#Louis Friedlander

[thewarmestplacetohide]

"Your monstrous ugliness breeds monstrous hatred. Good! I can use your hate." The Raven (1935) dir. Louis Friedlander My Ko-fi

[schlock-luster-video]

On April 22, 2009, The Raven was released on DVD in France.

Here's some new Bela Lugosi art!

[thebutcher-5]

The Raven (1935)

Benvenuti o bentornati sul nostro blog. Nello scorso articolo abbiamo deciso di fare un’altra maratona, oltre quella dei classici Diseny, e abbiamo iniziato a parlare della Pixar, partendo ovviamente con il suo primo lungometraggio animato, Toy Story. La storia inizia con Andy, un bambino che si diverte a creare storie e a giocare con i suoi amati giocattoli. Quello che non sa è che quando lui…

[tootern2345]

Fleischer Studios staff from 1930-1931

Vet Anderson, Andy Engman, and Ed Rehberg were formerly Fables/Van Beuren men who later moved to the west coast

Grim Natwick, James “Shamus” Culhane, Bernie Wolf, Al Eugster, & Art Turkisher all ended up going to Ub Iwerks before the other four men moved to other studios (mainly Disney)

William Henning was the inbetweening supervisor before Edith Vernick replaced him

Sam Stimson worked for Bill Nolan’s studio in New Jersey during the silent ages

Al Windley was a Harrison-Gould camera operator

Nick Tafuri, Bill Turner, Joe Stultz, Seymour Kneitel, Isadore Sparber, and Myron Waldman became Famous Studios regulars (with Seymour and Izzy also being supervisors for the studio as well)

H. Ritterband and Louis McCormick were camera operators who later moved to famous studios

Charles Schettler. Vera Coleman, Ruth Fleischer, and Edith Vernick were Inkwell studio veterans

Frank Paiker would later do camerawork for Hanna Barbera

Ted Sears later became a driving force in Disney’s story department

Sadie Friedlander later married and became Sadie Bodin, she got fired from Van Beuren during the time Burt Gillett reigned on the studio

George Cannata and Reuben Timmins (R. Timinsky here) worked in different studios Coast to Coast

Nelly Sanborn was the head of the timing department and later move on to famous studios somewhere into the ink & paint department under the name of Nelly Sanborn-Greene

Ben Shenkman would later become a prolific caricaturist/character designer for cartoons as well as assistant animator & animator

Harvey Eisenberg, Saul Kessler, & Al Geiss later became associated with TerryToons before moving to other studios (Eisenberg becoming a prominent layout artist/character designer for MGM’s Tom & Jerry and Al Geiss was involved with the Screen Gems Studio during the 40’s)

Milt Platkin would change his name to Kin Platt and become a noted story artist/scriptwriter. He’s noted for writing almost all of the Top Cat episodes for Hanna-Barbera

and Mae Schwartz was Dave Fleischer’s secretary

[leblogdemarinaetjeanmarie]

SAMEDI 29 OCTOBRE 2022 (Billet 2 / 4)

« Jeudi 27 – 13h15 »

« MONET – MITCHELL » à la Fondation Louis Vuitton

(Du 05 octobre 2022 au 27 février 2023)

Pour être tout à fait honnêtes avec vous, nous n’avions jamais entendu parler de Joan Mitchell. Une affiche de l’Exposition a excité notre curiosité, nous nous sommes renseignés et surtout Marina a enregistré un superbe reportage qui lui était consacré sur Arte (certainement toujours disponible en Replay). Et là, nous avons « flashé » !

Après avoir visionné les photos ci-dessus, nous vous engageons à lire l’article ci-dessous.

Ce que nous avons trouvé étonnant dans les juxtapositions des tableaux de ces 2 peintres, ayant pourtant vécu à des périodes tout à fait différentes (Monet : 1840-1926 et Mitchell : 1925-1992), ce sont les similitudes. Et pour finir, nous avons un faible pour les grands formats… et là, nous avons été gâtés !

Nous, cette Expo nous a beaucoup plu mais c’est à vous de voir, « vos goûts et vos couleurs » peuvent être tout-à-fait différents des nôtres (et réciproquement !).

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Cette exposition met en regard pour la première fois un choix de peintures des derniers Monet réalisés à Giverny et des toiles de Mitchell, principalement conçues à Vétheuil.

Le parcours est scandé par des jalons thématiques et formels, suivant un accrochage sensible, à la recherche d’accords entre les œuvres.

