#Nicola Capone

[jpbjazz]

LÉGENDES DU JAZZ

HOMMAGE À CHRISTIAN ESCOUDÉ 1947-2024

Né le 23 septembre 1947 à Angoulême, en France, Christian Escoudé était d’origine tsigane par son père. La famille Escoudé, qui était d’origine espagnole, s’était installée en Charente lorsque les troupes nazies avaient envahi la France en juin 1940. La mère de Christian était d’origine charentaise.

Également guitariste, le père de Christian avait été très influencé par Django Reinhardt. Christian avait commencé à apprendre la guitare avec son père et son oncle à l’âge de dix ans. Après avoir joué dans différents bals de la région, Christian a été engagé en 1969, à l’âge de vingt et un ans, par l’orchestre d’Aimé Barelli à Monte-Carlo, dont il fera partie jusqu’en 1971.

DÉBUTS DE CARRIÈRE

Au début des années 1970, Escoudé s’installe à Paris et travaille comme musicien de studio avec des vedettes de la musique pop comme Jean Ferrat, Michel Fugain et Nicole Croisille.

Escoudé a amorcé sa carrière professionnelle en 1972 en se produisant avec le trio du batteur Aldo Romano, qui comprenait également Eddy Louis à l’orgue et Bernard Lubat à la batterie. Plus tard, Escoudé s’était joint au Swing String System de Didier Levallet et au Michel Portal Unit. Après avoir remporté le Prix Django Reinhardt décerné par l'Académie du Jazz en décembre 1975 (il est un des seuls guitaristes de jazz à avoir remporté cet honneur), Escoudé avait formé un quartet avec le pianiste Michel Graillier, le batteur Aldo Romano et le contrebassiste Alby Cullaz (qui fut bientôt remplacé par Jean-François Jenny-Clark). Escoudé avait travaillé par la suite avec Michel Portal, Slide Hampton, Martial Solal et Jean-Claude Fohrenbach.

En 1978, Escoudé s’était produit au Festival de jazz de Nice aux côtés de John Lewis, Bill Evans, Stan Getz, Freddie Hubbard, Philly Joe Jones, Elvin Jones, Lee Konitz et Shelly Manne. La même année, Escoudé avait joué pour la première fois au Festival de Samois dans le cadre d’un hommage à son idole Django Reinhardt. Il a aussi enregistré avec le contrebassiste Charlie Haden. L’année suivante, Escoudé s’était produit au Festival de Dakar avec un trio composé du pianiste René Urtreger, du contrebassiste Pierre Michelot et du batteur et compositeur d’origine suisse Daniel Humair.

À l’été 1980, Escoudé avait obtenu une des grandes chances de sa carrière lorsqu’il avait été invité à jouer en duo avec le guitariste de fusion John McLaughlin, avec qui il avait fait une tournée aux États-Unis, au Brésil et au Japon. L’année suivante, Escoudé s’était joint au big band de Martial Solal. Après avoir joué aux États-Unis avec le quartet du batteur Shelly Manne en 1982, Escoudé a formé son propre quartet avec  Olivier Hutman aux claviers, Nicolas Fitzman à la contrebasse et Jean My Truong aux percussions. Ces deux derniers avaient été remplacés par la suite par Jean-Marc Jafet et Tony Rabeson.

En 1983, Escoudé forme un duo avec le violoniste Didier Lockwood. Le groupe s’était par la suite transformé en trio après l’ajout du guitariste belge Philip Catherine. Après avoir formé un trio avec le violoncelliste Jean-Charles Capon et le contrebassiste Ron Carter en 1985, Escoudé avait formé le Trio Gitan avec Boulou Ferré (le fils de Matelo Ferret) et Babik Reinhardt, le fils de Django. En 1987, il se produit en duo avec le pianiste Michel Graillier.

En 1988, Escoudé s’était joint à un quartet composé de Jean-Michel Pilc, François Moutin et Louis Moutin. L’année suivante, Escoudé avait fondé un octet avec les guitaristes Paul Challain Ferret, Jimmy Gourley et Frédéric Sylvestre, l’accordéoniste Marcel Azzola, le violoncelliste Vincent Courtois, le contrebassiste Alby Cullaz et le batteur Billy Hart.

DERNIÈRES ANNÉES

En 1990, Escoudé s’était produit au légendaire Village Vanguard de New York avec le pianiste Hank Jones, le contrebassiste Pierre Michelot et le batteur Kenny Washington. L’année suivante, Escoudé avait enregistré un album entièrement consacré à des compositions de Django Reinhardt. L’album avait été enregistré avec avec un orchestre à cordes. En 1993, Escoudé enregistre à Los Angeles avec Lou Levy, Bob Magnusson et Billy Higgins.

En 1998, Escoudé avait enchaîné avec ‘’A Suite for Gypsies’’, un album de jazz-fusion destiné à honorer les enfants gitans morts dans les camps de concentration nazis. Deux ans plus tard, Escoudé remporte le Grand Prix de la SACEM.

À l’occasion du 50e anniversaire de la mort de Django en 2003, Escoudé avait formé un big band de dix-sept musiciens dans lequel il explorait l’héritage musical de Reinhardt tout en y incorporant ses  propres idées harmoniques et rythmiques. L’année suivante, Escoudé avait créé le  New Gypsy Trio avec David Reinhardt (un autre parent de Django) et Martin Taylor (aussi connu sous le nom de Jean-Baptiste Laya). Après avoir publié l’album Ma Ya en 2005, Escoudé avait formé le Progressive Sextet avec Marcel Azzola, Jean-Baptiste Laya, Sylvain Guillaume, Jean-Marc Jafet et Yoann Serra.

