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garudabluffs · 4 years

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Ohio National Guardsmen in gas masks and with rifles as they prepare to advance up Blanket Hill, through clouds of teargas, to drive back Kent State University students during an antiwar demonstration on the university's campus, Kent, Ohio, May 4, 1970

The shooting lasted a total of 13 seconds. These students lost their lives:

Jeffrey Miller - 20

Allison Krause - 19

William Knox Schroeder - 19

Sandra Lee Scheuer - 20

(and nine injured)

Kent State University’s virtual 50th Commemoration to honor and remember the events of May 4, 1970

READ MORE https://www.kent.edu/may4kentstate50

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Celebrating Another 50th Anniversary: The Student Strike of 1970 May 1, 2020

READ MORE https://woodstockfolkfestival.org/2020/05/01/celebrating-another-50th-anniversary-the-student-strike-of-1970/#comment-13

radio soundtrack

“Ohio” by Crosby, Stills, Nash & Young – written by Neil Young in reaction to the Kent State shootings

“Kent” by Magpie (the duo of Terry Leonino and Greg Artzner) on their album Give Light; Terry Leonino is a survivor of the Kent State shootings

Dave Brubeck’s cantata “Truth is Fallen” was dedicated to the slain students of Kent State and Jackson State and other innocent victims

Marvin Gaye’s “What’s Going On?”

Steve Miller’s “Jackson-Kent Blues”

Bruce Springsteen’s “Where Was Jesus in Ohio?”

Barbara Dane’s “The Kent State Massacre”

“I-Feel-Like-I’m-Fixin-to-Die” by Country Joe and the Fish

“For What It’s Worth” by Buffalo Springfield

“Fortunate Son” by Creedence Clearwater Revival

“Ain’t Gonna Let Nobody Turn Me Around” by Joan Baez

“The Universal Soldier” by Buffy Sainte-Marie (also a hit for Donovan)

“Bring ‘Em Home” by Pete Seeger

“Give Peace a Chance” by John Lennon

“Masters of War” and “Blowin’ in the Wind” by Bob Dylan

“War” by Edwin Starr

Books and Resources

Which Side Are You On? 20th Century American History in 100 Protest Songs by James Sullivan

33 Revolutions per Minute: A History of Protest Songs by Dorian Lynskey

Songs of America: Patriotism, Protest, and the Music That Made a Nation by Jon Meacham and Tim McGraw

Music and Social Movements: Mobilizing Traditions in the Twentieth Century by Ron Eyerman and Andrew Jamison

Talkinʼ Bout a Revolution: Music and Social Change in America by Dick Weissman

Playing for Change: Music and Musicians in the Service of Social Movements by Rob Rosenthal and Richard Flacks

The Routledge History of Social Protest in Popular Music by Jonathan Friedman

The Republic of Rock: Music and Citizenship in the Sixties Counterculture by Michael J. Kramer

Politics in Music: Music and Political Transformation from Beethoven to Hip-Hop by Courtney Brown

Troubadours & Troublemakers: The Evolution of American Protest Music by Kevin Comtois

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States by Kip Lornell

Music in the Air: The Selected Writings of Ralph J. Gleason edited by Toby Gleason (Ralph was co-founder of Rolling Stone magazine)

Music: A Subversive History by Ted Gioia

American Radicals: How Nineteenth-Century Protest Shaped the Nation by Holly Jackson

Music is Power: Popular Songs, Social Justice, and the Will to Change by Brad Schreiber

Sounds of Freedom: Musicians on Spirituality and Social Change by John Malkin

Curriculum materials produced by Facing History and Ourselves – “How Can Music Inspire Social Change?”

The Social Power of Music – Smithsonian Folkways Recordings (4-disc box set and book)

Womenʼs Suffrage

Music in the Womenʼs Suffrage Movement – collection at Library of Congress – includes a digital collection of Womenʼs Suffrage in Sheet Music

Songs of the Suffragettes – Smithsonian Folkways Recordings

“Let Us Sing As We Go: The Role of Music in the United States Suffrage Movement” by R.L. Brandes (appears to be a dissertation at the University of Maryland – may be accessible online)

The Womenʼs Suffrage Movement edited by Sally Roesch Wagner

Why They Marched: Untold Stories of the Women Who Fought for the Right to Vote by Susan Ware

National Womenʼs History Museum (www.womenshistory.org) has materials and article by Nancy Hayward on their website has a list for further reading

The Music of the Suffrage Movement by Kate McKenzie at www.awsom.info Reviews of ʼ19: The Musical – musical last November in Washington, D.C. that was called “the Hamilton of Womenʼs History” – at National Archives

The Music of Womenʼs Suffrage – Amaranth Publishing – sheet music (this led me down an interesting path of other articles such as Women Ragtime Composers)

Earth Day and the Environment

Silent Spring by Rachel Carson

Earthrise Global Mobilizations – earthrise2020.org (please note this is entirely separate from the Festival’s “Earthrise” concert in 2018)

Walden by Henry David Thoreau

American Earth: Environmental Writing Since Thoreau by Bill McKibben

Never Cry Wolf by Farley Mowat

Writings by John Muir

Gorillas in the Mist by Dian Fossey

The Uninhabitable Earth: Life After Warming by David Wallace-Wells

The Death and Life of the Great Lakes by Dan Egan

An Inconvenient Truth: The Crisis of Global Warming and An Inconvenient Sequel: Truth to Power, both by Al Gore

It’s Getting Hot in Here: The Past, Present, and Future of Climate Change by Bridget Heos

Unstoppable: Harnessing Science to Change the World by Bill Nye

World Without Fish: How Could We Let This Happen? by Mark Kurlansky

Weather Makers by Tim Flannery

A Sand County Almanac: With Essays on Conservation by Aldo Leopold

Songs by Malvina Reynolds, Pete Seeger, Joni Mitchell, John Denver, Peter, Paul & Mary, and Neil Young; music by the Paul Winter Consort and John Cage; Live Earth Concert from 2007

Student Strike of 1970 and the Antiwar Movement

Vietnam and the American Political Tradition: The Politics of Dissent by Randall B. Woods