De générations différentes, leurs peintures furent d’abord rapprochées dans le cadre de l’émergence de l’expressionnisme abstrait américain dans les années 50. Monet est alors redécouvert comme précurseur de la modernité américaine et son oeuvre tardive réhabilitée après l’accueil critique très positif reçu en France par les Nymphéas de l’Orangerie en 1927. L’association des deux artistes est confortée par l’installation de "Mitchell Vetheuil" en 1968, dans une demeure surplombant la maison ou vécut Monet de 1878 à 1881.

Prenant appui notamment sur la déclaration de Joan Mitchell au critique américain Irving Sandler en 1957, « J’aime le Monet de la fin, mais pas celui des débuts », l’exposition revient sur la démarche des deux artistes qu’ils définissent en termes analogues : après sa quête de « l’impression », Monet évoque celle de « la sensation », et Mitchell, celle du « feeling » correspondant pour les deux à la transcription d’une émotion ressentie devant la nature. Quand il s’agit de la persistance d’une sensation visuelle chez Monet, passant de son jardin à l’atelier, il s’agit plutôt chez Mitchell d’un jeu de mémoires croisées.

La consonance entre leurs œuvres passe aussi par des caractéristiques formelles : avant tout, la couleur dans ses interférences avec la lumière, privilégiant une gamme similaire mais d’intensité différente, faite de bleus, jaunes, verts, alliés aux rouges, roses et mauves. Nouveaux alors pour Monet mais permanents chez Mitchell, les grands formats impliquent une peinture fortement gestuelle et une grande liberté technique, avec des touches vibrantes et des effets de texture alternant opacités et fluidités. [...]

(Source : "Extrait de la plaquette de l'Expo éditée par la Fondation")

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Adresse : 8 avenue du Mahatma Gandhi, 75016 Paris

Le meilleur moyen de vous y rendre, c’est la navette de la Fondation : elle effectue une rotation environ toutes les 20 minutes. On la trouve en sortant du Métro Charles de Gaulle-Etoile, « sortie n°2 avenue de Friedland », 44 avenue de Friedland (un abri lui est spécialement dédié). Le service est réservé aux personnes munies d’un billet d’entrée pour la Fondation ainsi que d’un titre de transport. Le billet est vendu au tarif de 2 euros aller/retour qu’il est possible d’acheter directement à bord.

Tarifs : Entrée 16€, tarif réduit 5/10€ (accès au Jardin d'Acclimatation compris). Billet adhérent Fnac : 11,70 euros. Ouverture : tous les jours (sauf les mardi, 1er janvier, 1er mai et 25 décembre).

Horaires : comme ils peuvent changer (VS ou pas, etc.), vous fier à celui que vous aurez choisi lors de votre réservation. Vu les files d’attente, on ne saurait que trop vous recommander de réserver.

[tristan-v-saxophone]

The greatest musician no knows!

A few weeks ago, I and a group of friends had the pleasure of watching the great Abraham Burton, an incredible saxophonist and musician, as well as my teacher, live at the Smalls Jazz Club in New York. This was possibly the greatest experience of my life.

Abraham Burton is a jazz musician based in New Jersey, who is an active member in the New York Jazz Scene. He has recorded with some of the best musicians of all time, such as Art Taylor, Louis Hayes, and the Mingus Big Band, and is has played live regularly both as a band leader, and as a section player in groups such as the Mingus Big Band and Village Vanguard. He is possibly Jackie McLeans greatest student, having been the chosen one to inherit h Mcleans Yamaha 62 alto sax.

Burton has been an active performer at smalls for years now, performing very regularly both as a headliner and as a sideman, though on this night, he was head and center, and it was incredible.

The set began with an original tune by Prof. Burton, an up tempo vamp, immediately into a piano solo over said vamp. Pianist Davis Whitfield perfectly paces his solo, simultaneously increasing the tension and intensity slowly, while never saying too much too fast. Prof's exciting return to solo using a mix of jazz language so bad I almost fell out of my seat, and avante garde improv in just enough volume to make you question reality. This solo lasts almost 10 minutes, but never loses its draw on the listener. Just a perfect solo, followed up by a drum solo by the baddest drummer on this side of the planet, Eric McPhearson, who plays a gorgeously medlodic solo, unique in this day of jazz.

The pacing slows as the bassist, Elam Friedlander, takes the head for another incredible solo. The tune continues and morphs for another 20 minutes or so, before a brief yet inspiring few words from Prof. Burton, before beginning the ballad; Misty.