En 2012, Escoudé avait rendu hommage à l’auteur-compositeur Georges Brassens dans le cadre de l’album ‘’Christian Escoudé joue Brassens: Au bois de mon cœur.’’ Participaient également à l’album le contrebassiste Pierre Boussaguet et la batteuse Anne Paceo, ainsi que des artistes invités comprenant la violoniste Fiona Monbet, le clarinettiste  Andre Villeger, le guitariste Biréli Lagrène et le guitariste manouche de onze ans Swan Berger.

En 2019, Escoudé avait surpris tout le monde en lançant à l’abbaye de Saint-Amant-de-Boixe un second album en hommage à son idole Django Reinhardt.

Christian Escoudé est mort d’un cancer le matin du 13 mai 2024 à Saint-Amant-de-Boixe (Charente), près d’Angoulême, à l’âge de soixante-seize ans. La mort d’Escoudé avait été annoncée par Max Robin, le directeur artistique de la compagnie Label Ouest qui avait publié son dernier album intitulé ‘’Ancrage.’’ Décrivant Escoudé comme un grand musicien, compositeur et improvisateur, Robin avait souligné son engagement dans la musique.

Escoudé avait été victime d’un cancer particulièrement foudroyant. Jean Ledroit, un ami et voisin d’Escoudé à Saint-Amant-de-Boix ‘’On devait jouer avec lui il y a trois semaines à Mansle mais il était déjà malade. C’est brutal {...}. On a perdu un monstre sacré du jazz, le digne successeur de Django Reinhardt ’’.

François Ducharme, l’ancien président de l'Académie du jazz et un des programmateurs de l'émission de radio "Club Jazzafip", avait ajouté: "Un musicien intuitif avec cette poésie au bout des doigts. Un enfant de la balle, comme on dit, à qui on a mis une guitare dans les mains et qui en a fait son métier très jeune, jouant dans les bals, localement, avant de monter à Paris".

Caractérisé par un style très mélodique et très chaud, Escoudé avait participé à l’enregistrement de plus de 50 albums au cours de sa carrière. Le style d’Escoudé était un mélange de bebop et de musique gypsy. Passionné par le jazz, Escoudé s’intéressait également à la musique de chambre. Comme compositeur, Escoudé avait été très influencé par Gil Evans, Claus Ogerman et Antonio Carlos Jobim. En 2022, Escoudé avait vu sa carrière être couronnée par la remise d’un prix Victoire d'honneur du Jazz.

Reconnu pour sa modestie et son sens de l’humour, Escoudé ne s’était jamais enflé la tête avec ses réalisations. Françoise Giroux-Mallot, la mairesse de Saint-Amant-de-Boixe, avait commenté: ‘’C’était quelqu’un d’accessible, modeste et bienveillant.’’ Au cours d’une de ses dernières entrevues, Escoudé était d’ailleurs demeuré très terre-à-terre. Il avait précisé: ‘’On les perd forcément {nos illusions} à un moment mais je pense avoir respecté mon intégrité. Je n’ai jamais été très loin dans les excès, ce n’est pas dans ma nature.’’

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

[cinquecolonnemagazine]

Life for Gaza a Napoli

Sono state centinaia le richieste di biglietti extra ricevute per partecipare al concerto pacifista Life for Gaza, in programma domani 25 febbraio al Palapartenope di Napoli ma non vi è assolutamente modo di aggiungere tagliandi al sold out registrato al botteghino con diversi giorni di anticipo. Eugenio Bennato Tuttavia coloro che hanno mostrato solidarietà e compassione con il popolo palestinese, in questa fase di genocidio subito da Israele, possono ugualmente esprimere la propria vicinanza aderendo alla campagna di donazioni ancora attiva sulla piattaforma web Produzioni dal Basso o visitando il sito internet www.pergaza.it. Sarà anche possibile donare 1 euro mangiando una pizza Stop War alla pizzeria Pizza Social Lab adiacente al Palapartenope. La somma andrà a Medici Senza Frontiere. I cancelli di ingresso apriranno alle 18 e a partire dalle 18.50 comincerà quello che è annunciato come un concerto/evento per la pace, promosso dalla Comunità Palestinese Campania e da Assopace Palestina per sensibilizzare l’opinione pubblica, sostenere la causa del popolo palestinese e raccogliere fondi da destinare a Medici Senza Frontiere e Palestinian Medical Relief che operano nei territori occupati dalle azioni di guerra. Nel cast multiplo figurano musicisti, cantanti, attrici, scrittori, fotoreporter, illustratori. Fiorella Mannoia Tra questi, Laura Morante, Enzo Gragnaniello, Osanna, Fiorella Mannoia, Franco Ricciardi, Eugenio Bennato, La Maschera, 99 Posse, Daniele Sepe con Capitan Capitone e i Fratelli della Costa, Elisabetta Serio, Francesco Forni, Dario Sansone, E Zézi, Sandro Joyeux, Ciccio Merolla, Valerio Jovine, Giovanni Block, Massimo Ferrante, Capone & BungtBangt, Lino Cannavacciuolo, Suonno D’ajere, Ars Nova, Carlo Faiello, Marzouk Mejri, Pietro Santangelo Quartet, Nicola Caso, Anastasio, Helen Tesfazghi & Afroblue, Alorem, Frente Murgero Campano, Vauro, Mimmo Lucano, Ascanio Celestini, Valeria Parrella, Alessandro Rak, Rosaria De Cicco, Eduardo Castaldo, Antonio Biasiucci.  Condurranno la serata l’attrice Dalal Suleiman e la speaker radiofonica Sara Lotta.  Aderiscono anche Moni Ovadia, Sabina Guzzanti, Piero Pelù, Ferzan Özpetek, PeppOh, Marisa Laurito, Saverio Costanzo, Alessandro Bergonzoni, Antonella Stefanucci, Kabìla, Alan De Luca, Lino D’Angiò, Fiorenza Calogero, Claudia Megrè, Fede Torre, La Terza Classe, Il Parto delle Nuvole Pesanti, Annibale, Maurizio Braucci e Falastin Hurra - Collettiva di fumettisti e illustratori italiani e internazionali per la Palestina libera.  Laura Morante Ancora: Pagine Esteri, Cultura e libertà per la Palestina, Femminile Palestinese, Memoria in movimento, Santari per Gaza-Napoli, Donna in Nero Napoli, ⁠Donne per la pace Napoli, Free Assange Napoli, Rete studentesca per la Palestina.  Con il supporto di Time 4 Stream, Pibiesse, Radio zar zak, Pizza Social Lab e Kosmopolis. Read the full article