Sitting in and Speaking Out: Student Movements in the American South, 1960-1970 by Jeffrey A. Turner

Give Peace a Chance: Exploring the Vietnam Antiwar Movement by Melvin Small; William D. Hoover

The Vietnam War on Campus: Other Voices, More Distant Drums by Marc Jason Gilbert

The Movement and the Sixties by Terry H. Anderson

The 1960s Cultural Revolution by John C. McWilliams

From Yale to Jail by Dave Dellinger

The War Within: America’s Battle over Vietnam by Tom Wells

The Things They Carried by Tim O’Brien

An American Ordeal: The Antiwar Movement of the Vietnam Era by Charles Chatfield

Catch-22 by Joseph Heller

The Quiet American by Graham Greene

The Best and the Brightest by David Halberstam

Born on the Fourth of July by Ron Kovic

Fire in the Lake: The Vietnamese and the Americans in Vietnam by Frances FitzGerald

Vietnam: A History by Stanley Karnow

Public television’s Vietnam: A Television History and Ken Burns’ Vietnam War series

Songs by Phil Ochs, Buffy Sainte-Marie, Joan Baez, Pete Seeger, Peter, Paul & Mary, Bob Dylan, Country Joe & the Fish, Barry McGuire, Tom Paxton, Arlo Guthrie, John Lennon, Edwin Starr, Barbara Dane, and Crosby, Stills, Nash & Young, among many others.

https://woodstockfolkfestival.org/aiovg_videos/woodstock-folk-festival-9th-annual-invitational-concert/

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Ohio" cover The Steppin Stones doing a great Neil Young cover at their July 4th, 2013 show in City Market in Savannah, GA.

#Kent State University Ohio 1970 May 4

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vintagelasvegas · 5 years

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Frontier Fidelity Savings, 801 E Charleston – c. 1962

The Las Vegas-based institution’s second branch opened June 1, 1962. The architects were the firm of Hagman & Meyer; interior design by C. Tony Pereira; contractor was P&C Construction Co. The interior featured a 26-by-11-foot mural created by Kramer and Stone Design depicting the early history of Southern Nevada.

“We used to call it the gun bank, because of the statue.” - Jeffrey Silver.

Frontier Savings failed in Dec. ‘90 and was taken over by Bank of America. The building later became a US Bank branch, closed in 2019. It has been owned by its neighbor Legal Aid Center of Southern Nevada since 2020.

Culinary Workers Union Local 226 Photographs, UNLV Special Collections. “Frontier Fidelity Expands.” Review-Journal, 6/2/62.

Los Angeles-based Hagman & Meyer also designed the 1962 expansion of First Western Savings & Loan at 118 LVBS - now demolished.

#1962

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writemarcus · 5 years

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Black, Queer, and Here

In a post-‘Moonlight’ world, writers like Michael R. Jackson and Jeremy O. Harris are making the case for LGBTQ stories that go beyond the gay white experience.

BY MARCUS SCOTT

Last month, when Michael R. Jackson’s A Strange Loop earned unanimous praise upon opening at Playwrights Horizons, it was a pivotal moment for me as a spectator. As someone who is also a Black, gay, musical theatre writer, I saw myself and my story onstage for the first time. I guffawed, clapped my hands, snapped along, celebrated the pageantry of Black excellence, and even teared up a bit during the play’s climax.

For the first time I didn’t have to undertake the mental gymnastics all marginalized people are basically required to do once they enter the theatre; to empathize with the white, often male protagonist as default. Not to mention, there was additional apprehension. Any time I saw a story centered on LGBTQ characters, I could usually predict what I was getting myself into: either comedic NutraSweet schmaltz with heart, or a maudlin tragedy where happy endings are laughable and everyone dies in the end.

But this was different. Led by a colossal, virtuoso performance from Larry Owens—not to mention anchored by an all-Black, all-queer ensemble of multitalented, triple-threat featured players—A Strange Loop (now extended through July 28) is a singular, seminal Bildungsroman that casts a subversive, critical third eye on both mainstream and nether regions of the Black gay American experience that had not been shown before.

The show follows Usher (Owens), a young, NYU-educated, overweight Black gay man working as an usher at a long-running Broadway musical and struggling to write a musical about a young, NYU-educated, overweight Black gay man working as an usher at a long-running Broadway musical and struggling to write a musical (hence the loop in the title). A Strange Loop is a visceral, soulful, psychosexual panoramic pièce de résistance that may just be the most radical Off-Broadway musical of its kind. Contextualizing everything from #MeToo, Moonlight, Tyler Perry, Stephen Sondheim’s Company, and second wave feminism, Jackson’s show is a potpourri of popular culture, existentialism, and metafiction—a dazzling coming-of-age artistic journey of self-discovery.

My sentiments for the show have been shared. In a post-show talkback on June 19, “Pose” star Billy Porter joined Jackson, choreographer Raja Feather Kelly, and playwright Branden Jacobs-Jenkins onstage to discuss the musical. The event, which was attended by top names in the theatre community (such as Lin-Manuel Miranda), was presented by Ucross, a prestigious residency program in northeast Wyoming. Porter choked back tears as he began the panel: “To sit up there and see my life onstage, when everybody said that my story wasn’t valid—to see that up there, to see it so brave, and to see it so bold. To see it so truthful, so complicated, so honest, and so unapologetic, has been one of the most wonderful nights for me in the theatre.”

Over the course of the 2018-19 season, I saw 100 shows, and few of them affected me like Jackson’s musical. None of those other shows centered on queer bodies of color. In all fairness, it’s not like a lot of theatres are producing plays by or about queer people of color. And when they do, it’s sanitized, ambiguous, and not complex—for example, Celie and Shug’s neutered romance in The Color Purple.

Earlier this year, in a lively panel about the state of the American play (copresented by American Theatre and Signature Theatre), playwright and director Robert O’Hara wryly offered some insight into the queer POC experience in American theatre. Speaking about the 2017-18 season, O’Hara pondered the state of Broadway, which was littered with prestige London transfers or star-driven assembly line revivals of treasured classics. But he also noticed a third trend: “the amount of gay white men we have on Broadway this year.” Naming Angels in America, The Boys in the Band, and Torch Song, all of which were written by white gay men, O’Hara remarked, “There’s too many white gay people, particularly white gay men and their struggle being white and gay and male. Do we really need that many conversations? To some people, that’s diversity. But to me, that’s just more white folks onstage.”