Misty is opened with a soulful cadenza allowing Prof to show off just how capable he is, not just in straight ahead or avante garde music, but in any vibe he is playing. His solos are melodic and deep, both emotionally and theoretically. Davis Whitfield's solo is just as gorgeous, shaping the group to be a real powerhouse of players.

The whole performance really just is over 5 or so tunes per set, merged together by the artistry of these musicians, extending for 30 minutes at a time without a break in the set. Prof. Burtons ability to expand his music for so long and still generate new ideas throughout is astoundingly incredible. His deep understanding of the jazz genre and its history, and yet the individuality of his voice as a musician, to me, show why he is one of the greatest musicians alive today.

[ulkaralakbarova]

An aging thief hopes to retire and live off his ill-gotten wealth when a young kid convinces him into doing one last heist. Credits: TheMovieDb. Film Cast: Nick Wells: Robert De Niro Jack Teller: Edward Norton Max: Marlon Brando Diane: Angela Bassett Burt: Gary Farmer Steven: Jamie Harrold Danny: Paul Soles Jean-Claude: Martin Drainville Laurent: Serge Houde André: Jean-René Ouellet Albert: Claude Despins Sapperstein: Richard Waugh Sapperstein’s Cousin: Mark Camacho Woman in Study: Marie-Josée Colburn Man in Study: Gavin Svensson Tuan: Thinh Truong Nguyen Cop: Carlo Essagian Drunk: Christian Tessier Storekeeper: Lenie Scoffié Tony: Bobby Brown Philippe: Maurice Demers Guard: Christian Jacques Guard: Henry Farmer Guard: Dacky Thermidor Guard: Gerard Blouin Old Engineer: Charles V. Doucet Worker: Pierre Drolet Bureaucrat Official: Norman Mikeal Berketa Ironclad Tech: Eric Hoziel Janitor: John Talbot Thug: Richard Zeman Thug: Nick Carasoulis Special Appearance: Cassandra Wilson Special Appearance: Mose Allison Man at Airport (uncredited): June Järvenpää Film Crew: Original Music Composer: Howard Shore Editor: Richard Pearson Director: Frank Oz Director of Photography: Rob Hahn Story: Kario Salem Screenplay: Lem Dobbs Producer: Lee Rich Screenplay: Scott Marshall Smith Producer: Gary Foster Production Design: Jackson De Govia Costume Design: Aude Bronson-Howard Script Supervisor: Rebecca Robertson Casting: Margery Simkin Key Makeup Artist: Francine Gagnon Key Hair Stylist: Corald Giroux Makeup Effects: Matthew W. Mungle Construction Coordinator: Alain Brochu Supervising ADR Editor: Marissa Littlefield Sound Effects Editor: Paul Urmson Story: Daniel E. Taylor Art Direction: Tom Reta Set Designer: Félix Larivière-Charron Camera Operator: Nathalie Moliavko-Visotzky Dialogue Editor: Nicholas Renbeck Art Department Coordinator: Genevieve Ferderber Set Designer: Lucie Tremblay First Assistant Director: David Sardi Boom Operator: Markus Wade Music Editor: Suzana Peric Property Master: Denis Hamel Art Direction: Claude Paré Rigging Grip: Alain Brouillette Supervising Sound Editor: Ron Bochar Stunt Coordinator: Jean Frenette Set Decoration: K.C. Fox Production Manager: Alain Gagnon Set Designer: Céline Lampron Greensman: Ray Légaré Boom Operator: Nathalie Piche Still Photographer: Phillip V. Caruso Steadicam Operator: Angelo Colavecchia First Assistant Camera: Maarten Kroonenburg Location Manager: Michèle St-Arnaud Prop Maker: Patrice Jacques Set Designer: Charlotte Rouleau Sound Re-Recording Mixer: Lee Dichter Special Effects Supervisor: Louis Craig Chief Lighting Technician: Jean Courteau Production Coordinator: Victorine Tamafo Set Designer: Claude Lafrance Foley Editor: Kam Chan Dialogue Editor: Fred Rosenberg Stunt Coordinator: Bud Davis Armorer: Julie Coulombe Art Department Coordinator: Michelle Drolet First Assistant Camera: Tony Rivetti Sr. Sound Effects Editor: Lewis Goldstein First Assistant Editor: Richard Friedlander Art Department Coordinator: Michel Bouchard Foley Editor: Frank Kern Dolly Grip: Alain Masse Production Controller: George Lakes Armorer: Brent Radford Executive Music Producer: Budd Carr Executive Producer: Adam Platnick Executive Producer: Bernard Williams Stunt Coordinator: David Leitch Movie Reviews: JPV852: A go-to for a solid heist-thriller that features two great performances by De Niro and Norton with honorable mention to Brando who looked a little worse for wear. Not the top notch in the genre but still a breezy but still suspense-filled watch if you don’t want anything thought-provoking. Still makes me chuckle that it was Frank Oz to be the one to direct three generations of great actors… **3.75/5**