[nardogranata]

Guadalupi decide il match. Toro vincente a Barletta.

BARLETTA - NARDO' 0-1

Goal: 21' Guadalupi.

BARLETTA (3-5-2): Sapri; Inguscio, Capone, Lacassia; De Marino (69' Diaz), Fornaro (81' Belladonna); Schelotto (81' Basanisi), Cafagna (Ngom) Garofalo; La Monica, De Marco (55' Eyango). Reserve: Bufano, Camilleri, Lippo, Rizzo. Trainer: Leonardo Bitetto

NARDO' (3-5-2): Viola; De Giorgi (88' Urquiza), Lanzolla, Gennari; Milli (71' Ciracì), Borgo (65' Latagliata), Guadalupi, Gentile, Di Benedetto; Dambros (85' Ferreira), D'Anna. Reserve: Della Pina, Dammacco, Cellamare, Rossi, Mariani. Trainer: Nicola Ragno

Arbitro: Daniele Arone di Roma 1 Assistenti: Francesco Raccanello di Viterbo e Massimiliano Cirillo di Roma 1

Ammoniti: Milli, Guadalupi (N) De Marino (B)

Guadalupi ritrova il goal su punizione dopo un anno e mezzo e il Nardò sbanca Barletta. Una partita proibita agli esteti del calcio che ha visto prevalere la concretezza dei neretini determinati a difendere il minimo vantaggio fino al fischio finale.

Non era scontato, nè facile per la compagine di Mister Ragno, oggi sostituito in panchina da Luciano Volturno per squalifica vincere al Puttilli. Il Barletta aveva l'imperativo di fare punti in chiave salvezza in un periodo di stravolgimenti tecnici e di possibili cambi societari con una tifoseria in fermento. Il Nardò ha saputo mettere da parte tutte le possibili pressioni psicologiche e ha portato a casa una vittoria di valore tecnico e morale.

La cronaca è scarna ma significativa. Il Nardò subito approccia con il pressing alto impedendo al Barletta giocate lineari e mettendolo in soggezione nelle ripartenze con palla rubata. La difesa barlettana regge concedendo a De Giorgi e Gentile solo dei cross su cui Sapri e il pacchetto difensivo prevalgono sulle punte Dambros e D'Anna.

La svolta arriva al 21' quando Borgo scambia con Guadalupi e centralmente fila verso l'area barlettana. Ci pensa Schelotto con uno spintone ad atterrare il ragazzo ex Lecce. Punizione dal limite. Sul pallone va Guadalupi e dopo il solito convegno sulla formazione della barriera e dell'antibarriera, il regista granata piazza un pallone velenoso proprio sul lato del portiere che, con visuale coperta, non riesce a intercettare la velenosa palombella. 0-1 ed esultanza sotto la curva neretina.

Il Barletta reagisce di nervi e manca di lucidità ma nel finale di tempo arriva l'occasione d'oro per pareggiare. Lunga sgroppata centrale di Garofalo con tiro radente deviato in tuffo da Viola, La Monica raccoglie da posizione defilata ma il tiro si infrange sul palo esterno.

Nel secondo tempo il Nardò pensa bene di tenere alto il baricentro per evitare sgradevoli sorprese in area. Viola deve intervenire in uscita alta sui cross di Schelotto e Lacassia. I biancorossi non pungono e Bitetto inserisce Ngom ed Eyango per dare maggiore incisività alla manovra. Il Nardò però non arretra e va vicino al raddoppio con D'Anna al 70'. Cross di Ciracì, spizzata dell'ex brindisino e reazione immediata di Sapri con palla alzata sopra la traversa.

Il Barletta guadagna un corner con Eyango con traversone spazzato da Lanzolla. Gli ultimi 20 minuti il Nardò li gioca col cronometro puntato. Falli, palloni trattenuti in attacco, interruzioni ad arte e tempo di gioco ridotto ai minimi termini.

I biancorossi non riescono mai a impensierire i granata che al 93' avrebbero la palla del definitivo match point. Gentile si libera in area e batte a colpo sicuro ma Sapri si oppone da campione deviando in corner. E sugli ultimi giochi sotto la bandierina si spegne il match con il Nardò ad incassare tre punti per stare ancora alle calcagna dell'Altamura mentre a Barletta il futuro si fa fosco e la zona play out molto chiara e delineata.