Though theatre prides itself on being a space for outcasts, and most of its preeminent artists are gay men, their visibility often comes at the expense of other members of the LGBTQ community. In the theatre, LGBTQ plays have often centered solely on the experience of gay white cis-men and (only recently) cis-women, while people of color war in the margins for mainstream acclaim.

Whether it’s about the gay civil rights movement (Mart Crowley’s seminal The Boys In The Band, Dustin Lance Black’s 8), the HIV/AIDS epidemic (Larry Kramer’s definitive The Normal Heart, Tony Kushner’s iconic Angels in America, William Finn’s neurotic Falsettos) or communal inherited trauma (Moisés Kaufman’s triumphant docudrama The Laramie Project, Matthew Lopez’s Broadway-bound The Inheritance), gay white men have dominated queer stories, creating nuanced characters and becoming the epicenter of the narratives of LGBTQ culture.

Openly gay Black artists like O’Hara and George C. Wolfe have created work about Black queer life over three decades, but their numbers were fewer and far between. The difference now is the sheer volume of diverse queer voices. Some are even calling it a renaissance.

I trace it to the film Moonlight. Released in 2016 to universal acclaim under the helm of director Barry Jenkins, and based on Tarell Alvin McCraney’s unpublished semi-autobiographical play In Moonlight Black Boys Look Blue, Moonlight became the first film with an all-Black cast and the first LGBTQ film to win the Academy Award for Best Picture. The victory was a watershed moment in popular culture, sparking public interest in Black art and queer stories.

Ever since, queer Black theatre artists have begun to storm the proverbial tower in droves: McCraney recently returned to Steppenwolf in Chicago with Ms. Blakk For President, and his Choir Boy had an acclaimed run on Broadway after making the rounds of the nation’s regional theatres. Donja R. Love, an HIV-positive gay Black playwright, saw the world premieres of his queer period dramas Sugar in Our Wounds and Fireflies. Jordan Cooper’s Ain’t No Mo earned an extended and lauded run Off-Broadway at the Public Theater. Hailed as “The Queer Black Savior the Theater World Needs” by Out magazine, Jeremy O. Harris became a literary sensation and enfant terrible of the theatre world after Slave Play and Daddy had their world premieres this past season (Slave Play will transfer to Broadway in September).

What makes these plays radical is their candor, addressing the audience with frank depictions of queer Black life. Most importantly, these are plays that are creating discourse on what artist Lora Mathis calls radical softness, or “the idea that unapologetically sharing your emotions is a political move and a way to combat the societal idea that feelings are a sign of weakness.” In one of the most pivotal scenes in Choir Boy, one of the boys chooses an a cappella rendition of “Love Ballad” (originally by Jeffrey Osborne of L.T.D.) to express his love for another boy, but imagination ends up being the closest he’ll ever get to confessing his feelings. In Sugar in Our Wounds, an enslaved man offers another reading lessons, but the subtext is that of romantic yearning. In Slave Play, an interracial gay couple undergo therapy, in an effort to reconnect. These writers subvert and comment on the oppressive systems that affect disenfranchised and marginalized people without attacking or distancing mainstream audiences.

Not to mention the playwrights who identify as queer but whose plays aren’t chiefly about LGBTQ life: Colman Domingo (Dot), Marcus Gardley (The House That Will Not Stand), Jonathan Norton (My Tidy List of Terrors), Timothy DuWhite (Neptune), Keelay Gipson (#NewSlaves), Korde Arrington Tuttle (clarity), Jirèh Breon Holder (Too Heavy for Your Pocket) and Derek Lee McPhatter (Bring the Beat Back). Chief among these is Branden Jacobs-Jenkins, who was listed among the Top 20 Most-Produced Playwrights of 2018-2019 and has been honored as a two-time finalist for the 2016 and 2018 Pulitzer Prize for Drama, respectively.

As writer-activist Darnell L. Moore noted on Twitter: “In the past few months, I’ve witnessed displays of brilliance—Black queer men who have created theatrical works that dig into the complex interior lives of Black characters. Their works disrupt & reimagine all we believe to be true about the limits of Blackness, of gender. They poke at the grounds of Black radical politics by illuminating how the freedom dreams conjured by some of the Blacks often function as nightmares for some others—trans folk, queers, drag queens, the not-respectable. They remind us about the futility of white liberalism. They refuse the white gaze.” He characterized these plays as “Black folks-loving art works” which “preach and sing and lament and celebrate and bear witness and take up arms and push and pull us.”

At the same time, Moore does wonder “how these works might be received if the creators and/or main actors weren’t Black gay men.” He has a point: Queer women, trans, or gender non-binary writers still struggle to be seen, with only a few receiving recognition such as Aziza Barnes (BLKS), Tanya Barfield (Bright Half Life), Tracey Scott Wilson (Buzzer), Nissy Aya (righteous kill, a requiem), and Ianne Fields Stewart (A Complicated Woman).

While many Black artists are generating work that are nuanced and empowering, and even dissecting of the white gaze, there are still just as many works that default towards “enterpainment.” Coined by playwright Aurin Squire in his play Zoohouse, “enterpainment” is a trope that calls for historically oppressed people to be forced into situations where they must put their suffering and victimhood on display for the education and edification of the masses. This exercise in emotional masochism has been at the forefront of many Black plays, with this trope being weaponized and commodified. Many Black characters in general are defined by their pain, and in plays that center on LGBTQ people of color, too often that pain is doubled because of their race and sexual orientation.

The “bury your gays” stereotype is still very much the norm for these plays, including some of the ones mentioned above. For example, in Donja R. Love’s Fireflies, the protagonist is a woman who clings to the memory of the woman she loved who was horribly murdered in the streets. The main character in Chisa Hutchinson’s She Like Girls is a 16-year-old lesbian who is shot and killed at the climax of the play.