[brookstonalmanac]

Events 6.14 (before 1900)

1158 – The city of Munich is founded by Henry the Lion on the banks of the river Isar. 1216 – First Barons' War: Prince Louis of France takes the city of Winchester, abandoned by John, King of England, and soon conquers over half of the kingdom. 1276 – While taking exile in Fuzhou, away from the advancing Mongol invaders, the remnants of the Song dynasty court hold the coronation ceremony for Emperor Duanzong. 1285 – Second Mongol invasion of Vietnam: Forces led by Prince Trần Quang Khải of the Trần dynasty destroy most of the invading Mongol naval fleet in a battle at Chuong Duong. 1287 – Kublai Khan defeats the force of Nayan and other traditionalist Borjigin princes in East Mongolia and Manchuria. 1381 – Richard II of England meets leaders of Peasants' Revolt at Mile End. The Tower of London is stormed by rebels who enter without resistance. 1404 – Welsh rebel leader Owain Glyndŵr, having declared himself Prince of Wales, allies himself with the French against King Henry IV of England. 1618 – Joris Veseler prints the first Dutch newspaper Courante uyt Italien, Duytslandt, &c. in Amsterdam (approximate date). 1645 – English Civil War: Battle of Naseby: Twelve thousand Royalist forces are beaten by fifteen thousand Parliamentarian soldiers. 1658 – Franco-Spanish War: Turenne and the French army win a decisive victory over the Spanish at the battle of the Dunes. 1690 – King William III of England (William of Orange) lands in Ireland to confront the former King James II. 1775 – American Revolutionary War: the Continental Army is established by the Continental Congress, marking the birth of the United States Armed Forces. 1777 – The Second Continental Congress passes the Flag Act of 1777 adopting the Stars and Stripes as the Flag of the United States. 1789 – Mutiny on the Bounty: HMS Bounty mutiny survivors including Captain William Bligh and 18 others reach Timor after a nearly 7,400 km (4,600 mi) journey in an open boat. 1800 – The French Army of First Consul Napoleon Bonaparte defeats the Austrians at the Battle of Marengo in Northern Italy and re-conquers Italy. 1807 – Emperor Napoleon's French Grande Armée defeats the Russian Army at the Battle of Friedland in Poland (modern Russian Kaliningrad Oblast) ending the War of the Fourth Coalition. 1821 – Badi VII, king of Sennar, surrenders his throne and realm to Ismail Pasha, general of the Ottoman Empire, bringing the 300 year old Sudanese kingdom to an end. 1822 – Charles Babbage proposes a difference engine in a paper to the Royal Astronomical Society. 1830 – Beginning of the French colonization of Algeria: Thirty-four thousand French soldiers begin their invasion of Algiers, landing 27 kilometers west at Sidi Fredj. 1839 – Henley Royal Regatta: the village of Henley-on-Thames, on the River Thames in Oxfordshire, stages its first regatta. 1846 – Bear Flag Revolt begins: Anglo settlers in Sonoma, California, start a rebellion against Mexico and proclaim the California Republic. 1863 – American Civil War: Second Battle of Winchester: A Union garrison is defeated by the Army of Northern Virginia in the Shenandoah Valley town of Winchester, Virginia. 1863 – Second Assault on the Confederate works at the Siege of Port Hudson during the American Civil War. 1872 – Trade unions are legalized in Canada. 1888 – The White Rajahs territories become the British protectorate of Sarawak.

[theloniousbach]

FROM THE ARCHIVE: SARAH HANAHAN with Benito Gonzalez, Elam Friedlander, and Hank-Alan Barfield, SMALL’S, 12 OCTOBER 2023

The week before SARAH HANAHAN came to Jazz St Louis, she had her monthly Small’s late Thursday night gig, the one Nicole Glover had for some months in 2021. On Monday on her return, I saw her live at Small’s with Joe Farnsworth. All this to say, I’ve been on a Hanahan run.