[lamilanomagazine]

Bari, Colibrì - la Rete delle biblioteche di Bari domani l’inaugurazione della biblioteca Lombardi co IC "Grimaldi -Lombardi"

Bari, Colibrì - la Rete delle biblioteche di Bari domani l’inaugurazione della biblioteca Lombardi co IC "Grimaldi -Lombardi" Si terrà domani, venerdì 12 gennaio, alle ore 17, in via Lombardia 2, al quartiere San Paolo, l'inaugurazione della biblioteca "Lombardi", la più grande delle undici del progetto Colibrì – rete delle biblioteche di Bari, finanziato dall'avviso regionale Community library. La biblioteca, l'ultima della rete cittadina a essere inaugurata, progettata dallo studio di architettura MA0 di Roma, si struttura su tre livelli, su una superficie di 856 mq, e fa parte dell'Istituto Comprensivo "Grimaldi - Lombardi", con un accesso indipendente. Dispone di sale di consultazione con postazioni internet, schermi a soffitto, una sala comune per eventi e reading, sale riunioni, archivi e spazi per laboratori artistico-culturali. Al momento è fornita di un ampio catalogo di letteratura per l'infanzia e l'adolescenza, fumetti, albi illustrati e di una nutrita selezione di narrativa per adulti, oltre che di una sezione di libri in Braille per ipovedenti. La dotazione libraria potenziale è di almeno 20.000 volumi e ha un orientamento alla lettura che va dall'infanzia agli young adults. L'ATS che gestirà la struttura per i prossimi 36 mesi, nata ad esito del percorso di co-progettazione avviato dal Comune di Bari con fondi PON Metro 2014-2020, è formata dalla Cooperativa Sociale I Bambini di Truffaut, capofila del progetto, in partnership con la Fondazione Giovanni Paolo II onlus Domani al taglio del nastro interverranno il sindaco di Bari Antonio Decaro, l'assessora alle Politiche educative e giovanili Paola Romano, la presidente del Consiglio regionale Loredana Capone, la dirigente scolastica Giuseppina Pastore, il presidente del Municipio III Nicola Schingaro, i responsabili dell'Ats e lo scrittore Mario Desiati, premio Strega 2022, che per l'occasione dialogherà con 100 studenti della Lombardi a proposito del suo romanzo "Mare di zucchero" (Mondadori).... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[reginadeinisseni]

Ginger e Fred Official Trailer #1 - Marcello Mastroianni Movie (1986)

TONINO GUERRA Federico Fellini2 BALLERINI: QUANDO SI SEPARERANNO L UOMO ANDRA' IN MANICOMIOSoggetto Federico Fellini, Tonino Guerra. Sceneggiatura Federico Fellini, Tonino Guerra, Tullio Pinelli Produttore Alberto Grimaldi Fotografia Tonino Delli Colli, Ennio Guarnieri Montaggio Nino Baragli, Ugo De Rossi, Ruggero Mastroianni Effetti speciali Adriano Pischiutta Musiche Nicola Piovani Scenografia Dante Ferretti Trucco Amedeo Alessi Interpreti e personaggi Giulietta Masina: Amelia Bonetti/Ginger Marcello Mastroianni: Pippo Botticella/Fred Franco Fabrizi: Aurelio, il presentatore Ezio Marano: scrittore Totò Mignone: Totò Jacques Henri Lartigue: Frate Gerolamo Augusto Poderosi: Evelina Pollini Friedrich von Ledebur: ammiraglio Aulenti Friedrich von Thun: Armando Bissanti Antonino Iuorio: ispettore di produzione Fabrizio Fontana: Floris Tartarina Barbara Scoppa: Barbara, giornalista di gossip Elisabetta Flumeri: giornalista Claudio Botosso: giornalista nello studio televisivo Salvatore Billa: Clark Gable Leonardo Petrillo: Marcel Proust Daniele Aldrovandi: Marty Feldman Eolo Capritti: Telly Savalas Ginestra Spinola: chiromante Sergio Ciulli: figlio della chiromante Elena Cantarone: infermiera Alex Partexano: marinaio Stefania Marini: Stefania Roberto Accornero: autista pulmino Francesco Casale: Catanzaro, il mafioso Rosario Galli: Angelo Stefano Gragnani: De Nittis Ennio Antonelli: il facchino Giorgio Juorio: Salvatore Gianfranco Alpestre: avvocato rapito Franco Marino: impresario nani Davide Marotta: un nano Ivano Marescotti: un uomo del presidente Doppiatori originali Alberto Lionello: presentatore Tv Gianni Bonagura: Totò Mario Maranzana: Frate volante Corrado Gaipa: L'ammiraglio Aulenti Marco Bresciani: Travestito Oreste Lionello: presidente della rete televisiva, Woody Allen, scrittore Claudio Capone: un intervistatore Enzo Liberti: cameriere Pino Ammendola: onorevole Tartina Pino Insegno: cameriere Oreste Rizzini: presidente TV Solvejg D'Assunta: signora Silvestri, attrici, donna con corona Carlo Croccolo: signor Guadascone, frate guardiano Mario Maranzana: frate Gerolamo Piero Tiberi: Angelo HD

[rei-the-head-shaker]