Most stories featuring queer characters of color forefront the atrocities that inherently arise from the stigmatization of one’s sexual agency and one’s race. Rather than showcasing the beauty within the full expression of queerness—such as falling in love or (in A Strange Loop) standing up to your parents—too often writers are defaulting to trauma.

But this is part of a larger issue: that of Black artists working within a primarily white system who feel they must commodify their pain for white consumption. And of white producers not feeling like they’re able to challenge artists of color to look deeper, of them thinking of these artists as a single diversity slot or purveyor of issue plays, instead of artists whose careers and ideas need to be invested in. At the live event, Robert O’Hara had some advice for white producers: “You have to be able to live inside the power and the privilege that you have, and also continue to demand the rigor, intellect, and dexterity that the work requires so that it does not just become a play but a [major stepping stone for a] career.”

Recently I ran into Jackson at Musical Theatre Factory’s High Five, a gala hosted at Town Stages; he was being honored that night. Before I could congratulate him, he kindly rebuffed. “There’s still work to be done,” he said as he was greeted by eager patrons and admirers. He’s not wrong. In 2017, Pew found that younger, non-white, and low-income people (lower middle-class people of color) were more likely to self-identify as LGBTQ than whites, debunking the myth that Blacks and Latinos are overwhelmingly homophobic.

Reality is more complex than we give it credit for. And considering that Broadway is in need of new musicals in it’s 2019-20 season, there really is nothing more topical than, to quote A Strange Loop, a “big, Black, and queer-ass Broadway show.”

Marcus Scott is a New York-based playwright, musical writer and journalist. He’s written for Elle, Essence, Out and Playbill, among other publications.

#A Strange Loop #Slave Play #black playwrights #black gay men #black gay playwrights #black queer playwrights #gay playwrights #queer playwrights #Michael R Jackson #Robert O'Hara #Donja R. Love #Aurin Squire #Darnell L. Moore #Terrell Alvin McCraney #Branden Jacobs-Jenkins #Sugar In Our Wounds

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risingphoenixpress · 7 years

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The July 2017 Issue of Rising Phoenix Review 4th Of July / Also Known As Independence Day By Dorothy McGinnis A Kind of Ritual By Jasmine Cui abridged transcripts of all the voicemails i never left my ex-best friend By Lydia Havens Mani Pedi By Yuri Han shield me from fire, wind, and the love of cruel men By Isabelle Jia STRANGELOVE (OR, THEY WANT YOU TO STOP WORRYING AND LOVE THE MOTHER OF ALL BOMBS) By Nina Sudhakar Exercises On Dealing With News Of A Child Marriage Somewhere By Precious Arinze Chronic Nausea By Audrey Lee Elegy of a Dress By Riley Zahn Human Remains By Miriam Kramer Funeral By David M. Taylor Prayer in Taino War Paint By BrandonLee Cruz In Dreamland I Weep By Lexi Kennell learning what is central to narrative c.500 BCE onwards By Tanya Singh

pharm life By Isabelle Jia Landing By Riley Zahn Black Man Poetry By David M. Taylor Friday, April 7; 12:11 AM By Lydia Havens Boxing Gloves By Audrey Lee Hello, From The Men of the Indianola By Stephanie Cui The candles are in stock, though it isn’t summer, yet By BrandonLee Cruz

The Ornament By Riley Zahn Growing Up Black By David M. Taylor The TERF on my Shoulder By Riley Zahn AUBADE WITH LATEST NEWS By Nina Sudhakar Hymn Of Clean Water By Precious Arinze My Inheritance Does Not Come in the Form of Wealth. Instead, By Jasmine Cui A Review of Natalie Wee's Our Bodies and Other Fine Machines By Jeffrey Holmes Second Poem for Nexplanon By Lydia Havens Submit to a future issue When we speak our narratives with courage and passion, communities can be united. We must rally around the brave poets who share their truths. Please let all of the poets in this issue know they have been heard. Let them know they are loved. Never stop fighting. Never stop loving.

