This release ventures far beyond the boundaries of typical pop-punk and emo music, and could be aptly characterized as a skillfully created alternative rock album. It offers a wide range of influences that significantly contribute to its overall effect. The band's music showcases a clear ambition to push past its initial style and consistently venture into uncharted musical territory. The album puts a strong emphasis on powerful, impactful moments while also revealing a band that is in a state of growth and creative exploration.

Their music is a truly compelling combination of raw punk influences and unfiltered emotions, especially coming through in the song lyrics. This is a great way for the band to create a very tight bond with listeners who crave authentic expression and a bold, uncompromising approach when looking for new music to welcome into their lives.

"Despite Everything" is indeed highly recommended if you are a fan of artists such as The Wonder Years, The Story So Far, Dead Rituals, Youth Fountain, or Mayday Parade, among others. Don't forget to check out "Despite Everything" on all major digital music streaming platforms. This new release is definitely worth a listen, so make sure not to miss out on it!