" Nicolas diede appuntamento ai tre sotto casa sua un'ora dopo. Motorino e caschi, quella era la consegna, lui avrebbe portato la mazza. Qualche anno prima si era appassionato al baseball e aveva cominciato a collezionare cappellini. Non ci capiva niente delle regole e una volta si era visto una partita su Internet ma si era stancato subito. Però la fascinazione di quel mondo così americano non aveva allentato la presa e allora una volta si era fottuto una mazza che a Mondo Convenienza si erano dimenticati di etichettare. Non l'aveva mai usata, ma gli piaceva, la trovava aggressiva, cattiva nella sua semplicità, identica a quella che aveva Al Capone negli Intoccabili. "

_“La paranza dei bambini” di Roberto Saviano

[marcogiovenale]

4 novembre, exp - caffè delle esposizioni, roma: incontro con epp & stalker su "trame. ratiche e saperi per un'ecologia situata" (tamu)"

4 novembre, exp – caffè delle esposizioni, roma: incontro con epp & stalker su “trame. ratiche e saperi per un’ecologia situata” (tamu)”

https://www.facebook.com/events/555833126543621 Evento di Libreria Trastevere, Tamu Edizioni e Carmine Conelli Ecologie Politiche del Presente (EPP) incontra Stalker a partire dai temi del libro Trame. Pratiche e saperi per un’ecologia situata (Tamu). Ne parlano: Daniela Allocca (EPP) Daniele Valisena (EPP) Lorenzo Romito (Stalker) Giulia Fiocca (Stalker) il libro Trame raccoglie, partendo da…

[dagonet]

Kaamelott, Livre VI : Dux bellorum

[hvnc]

[tuppencetrinkets]

Sorted screencaps from The Boys, S1-3. Found HERE.

A-Train / Jessie T. Usher #16,800

Actress (Stormfront) - Charlize Theron #500

Adam Bourke - P.J. Byrne #1,370

Alastair Adana - Goran Visnjic #1,800

Also Ashley - Sabrina Saudin #900

Anika - Ana Sani #1,300

Annie January / Starlighter - Erin Moriarty  #78,000

Ashley Barrett - Colby Minifie #14,700

Becca Butcher - Shantel Van Santen  #7,800

Billy Butcher - Karl Urban #64,800

Black Noir - Nathan Mitchell #183

Blue Hawk - Nick Wechsler #1,600

Cameron Coleman - Matthew Edison #1,300

Carol Manning - Jessica Hecht #915

Cassandra - Katy Breier #3,500

Cherie - Jordana Lajoie  #1,000

Connie Butcher - Lesley Nicol  #248

Crimson Countess - Laurie Holden  #1,700

Donna January - Ann Cusack  #3,200

Eagle the Archer - Langston Kerman  #1,400

Elena - Nicola Coccia-Damude  #2,900

Ezekiel - Shaun Benson  #1,000

Frenchie -  Tomer Capone  #30,000

Gecko - David W. Thompson #357

Grace Mallory - Laila Robins  #7,500

Gunpowder - Sean Patrick Flanery / Joel Gagne #950

Homelander - Antony Starr #80,000

Hugh Campbell - Simon Pegg #1,300

Hughie Campbell - Jack Quaid  #82,800

Janine - Liyou Abere / Nalini Ingrita #1,300

Jonah Vogelbaum - John Doman #1,500

Judy Atkinson - Barbara Gordon #400

Kenji Miyashiro / Mouse - Abraham Lim #1,800

Kevin Moskowitz / The Deep - Chace Crawford #22,174

Kimiko Miyashiro - Karen Fukuhara #20,000

Lamplighter - Shawn Ashmore #4,300

Lenny Butcher - Jack Fulton #800

Little Nina - Katia Winter #2,200

Madelyn Stillwell - Elisabeth Shue #12,400

Maggie Shaw / Maeve - Dominique McElligott #23,600

Mesmer - Haley Joel Osment / Aram Avakian #3,700

Mindstorm - Ryan Blakely #411

Monique - Frances Turner / Alvina August #1,500

Mother’s Milk - Laz Alonso #25,000

Nathan - Christian Keyes #2,500

Popclaw - Brittany Allen #3,300

Robert Singer - Jim Beaver #1,800

Robin - Jess Salgueiro #800

Ryan - Cameron Crovetti #8,000

Sam Butcher - John Noble #500

Soldier Boy - Jensen Ackles #8,900

Stan Edgar - Giancarlo Esposito #6,400

Stormfront - Aya Cash #15,400

Supersonic - Miles Gaston Villanueva #3,400

Susan Raynor - Jennifer Esposito #2,900

Tessa (TNT) - Kristin Booth #600

The Legend - Paul Reiser #1,800

Todd - Matthew Gorman #1,200

Tommy (TNT) - Jack Doolan #600

Translucent - Alex Hassell #800

Victoria Neuman -  Claudia Doumit #7,500

Young Butcher - Luca Villacis / Josh Zaharia #300

Young Lenny - Bruno Rudolf #800

Young Mallory - Sarah Swire #1,600

Young Nadia - Elisa Paszt #200

Young Sam Butcher - Brendan Murray #150

Young Stan Edgar - Justin Davis #800

Young Starlight - Maya Misaljevic #500

This content is free for anyone to use or edit however you like; if you care to throw a dollar or two my way for time, effort, storage fees etc you are more than welcome to do so via my PAYPAL.  Please like or reblog this post if you have found it useful or are downloading the content within.  If you have any questions or you have any problems with the links or find any inconsistencies in the content, etc. please feel free to drop me a politely worded message via my ASKBOX (second icon from the top on my theme!)  