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ulkaralakbarova · 2 months

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When CIA Analyst Jack Ryan interferes with an IRA assassination, a renegade faction targets Jack and his family as revenge. Credits: TheMovieDb. Film Cast: Jack Ryan: Harrison Ford Dr. Caroline “Cathy” Ryan: Anne Archer Sally Ryan: Thora Birch Sean Miller: Sean Bean Kevin O’Donnell: Patrick Bergin Annette: Polly Walker Lord William Holmes: James Fox Lt. Cmdr. Robby Jackson: Samuel L. Jackson Adm. James Greer: James Earl Jones Paddy O’Neil: Richard Harris Marty Cantor: J.E. Freeman Dennis Cooley: Alex Norton Watkins: Hugh Fraser Inspector Highland: David Threlfall Owens: Alun Armstrong Sissy: Berlinda Tolbert Lord Justice: Gerald Sim First Aide: Pip Torrens Ashley: Thomas Russell Charlie Dugan: Andrew Connolly Ned Clark: Keith Campbell Jimmy Reardon: Jonathan Ryan Court Guard: P.H. Moriarty Interviewer: Bob Gunton CIA Technician: Ted Raimi Secretary: Brenda James Paddy Boy: Karl Hayden Lady Holmes: Claire Oberman Young Holmes: Oliver Stone The Electrician: Tom Watt Constable: Tim Dutton Constable: Martin Cochrane Rose: Ellen Geer Winter: John Lafayette Ferro: Shaun Duke Spiva: Fritz Sperberg CIA Analyst: Allison Barron Dr Shapiro: Philip Levien FBI Agent Shaw: Jesse D. Goins Avery: Michael Ryan Way FBI Director’s Bodyguard (uncredited): Peter Weireter Film Crew: Director of Photography: Donald McAlpine Original Music Composer: James Horner Screenplay: W. Peter Iliff Producer: Mace Neufeld Producer: Robert Rehme Director: Phillip Noyce Screenplay: Donald Stewart Editor: William Hoy Editor: Neil Travis Casting: Cathy Sandrich Gelfond Makeup Artist: Michael Key Casting: Amanda Mackey Executive Producer: Charles H. Maguire Makeup Department Head: Peter Robb-King Art Direction: Joseph P. Lucky Hairstylist: Anne Morgan Costume Design: Norma Moriceau Makeup Artist: Pat Gerhardt Set Decoration: John M. Dwyer Makeup Artist: John R. Bayless Production Design: Joseph C. Nemec III Stunts: Dick Ziker Stunts: Terry Leonard Visual Effects Supervisor: Robert Grasmere Visual Effects Supervisor: John C. Walsh Stunt Coordinator: Andy Bradford Stunt Coordinator: Steve Boyum Stunts: Michael T. Brady Stunts: Janet Brady Stunts: William H. Burton Jr. Stunts: Bobby Bass Stunts: Keith Campbell Stunts: David Burton Stunts: Clarke Coleman Stunts: Gerry Crampton Stunts: Cynthia Cypert Stunts: Laura Dash Stunts: Gabe Cronnelly Stunts: Steve M. Davison Stunts: Jeff Imada Stunts: Jeffrey J. Dashnaw Stunts: Annie Ellis Stunts: Richard M. Ellis Stunts: Tony Epper Stunts: Elaine Ford Stunts: Kenny Endoso Stunts: James M. Halty Stunt Coordinator: Martin Grace Stunts: Steve Hart Stunts: Scott Hubbell Stunts: Craig Hosking Stunts: Henry Kingi Stunts: Joel Kramer Stunts: Paul Jennings Stunts: Gene LeBell Stunts: Gary McLarty Stunts: Mark McBride Stunts: Bennie Moore Stunts: Valentino Musetti Stunts: John C. Meier Stunts: Alan Oliney Stunts: Chuck Picerni Jr. Stunt Double: Bobby Porter Stunts: Steve Picerni Stunts: Tony van Silva Stunts: Chad Randall Stunts: Rod Woodruff Stunt Double: Vic Armstrong Second Unit Director: David R. Ellis Stunts: Gregory J. Barnett Stunts: Tim A. Davison Novel: Tom Clancy Movie Reviews: John Chard: Good guys are real good, and the bad guys are real bad. Patriot Games is a more than serviceable thriller, perhaps a bit out of date when viewing it now, but still a very effective good against evil piece. The source material is so dense and intricate it was always going to be hard to condense that into a 2 hour movie, but I feel the makers manage to keep it fleshy whilst making the respective characters interesting and watchable. The acting on show is more than adequate, Harrison Ford is great in the role of Jack Ryan, he manages to portray him as a sensitive family man who can step up to the plate when things get ugly, and Anne Archer is solid enough as the wife and mother caught up in the web of nastiness unfolding. The baddies are led by the brooding Sean Bean who is a little under written, whilst Richard Harris is sadly underused. However, the action set pieces make their mark and thankfully we get a riveting...

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saturdaynightmatinee · 3 years

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CALIFICACIÓN PERSONAL: 7.5 / 10

Título Original: Halloween II

Año: 1981

Duración: 92 min

País: Estados Unidos

Director: Rick Rosenthal

Guion: John Carpenter, Debra Hill. Personajes: John Carpenter, Debra Hill

Música: John Carpenter, Alan Howarth

Fotografía: Dean Cundey

Reparto: Jamie Lee Curtis, Donald Pleasence, Charles Cyphers, Jeffrey C. Kramer, Lance Guest, Pamela Susan Shoop, Hunter von Leer, Leo Rossi, Nancy Stephens, Ana Alicia, Gloria Gifford, Nancy Loomis

Productora: Universal Pictures, Dino de Laurentiis. Productor: John Carpenter

Género: Horror

https://www.imdb.com/title/tt0082495/

TRAILER:

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uacboo · 7 years

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Spielberg’s feature debut last year in “The Sugarland Express,” also a Zanuck/Brown pic, was greeted with a measure of critical ecstacy not echoed by the public; domestic film rentals on it were not even $3,100,000 after seven months in release. However, story considerations aside, Spielberg’s directorial abilities on that one as well as “Jaws” display a remarkable grasp of both logistics and drama. The assured success of “Jaws” will minimize the 100% budget overrun, to the neighborhood of $8,000,000. Author Benchley and Carl Gottlieb share adaptation credit for “Jaws,” and the literate screenplay moves easily from large-scale mob scenes to extremely intimate situations. There are three stars: Roy Scheider, very effective as the town’s police chief torn between civic duty and the mercantile politics of resort tourism; Robert Shaw, absolutely magnificent as a coarse fisherman finally hired to locate the Great White Shark; and Richard Dreyfuss, in another excellent characterization as a likeable young scientist. The fast-moving 124-minute film engenders enormous suspense as the shark attacks a succession of people; the creature is not even seen for about 82 minutes, and a subjective camera technique makes his earlier forays excruciatingly terrifying all the more for the invisibility. The final hour of the film shifts from the town to a boat where the three stars track the shark, and vice versa. The creature is no less menacing when finally seen in a fight to the death wherein Shaw fulfills his Captain Ahab destiny. Bill Butler’s Panavision-Technicolor cinematography is excellent; one can almost smell the Martha’s Vineyard location. In addition, Rexford Metz did the underwater lensing, while Ron and Valerie Taylor are credited for the live shark footage. The Australian Coral Reef was used for underwater shooting. Robert A, Mattey headed the crew for the diverse and exciting special effects work – including wrecked boats, piers, shark attacks, etc. (A mechanical shark’s inanimate temperament was a cause of some filming delays.) The adroit casting extended through the ranks of supporting players: notably Lorraine Gary (a familiar inhabitant of Universal TV shows), very good as Scheider’s wife; Murray Hamilton, excellent as the temporizing town mayor; scripter Gottlieb as a newspaper editor; Jeffrey C. Kramer, great as Scheider’s harried assistant; and author Benchley himself as an eyewitness-type TV newsman. Verna Fields, since moved on to a senior exec post at Universal, did the topnotch editing, while John Williams’ haunting score adds to the mood of impending horror. All other production credits are superior. The domestic PG rating attests to the fact that implicit dramaturgy is often more effective than explicit carnage. 1975 Oscar awards: Best Sound, Original Score, Editing. Nomination: Best Picture *Throwback to one of my more blond moments. I read Jaws on the way to the beach 42 years ago today. (Implicit Dramaturgy would be a great name for a band, or a fandom😏)

#jaws #oscar awards #peter benchley #Richard Zanuck #david brown #steven spielberg #summer blockbuster #robert shaw #richard dreyfuss #marthasvineyard #Australian Coral Reef

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citizenscreen · 8 years

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The first image that comes to mind when I think of Cary Grant is the classy gentleman that ultimately became his signature style. Most brilliant of all in Grant’s impressive repertoire perhaps was his ability to add the bumbling to the suave sophisticate. That’s the man I adore, but that man didn’t come about easily. It was hard work and perseverance that led to the archetype that’s still recognized as the domain of just one man. One.