She’s an impressive player, inventive and powerful. She plays the alto with the growl and attack of a tenor player. She was all that at this gig, save for Old Folks which proved that she and her band can play a ballad. She toned things down a bit with Peter Martin and Generation S here, but she was once again in full modal, stretch things out mode here as she was with Farnsworth when they, including Tivon Pennicott, did Ole for 40 minutes and Impressions for half that time.

While Benito Gonzalez was big and modal too and as such following McCoy Tyner, here the source wasn’t John Coltrane, but Jackie McLean. Appointment in Ghana was the twenty minute opener which established the mood of power and spaciousness. Rene McLean’s Dance Little Mandissa added some catchiness but the family resemblance was there in the compositions of father and son. Nothing else was announced but, like Martin’s Groove Echo Chamber, the first set closer and their last tune of two in the second set before the open jazz session unfolded, built up from riffs. The former settled into a jaunty lilt whereas the latter was smoky and funky. The second set opener was another modal sprawl and Hanahan blew particularly hard, but I was struck how Gonzalez and Hanahan were differently modal.

Hank Alan-Barfield had sufficient power to drive this band and, in the few quieter moments, it was clear that Elam Friedlander was making a difference. In the first set closer, she made a point of making eye contact with her bassist to line up the riff. That tune also stood out as one solo was a joint effort between piano and alto where they sympathetically traded choruses.

While this is the Hanahan I have heard before and will again while hoping she overtime reins things in a bit, knowing what she can do under someone else’s leadership helped me understand how she sprawls, growls, and wails.

[justbag]

Check out this listing I just added to my Poshmark closet: Louis Vuitton Friedland Shoulder Bag Black Epi.

[mi6014ikepearson]

PAST SUCCESS - “PREVIOUS D&DAD NEW BLOOD WINNERS”

this is the 14th year that the D&AD New Blood Awards scheme has ran; with the first winning entries dating back as far as 2009; and our current application hitting the 2023 deadline.

as the project furthers and I add some initial research to dictate the sort of direction to head in the project - it comes a time to look at some previous examples of other people’s attempts tackling the project.

to start this process - I went to the official site and scoured through the almost 3000 entries, watched through some of the previous winners from different years and wrote some notes.

after highlights such as ‘you should read a book’, ‘duo’s done’, ‘free from funny’ and ‘the invisible threat’ - I made the decision to instead focus my attention on projects that were more alcohol related and seeing how they tackled their briefs, as it more closely lays with my entry.

with a set of parameters outlined; I started to analyse the aspects of each film, highlighting the positives and negatives of each film - to see if I can come up with a way to replicate their success, and hopefully limit the possibility of anything being unsuccessful through the production of my film.

BLOWING NOTES IN A BOTTLE - “A SOUND IDEA”

“COORS UNPLUGGED”      - Louis Friedlander & Georgia Lamb

Friedlander & Lamb’s project attempts to speak to the human urge to 

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WORLDWIDE BEVERAGE - “THE LANGUAGE OF ALCOHOL”

“BEERLINGO”      - Juan Rodriguez, Andres Felipe Guevara Escobar, Juan Diego Rivera Pineda & Daniel Sanchez Caicedo

DIGITAL BARMATS - “AN AID TO STRIKE UP CONVERSATION”

“OFFLINE DATING”      - Gabriella Holmes, Callum Stacey & Youmna Hazzaa

UNPLUG & REFRESH - “SITTING BACK WITH AN ICE COLD BREW”

“CHILL CHAPTER”      - Yash Bhut & Alyona Golikova

MODERN LUXURY FOR THE NEXT GENERATION OF HUSTLERS - “COLLECTIBLE, CLEAN & ENVIRONMENTALLY SOUND”

“THINK DIFFERENT DRINK DIFFERENT”      - Toby Rivett

USING ANALYSIS AS A TEACHABLE EXPERIENCE - “WHAT WAS LEARNT?”

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[thiccboiidan]

adam friedland dasha nekrasova louis ck nick mullen chapo trap house gwen snyder

[schlock-luster-video]

On April 5, 1949, The Raven was re-released in the United States.

[sam-rothstein]

🔪🔪🔪

[screamscenepodcast]

The Raven (1935, Louis Friedlander) You’ll have a delightful time as we discuss this hidden gem, Bateman! It’s Episode 51 of Scream Scene: “Horror for Horror’s Sake”! https://screamscenepodcast.tumblr.com/post/171876105884/vaguely-inspired-by-edgar-allan-poe-comes-1935s

[serafino-finasero]

Irene Ware in the horror film The Raven (USA, 1935, dir. Lew Landers, as Louis Friedlander) | Universal Pictures