[caponenicola]

[cartecaystudios]

Nicola Capone

[art-now-italy]

sign0010, Nicola Capone

digital art- round blue

https://www.saatchiart.com/art/New-Media-sign0010/424294/2846767/view

[hvnaa]

@alexis-vaughn

It was beautiful. All of this festival was damn beautiful even if Alexis usually never was into that sentimental bullshit. But the best weren’t the lights or the drinks and food, it was the way Hana was walking up to her with that wide smirk and that outfit her family probably wanted to see her in. It was a short silver dress and Alex couldn’t deny that it was unusual for her but definitely looked in any way more stunning that she had hoped for. Damn keeping the distance would be a problem here.

With a soft hey they greeted each other, Hana gesturing over her shoulder to tell her where her parents were who organized the event. Alex was only invited cause she was the families private lawyer, but in fact she came to see Hana, even if she wouldn’t admit that.

“This is gorgeous.” Alex spoke like she was meaning the festival but in reality she was looking at the girl in front of her and couldn’t help the big smile. “Wanna show me around?” Luckily Hana agreed and Alex hoped that they could at least sneak around a corner for a moment so she could give her a kiss. Just one. Or two.

Sadly the event was so crowded that there weren’t really empty corners, but as they stood behind a big buffet table, Alex linked her pinky secretly with Hana’s and stepped as close as possible while she was filling them some glasses. “You look beautiful tonight.” she hushed into her ear and took the offered glass a moment later which forced them to unlock their fingers.

“Only tonight?” Hana asked back in a playful tone, knowing that she could say that as loud as she wanted cause no one would understand it anyways.

“Nah, always.” Alex corrected herself with a wink and clinked their glasses to take a sip before Hana’s parents finally found their personal lawyer and welcomed her with open arms, while Hana could just stand and watch to not reveal their actual connection.

she rarely ever humored her parents when it came to elaborate events; her being here at all was a miracle in and of itself that at least kept her mother smiling. her mother...happened to be the most capable and dangerous person within their family, but one wouldn’t know that at first glance or even at a hundredth glance. she was kind and gentle, she was adoring and spoke softly, genuinely too. in truth hana couldn’t complain about her family in ways that most people likely could; she didn’t have that sort of troubled upbringing that was so common, she had never been abused, she had never wanted for anything materialistic, the only thing she had wanted for was her freedom to stretch and flee and explore adulthood long before her parents had been ready for that, but struggles with her parents? not entirely. 

nicola, her mother, was extremely beautiful, inside and out, the mother who only wished to cook large meals and bake and decorate the family home according to the season. yet she was the one with the capone name. her father, wolfe....liked nice things, he liked his gun collection, antiques, he enjoyed the classics when it came to cars meant to be polished not driven, and he....liked the capone name marriage had tethered closely to his. he enjoyed the business that nicola shunned more than she acknowledged. his work, was no doubt the reason lawyers were so important, not due to ending up in court rooms. in fact...hana couldn’t recall a time her family had ever been in a court room, but that was due to the large number of connections. in any case...despite hana’s mostly detached and passive relationship with her parents, she was grateful for having met alex as one of those many connections, no, assets, acquired through the years. seeing her tonight looking as incredible as she did...hana was even more thankful.

her wine glass was brought to her lips, another symptom of ‘humoring’ her parents event and making an appearance. the first reason had been because it was the holidays. around christmas hana was always more agreeable to show up, both to small parties at the family estate, larger events, and then back to her hometown for mass at her family’s catholic church. after the holidays she would become more flighty, at least until easter called her home again. quickly becoming the main reason hana was here? alex. her mother approached first to wrap alex into a warm embrace of greeting, genuinely happy alex was there. after all...it was hana’s father who caused most of the issues that made alex’s job necessary. her mother simply beamed when she saw alex around, happy with the party by itself, not like her father was happy to have potential business deals come his way. when her mother stepped back, her father was there to greet alex, and then hana took one more sip of wine and set her glass down, reaching for alex’s hand even in front of them. 

“i promised to show you around. before they start suffocating me towards the door.” hana shot at her parents, smiling though as clearly her words were teasing. she tugged alex away and left them to go back to whatever they wanted. hana pulled alex towards a door in a direction they hadn’t tried, and while the corridor just outside was a bit crowded...she pushed her way through with her eyes set on the other end of the corridor...where the lights were dimmer, and where no one seemed to be gathered...because maybe in that direction they could find somewhere to be alone.  

[rfsnyder]

Nicola Capone

[sssshhhthefilmsabouttostart]

The best and worst films of 2020

Let’s be honest - 2020 was an extremely shitty year for moviegoers everywhere, as the Queen would say an annus horribilis.

Due to the Covid pandemic’s dramatic impact on nearly every facet of human life, cinemas closed, film festivals went virtual and film productions became an intricate mess of insurance and safety challenges.

Yet despite these dire challenges and an unpredictable future, cinema remained very much alive throughout the year, with a wide range of ambitious undertakings snaking their way into whatever form of release seemed viable. Blockbusters receded to the background, allowing a wide range of movies to trickle through an uncertain marketplace that would have been hostile to them even in pre-pandemic times.

So what cinematic gems and unmitigated disasters were dropped upon audiences during the year?

Ladies and gentlemen, may we please offer for your consideration...