Cary Grant was born Archibald Leach in Bristol, England on January 18, 1904. From 1932 to 1966 he appeared in over 70 motion pictures becoming one of the greatest movie stars in the world. Ever. And that’s not an exaggeration as you well know. Beloved and admired by the masses and his peers Grant mastered various film genres turning in memorable performances in broad comedies, murder mysteries, adventure stories and romances.

On that road to becoming Cary Grant the image, Cary Grant the actor played men with numerous careers and from different walks of life. It’s quite the impressive resume, one that goes well beyond a gorgeous exterior. Why don’t I show you?

The Cary Grant Résumé

Cary Grant

1 Handsome Movie Star Way, Hollywood, CA 01184 – (000) 227-9472 – [email protected]

Summary:

At least twelve rich, playboy types if you don’t include the five successful businessmen.

Ten soldiers

Six newspaper men/writers

Six doctors/scientists

Five artistic types

Four government agents

Three pilots

Three advertising executives

Two supernatural beings

One Earl, a policeman, an engineer, a lawyer, an economist, a politician, a few unsavory types, half a dozen or so times involved in espionage.

The handsome, rich bachelor often, but was also a loving husband and father to several women and numerous children

Highlights:

Hard-working and reliable

Energetic, well-executed pratfalls

Distinctive double-take

Proficient at fast-talk

Style Icon

Unique voice

Exceptional romantic skills

Great with pets and children

*Experience:

Rich men and playboys (1932 to 1962)

Philip Shayne in Delbert Mann’s That Touch of Mink (1962)

Johnnie Aysgarth in Alfred Hitchcock’s Suspicion (1941)

C. K. Dexter Haven in George Cukor’s The Philadelphia Story (1940)

Alec Walker in John Cromwell’s In Name Only (1939)

Jerry Warriner in Leo McCarey’s The Awful Truth (1937)

Ernest Bliss in Alfred Zeisler’s The Amazing Adventure (1936)

Gerald Fitzgerald in Elliott Nugent’s Enter Madame! (1935)

Jack Clayton in Wesley Ruggles’ I’m No Angel (1933)

Jeffrey Baxter in Paul Sloane’s The Woman Accused (1933)

Romer Sheffield in William Seiter’s Hot Saturday (1932)

Charlie Baxter in Dorothy Arzner’s Merrily We Go to Hell (1932)

Ridgeway in Alexander Hall’s Sinners in the Sun (1932)

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Businessman (1934 to 1966)

Sir William Rutland in Charles Walters’ Walk Don’t Run (1966)

(and widower) Tom Winters in Melville Shavelson’s Houseboat (1958)

Clemson Reade in Sidney Sheldon’s Dream Wife (1953)

Julian De Lussac in Frank Tuttle’s Ladies Should Listen (1934)

Malcolm Trevor in Lowell Sherman’s Born to be Bad (1934)

PS – If you’re thinking that Cary Grant as business man looks very similar to Cary Grant rich playboy – well, yeah.

Men of science (1934 to 1951)

Physician, Dr. Noah Praetorius in Joseph L. Mankiewicz’s People Will Talk (1951)

Chemist, Dr. Barnaby Fulton in Howard Hawks’ Monkey Business (1952)

Neurosurgeon, Dr. Eugene Norland Ferguson in Richard Brooks’ Crisis (1950)

Pediatrician, Dr. Madison Brown in Don Hartman’s Every Girl Should Be Married (1948)

Paleontologist, David Huxley in Howard Hawks’ Bringing Up Baby (1938)

Plastic Surgeon, Dr. Maurice Lamar in Harlan Thompson’s Kiss and Make-Up (1934)

Soldiers (1932 to 1959)

Lt. Cmdr. Matt T. Sherman in Blake Edwards’ Operation Petticoat (1959)

Cmdr. Andy Crewson in Stanley Donen’s Kiss Them for Me (1957)

Anthony in Stanley Kramer’s The Pride and the Passion (1957)

Captain Henri Rochard in Howard Hawks’ I Was a Male War Bride (1949)

Captain Cassidy in Delmer Daves’ Destination Tokyo (1943)

Sergeant Cutter in George Stevens’ Gunga Din (1939)

Captain Andre Charville in George Fitzmaurice’s Suzy (1936)

British Officer, Micahel Andrews in Charles Barton’s and Louis J. Gasnier’s The Last Outpost (1935)

Lietenant B. F. Pinkerton in Marion Gering’s Madame Butterfly (1932)

Lt. Jaeckel (naval officer) in Marion Gering’s Devil and the Deep (1932)

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Writers and newspaper men (1934 to 1944)

Mortimer Brewster in Frank Capra’s Arsenic and Old Lace (1944)

Reporter, Roger Adams in George Stevens’ Penny Serenade (1941)

Patrick “Pat” O’Toole in Leo McCarey’s Once Upon a Honeymoon (1942)

Walter Burns in Howard Hawks’ His Girl Friday (1940)

Reporter Charlie Mason in Richard Wallace’s Wedding Present (1936)

Newspaper publisher, Porter Madison III in Marion Gering’s Thirty Day Princess (1934)

Spies or government agents (1933 to 1964)

Including this one because it borders on “spying” – Walter in Ralph Nelson’s Father Goose (1964)

Peter Joshua in Stanley Donen’s Charade (1963)

Devlin in Alfred Hitchcock’s Notorious (1946)

Captain Cummings in Lowell Sherman’s She Done Him Wrong (1933)

Con men, grifters, a thief and a politician (1932 to 1955)

Retired Cat Burglar in Alfred Hitchcock’s To Catch a Thief (1955)

Gambler and grifter, Joe “the Greek” Adams in H. C. Potter’s Mr. Lucky (1943)

Con man, Nick Boyd in Rowland V. Lee’s The Toast of New York (1937)

Con man, adventurer, Jimmy Monkley in George Cukor’s Sylvia Scarlett (1935)

Gambler, Ace Corbin in Louis J. Gasnier’s and Max Marcin’s Gambling Ship (1933)

Nick Townsend in Josef von Sternberg’s Blonde Venus (1932)

Pilots (1933 to 1939)

Geoff Carter in Howard Hawks’ Only Angels Have Wings (1939)

Ken Gordon in James Flood’s Wings in the Dark (1935)

Henry Crocker in Stuart Walker’s The Eagle and the Hawk (1933)

Men of the arts (1937 to 1957)

Nickie Ferrante in Leo McCarey’s An Affair to Remember (1957)

Dick Nugent in Irving Reis’ The Bachelor and the Bobby-Soxer (1947)

Cole Porter in Michael Curtiz’s Night and Day (1946)

(Crooked) Showman Jerry Flynn in Alexander Hall’s Once Upon a Time (1944)

Jimmy Hudson in Robert Riskin’s When You’re in Love (1937)

Drifters, activists, miscellaneous fellows or regular Joes (1932 to 1944)

Ernie Mott in Clifford Odets’ None But the Lonely Heart (1944)

Mill worker and activist, Luopold Dilg in George Stevens’ The Talk of the Town (1942)

Farmer, Matt Howard in Frank Loyd’s The Howards of Virginia (1940)

Johnny Case in George Cukor’s Holiday (1938)

Film debut as javelin thrower/jealous husband, Stephen Matthewson in Frank Tuttle’s This Is the Night (1932)

A lawyer, an economist and an engineer (1940 to 1958)

Economist, Philip Adams in Stanley Donen’s Indiscreet (1958)

Engineer, George Rose in Norman Taurog’s Room for One More (1952)

Lawyer, Nick Arden in Garson Kanin’s My Favorite Wife (1940)

Advertising executives (1948 to 1959)

Roger O. Thornhill in Alfred Hitchcock’s North by Northwest (1959)

Jim Blandings in H. C. Potter’s Mr. Blandings Builds His Dream House (1948)

An Earl (1960)

Victor, Earl of Rhyall in Stanley Donen’s The Grass is Greener (1960)

A police officer/detective (1936)

Danny Barr in Raoul Walsh’s Big Brown Eyes (1936)

An angel and a ghost (1937 and 1947)

Dudley in Henry Koster’s The Bishop’s Wife (1947)

George Kerby in Norman Z. McLeod’s Topper (1937)

References:

“the only actor I ever loved in my whole life.” – Alfred Hitchcock

Ian Fleming modeled pop culture phenomenon, James Bond partially with Grant in mind.

Has appeared on numerous “sexiest stars” and “greatest movie stars” lists.

On American Film Institute’s list of top 100 U.S. love stories, compiled in June 2002, Grant led all actors with six of his films on the list. An Affair to Remember (1957) was ranked #5; followed by: #44 The Philadelphia Story (1940) #46 To Catch a Thief (1955) #51 Bringing Up Baby (1938) #77 The Awful Truth (1937) #86 Notorious (1946).

Was named #2 on The Greatest Screen Legends actor list by the American Film Institute.

Has eight films on the American Film Institute’s list of the 100 Funniest Movies: Bringing Up Baby (1938) at #14, The Philadelphia Story (1940) at #15, His Girl Friday (1940) at #19, Arsenic and Old Lace (1944) at #30, Topper (1937) at #60, The Awful Truth (1937) at #68, Mr. Blandings Builds His Dream House (1948) at #72 and She Done Him Wrong (1933) at #75.

“The greatest leading man to ever appear on the silver screen.” – Aurora

“You see, he didn’t depend on his looks. He wasn’t a narcissist, he acted as though he were just an ordinary young man. And that made it all the more appealing, that a handsome young man was funny; that was especially unexpected and good because we think, ‘Well, if he’s a Beau Brummel, he can’t be either funny or intelligent’, but he proved otherwise” – George Cukor

He received a special Academy Award for Lifetime Achievement in 1970. The inscription on his statuette read “To Cary Grant, for his unique mastery of the art of screen acting with respect and affection of his colleagues”. On being presented with the award, his friend Frank Sinatra announced: “It was made for the sheer brilliance of acting … No one has brought more pleasure to more people for so many years than Cary has, and nobody has done so many things so well”.

Audrey Hepburn in Charade, “Do you know what’s wrong with you? Nothing.”

Additional references available upon request.

♦

As I perused Cary Grant’s filmography for this post I noticed a few things I’d never realized. The first is that there are far too many Cary Grant movies I’ve yet to see. Then I noticed that Cary Grant never made a science fiction movie, which is interesting. In addition, Mr. Grant never made a Western. Huh. It seems he did forge a few Western connections, however. For instance, Grant appeared as himself in a cameo in Mervyn LeRoy’s Without Reservation (1943) starring Claudette Colbert and Westerns legend, John Wayne and he turned the Northwest upside down in Hitchcock’s 1959 masterpiece.

Anyway, no one can dispute Mr. Grant’s versatility as his resume illustrates. When one thinks of a “Jack of all trades” it’s usually followed by “master of none,” a person who can do passable work at various tasks, but does not necessarily excel at any of them. That is not Cary Grant. Cary Grant excelled at everything he attempted in the movies, which is why the mark he made is still felt. As film critic and historian David Thomson states in The New Biographical Dictionary of Film – Cary Grant “was the best and most important actor in the history of the cinema.” I’ll add that it was due to his versatility and the persona that is forever defined by only him that his importance as an actor and film icon never diminishes. There is only one man who has a resume like Cary Grant. When asked, “who is today’s Cary Grant?” filmmaker, Robert Trachtenberg who made Cary Grant: A Class Apart replied, “No one.”