HONOURABLE MENTIONS

THE CURRENT WAR - THE LIGHTHOUSE - IN FABRIC - BEING FRANK: THE CHRIS SIEVEY STORY (D) - BOMBSHELL - THE PEANUT BUTTER FALCON - THE SOCIAL DILEMMA (D) - LIGHT OF MY LIFE - THE ASSISTANT - THE LODGE - THE GENTLEMEN - THE WAY BACK - DARK WATERS - 1917 - THE BURNT ORANGE HERESY - THE HUNT

2020′S TOP TEN BEST FILMS

10. THE WOLF OF SNOW HOLLOW

Hot off the critical success of his debut feature ‘Thunder Road,’ writer-director Jim Cummings’ refreshing yet effective take on the werewolf genre amped up the dark comedy whilst delivering quite a few chills. Tinged with realistically flawed characters and clever scares, ‘The Wolf of Snow Hollow’ might not have been your typical werewolf flick but it successfully managed to bring that classic legend to life once again.

9. LET HIM GO

Previously last seen together as Clark Kent’s adoptive parents in ‘Man of Steel,’ Diane Lane and Kevin Costner were reunited onscreen as husband and wife again in writer-director Thomas Bezucha’s neo-Western drama ‘Let Him Go.’ Adapted from author Larry Watson’s 2013 novel, the film featured stunning landscapes, full-blooded moments of sudden violence and compelling performances from Diane Lane, Kevin Costner and, most memorably, Lesley Manville’s turn as a gritty and cunning matriarch.

8. COLOUR OUT OF SPACE

Based on the classic short story by HP Lovecraft and featuring another scene-stealing performance from Nicolas Cage, this clever adaptation was an effective horror film with an unrelentingly grim sci-fi bent. In addition to the truly disturbing and inspired images of queasy body horror, ‘Colour Out of Space’ also marked the eagerly-anticipated re-emergence of filmmaker Richard Stanley (his first time back in the director’s chair since being fired from his 1996 remake ‘The Island of Dr Moreau’).

7. THE INVISIBLE MAN

Who knew a remake could be so refreshing? With this updated take on the H.G. Wells tale, writer-director Leigh Whannell did just about everything right, delivering a tense, clever thriller with touches of both horror and sci-fi. As the fascinatingly flawed yet appealing tough protagonist, Elisabeth Moss gave a captivating performance in a film that was chilling in all the right ways, packed with plenty of twists and a deliciously nasty resolution.

6. THE TRIAL OF THE CHICAGO 7 (NETFLIX)

Whilst the subject matter of ‘The Trial of the Chicago 7′ shared an uncanny relevance to today’s politically charged times, as a gripping courtroom drama with a stellar cast, the film ticked all the boxes. ‘West Wing’ creator Aaron Sorkin put his trademark traits - razor-sharp wit, rhetorical flair and political insight - to very good use in this masterful retelling of the trial following the 1968 anti-war protests outside the Democratic National Convention.

5. HEARTS AND BONES

In his debut feature film, Australian director Ben Lawrence created a spiritually rich and immersive drama about the relationship between a grizzled, broken war photographer and a Sudanese refugee. Whilst Hugo Weaving was note-perfect in his portrayal as a crumbling man wrestling with his past, equally impressive was first time actor Andrew Luri who delivered a quiet yet memorable performance in what was an affecting piece of cinema.

4. TOTALLY UNDER CONTROL (DOCUMENTARY)

Watching a documentary about the COVID-19 crisis in the middle of a global pandemic might not sound appealing but prolific filmmaker Alex Gibney’s latest work was easily the most essential non-fiction film of 2020. Shot safely in secret for five months, ‘Totally Under Control’ played out like a tightly-wound thriller as it placed the Trump Administration’s inept response to the coronavirus pandemic under the microscope.

3. BAD EDUCATION (HBO)

As far as crime stories go, embezzlement isn’t always the most thrilling subject. However, ‘Bad Education’ turned a relatively simple white collar crime story about a New Jersey school administrator caught stealing money into a compelling drama, thanks to an incisive and nimble script and spot on performances from Allison Janney, Geraldine Viswanathan, Ray Romano and especially Hugh Jackman.

2. MANK (NETFLIX)

Director David Finch’s dazzling portrait of Herman J. ‘Mank’ Mankiewicz, the screenwriter who collaborated with wunderkind filmmaker Orson Welles to write the first draft of ‘Citizen Kane,’ was a cinematic jewel from start to finish. Similar to last year’s ‘Once Upon A Time in...Hollywood,’ ‘Mank’ delivered a layered depiction of the filmmaking process, whilst Gary Oldman continued to excel at immersing himself in playing real-life characters, this time as the hard-drinking, intellectual screenwriter.

1. NOMADLAND

Writer-director Chloe Zhao’s intimate drama about an unemployed widow living as a van-dwelling modern-day nomad was a thoughtful, contemplative and reflective piece of storytelling. It may have touched upon mature themes about loneliness, financial instability and restlessness, but ‘Nomadland’ remained an uplifting and hopeful piece of cinema that captured the various bittersweet reasons people choose to live a life on the road.

With an outstanding performance from Frances McDormand, brought to life through the charm of the ‘real life’ supporting cast, great direction and Joshua James Richard’s mesmerising cinematography, ‘Nomadland’ was the perfect film for 2020.

...AND NOW THE WORST!

DISHONOURABLE MENTIONS

VAMPIRES VS THE BRONX - BAD BOYS FOR LIFE - THE OLD GUARD - PROJECT POWER - ISN’T IT ROMANTIC - THE RHYTHM SECTION - WHERE’D YOU GO, BERNADETTE - I’M THINKING OF ENDING THINGS - MIDWAY - YOU SHOULD HAVE LEFT - BABY DONE - FORCE OF NATURE - CAPONE - THE NEW MUTANTS - DOOLITTLE

10. WONDER WOMAN 1984

To quote Red Letter Media’s resident film critic Mike Stoklasa, “this movie was the cinematic equivalent of the Bluesmobile.” Directed by Patty Jenkins, this 80′s-set sequel to the 2017 DC superhero hit was lethargically paced and featured a completely bonkers narrative that made absolutely no sense. Horribly scripted, disjointed and overstuffed (a runtime of 2.5 hours), ‘Wonder Woman 1984′ sadly jettisoned everything that made Jenkins’ original film so compelling. The result? An appalling misfire.