NO ONE.

♦

Happy birthday wherever you are.

*Notes: Mr. Grant’s film roles are separated by categories of my choosing in the resume. Keep in mind that there are quite a few instances where roles (categories) overlap. As such any number of roles can be noted under a few categories, but I chose not to repeat movies.

More on Cary Grant:

The A-B-Cs of Cary Grant

The Inimitable Voice of Cary Grant

Cary Grant: The Road to Suspicion

Cary Grant’s Greatest Co-Star, Irene Dunne

Self-Plagiarism is Style: Hitchcock, Grant and North by Northwest

Charade: Grant, Hepburn and Paris Never Looked Better

The Bishop’s Wife

Howard Hawks in His Own Words

SHE DONE HIM WRONG, Will Hays

High Society in The Philadelphia Story

The Hitchcock Signature

Set a Thief…To Catch a Thief

The Awful Truth…the matter of Mr. Smith

Cary Grant is by far the actor that has been mentioned most often on Once Upon a Screen. Oh, and by the way, Mr. Grant made two movies with titles that begin “Once Upon a…”

Cary Grant’s Résumé The first image that comes to mind when I think of Cary Grant is the classy gentleman that ultimately became his signature style.

#Cary Grant #Cary Grant Film Roles #Cary Grant Filmography #Cary Grant&039;s Resume

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ncmagroup · 6 years

Text

Cassandra Frangos

A theme I hear often from executives today is their desire to “reach the C-suite by age 45.”

People see so many young founders rising fast and they want to succeed at an earlier age. And some organizations are indeed appointing younger leaders, including digital natives who have hastened their experience curve by rapidly rotating through a variety of roles, developing a strong organizational followership, and building up their external brand on social media.

Although this is particularly true of CIOs and chief marketing officers (CMOs), who are the youngest member in the C-suite on average, outliers can also be found leading established organizations: Ralph Lauren’s former CEO, Stefan Larsson, and Ally Financial’s CEO, Jeffrey Brown, and McDonald’s CEO Stephen James Easterbrook, among others, were elevated in their ‘40s.

Reaching the C-suite at any age today requires checking many of the usual boxes in terms of experience and accomplishments. But you can also bring something new that organizations truly need right now—a natural willingness to embrace change and manage complexity. With that in mind, there are three distinct levels of change that you can build into your repertoire of skills.

Industry change and disruption

The most difficult part of dealing with industry change as a leader is absorbing the constant shocks and surprises that come your way while simultaneously trying to keep the organization running smoothly.

Boards and CEOs are searching for seasoned executives who can make it look easy: course-correcting fast, fending off insurgent competitors and having an intense focus on ever-changing customer needs. These and other business realities mean that you need to think on your feet.

There is an art to acting with limited information in a complex, unpredictable environment, and it can be practiced in a few ways. First, since you can’t foresee every shift, you need to get comfortable admitting when you don’t have all the answers. That humility is one of the things that will help you remain vigilant.

Next, take great pains to know your strengths and limitations. This is what will enable you to surround yourself with the people who can best complement your capabilities. Finally, be open to receiving input from others and listening to multiple perspectives. One executive I know put it this way, “It’s not that you don’t trust your own instincts, is just that you can hone your thinking faster by learning how other people see the situation.”

Organizational changes and transformation

The second facet of change that you must come to terms with is organizational transformation. Corporate structures are seldom static today. They can change fast when mergers, leadership transitions, and business model shifts realign the core values of an organization.

The ensuing waves of change can leave the company unrecognizable to longtime leaders unless they fully understand the evolution that is occurring. You need to be able to maneuver through these internal turnarounds and transformations, which are not only a core part of leadership but also a litmus test of your ability to proceed under intense, ongoing pressure.

To rise to the challenge, you need to have a clear vision of the change that is occurring and be ready to translate it for the people working around you. One part of this is showing that you have gotten “on board” with the new normal and are prepared to proceed with the requisite sense of urgency.

Next, you need to pause to acknowledge and manage the heightened concern that the employees around you frequently feel when organizational changes create widespread uncertainty. Ultimately, you need to lead the change effort in a way that removes the mindset barriers and logistical speed bumps for you and the people around you.

Personal change

As important as the other two levels of change are, I consider a personal change to be the one most closely associated with executive success. Industry and organizational change call for preparation and proper response, but personal change? It requires proactive effort and a whole lot of nerve. There are a few relevant ways to look at personal change.

Professional development: Leaders need to not only keep their skills fresh but also go in search of the right experiences—have I managed a turnaround?, have I launched and entrepreneurial project? etc. As part of that, leaders should volunteer for assignments and projects that enable personal and professional growth. In some organizations, mandatory role rotation keeps executives learning and developing, while other firms require leaders to be more proactive by looking for ways to disrupt themselves and their routine. Some leaders even choose to accept lateral moves to gain experience that will serve them well later. One CEO told me she always went after the “tough tasks” regardless of the job title because she learned the most from them.

Career reinvention: One executive I know runs an $8 billion business unit in the telecom sector. He’s in line to be the CEO someday. Yet, he doesn’t want to be the chief executive at the company where he works now. He envisions leading a smaller, more entrepreneurial or philanthropic organization so he’s getting ready to resign and reinvent himself. It’s difficult to envision making such a risky career change, but it’s often the difficult decisions like this that open up the greatest possibilities and create space for leaders to find the role that they really want.

Lifelong learning: The last part of the personal change that leaders need to embrace is ongoing discovery. Whether it is through role models, coaching or simply reading books, leaders need to look for things that inform them, change their thinking and keep them learning. Kelly Kramer, CFO of Cisco told me this about learning, “It’s what keeps us ahead of everything else and solves 99% of the other issues we encounter.”

Why does change make us better leaders?

It forces us out of our comfort zone, plain and simple. Doing the hard things—like dealing with so much change—forces us to grow and makes our everyday leadership role seem simple by comparison.

Go to our website: www.ncmalliance.com

Scaling Three Levels Of Change: It’s The One Skill Every Leader Needs Cassandra Frangos A theme I hear often from executives today is their desire to “reach the C-suite by age 45.”

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