9. THE GRUDGE

A curiously talented and interesting cast were somehow lured into - and subsequently wasted in - this pointless, tired, reboot/revival of the long-running ‘Ju-On’ Japanese-based horror series. Despite director NIcholas Pesce’s attempt to disguise the rudimentary nature of the plot via back-and-forth timeline jumping, ‘The Grudge’ was just a formulaic paint-by-the-numbers meander through a poorly developed story that existed only to prop up a bunch of uninspired jump scares.

8. BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN)

There are many movies that have no reason to exist - and this latest misfire from DC Comics was one of them. Directed by Cathy Yan, ‘Birds of Prey’ was a mire of uninspired ideas and recycled genre conventions that got old real quick. Penned by Christina Hodson (’Bumblebee’ being the ‘highlight’ on her resume), the script was as simplistic as it was thin, with needless subplots merely introduced to inflate the film to a decent running time. Even Margot Robbie’s manic performance as the ‘Mistress of Mayhem’ couldn’t save this mess.

7. JAY AND SILENT BOB REBOOT

What could’ve been a dream film for fans of these two classic stoner characters instead was nothing but a string of cameos and callbacks in a plot-less bore. Director Kevin Smith sucked all the life and fun out of this watered-down story, that suffered from a constant series of awkward and forced jokes that were painfully unfunny. An unfortunate stinker.

6. AVA

This latest foray into the ‘female assassin for hire’ genre was about as cliched as you could get. An emotionally troubled female killer whose male mentor assumes the role of the surrogate father? Check. Pounding dance music score? Check. Obligatory nightclub fight sequence? Check. Confused love interest? You betcha! Humourless, dry and uninspired, ‘Ava’ played out like a poor man’s ‘La Femme Nikita.’

5. FANTASY ISLAND

Hollywood’s obsession with repackaging Gen-X childhoods continued with this absurd attempt to reboot the classic 1970′s TV series as a low-budget horror joint under the Blumhouse label. At a dangerously close two hour runtime, there was simply nothing interesting about the film’s characters or its inane plot about a mystical island that grants wishes (a’la ‘The Monkey’s Paw’). Our advice? Turn ‘de plane’ around if you ever plan to visit this ‘Fantasy Island.’

4. ARTEMIS FOWL

For every ‘Harry Potter’ that explodes into the public consciousness, there always seems to be a dozen or more failed franchises. Sadly, Disney’s ‘Artemis Fowl’ found itself in the latter category. Director Kenneth Branagh’s dull and superficial attempt to transfer this popular children’s book series from page to screen suffered from a lack of character development, an over-reliance in CG effects and featured a lifeless performance from newcomer Ferdia Shaw as the titular character. 

3. HUBIE HALLOWEEN (NETFLIX)

A month before last year’s Oscar nominations were released, Adam Sandler joked on ‘The Howard Stern Show’ that if the Academy snubbed him for his role in the film ‘Uncut Gems,’ he would make a movie “that [was] so bad on purpose.” And that’s exactly what happened. Supposedly a comedy, ‘Hubie Halloween’ was unfunny, disposable and completely devoid of any originality. Sadly for audiences, Sandler signed a four-movie deal with Netflix last year, worth up to $275 million - so we can expect to see more of this shit soon!

2. ALIEN ADDICTION

Aliens visit New Zealand and get high smoking human faeces? Someone should have advised Kiwi director Shae Sterling that audiences have moved on from such puerile comedies as this abomination. Suffice to say, if anybody ever admitted to finding this film remotely funny, they’d probably be outcast from society. An embarrassment to all those involved. 

1. THE BEACH BUM

Director Harmony Korine’s generic stoner comedy about a prolific poet who drifts through life in a drug-induced haze had all the natural high of an unfiltered, soggy joint and was easily, hands down, 2020′s worst film.

‘The Beach Bum’ was a pretentious and uninteresting movie whose lead character, considered to be an ‘artistic genius,’ was nothing more than a relentless shithead to everyone around him. As Moondog, the semi-naked, bongo-playing, pot-fuelled beat poet, Matthew McConaughey was insufferable and grating in his portrayal of a character you would quite easily want to punch in the face - repeatedly. Blazed and confused, ‘The Beach Bum’ had no plot, no class and no entertainment value whatsoever. 

MOVIE POSTERS

From the classic to the abstract, here is just a sample of some of the best poster designs from a highly unusual year of movies.

...AND FINALLY, WHEN WHEN IT COMES TO DIRE-LOG, THEY SAID WHAT!?

“I've never wanted anything more. But he's gone, and that's the truth. And everything has a price. One I'm not willing to pay. Not any more. This world was a beautiful place, just as it was, and you cannot have it all. You can only have the truth. And the truth is enough. The truth is beautiful” (’Wonder Woman 1984′).

And who could forget this little chestnut of advice...

“That is the only truth and truth is all there is. You cannot be the winner because you are not ready to win. And there is no shame in that. Only in knowing the truth in your heart and not accepting it. No true hero is born from lies” (’Wonder Woman 1984′).