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kult-of-tol-in-gaurhoth · 2 years

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THE FIRST PERSON TO PLAY BLUES ON AN ELECTRIC GUITAR -- THE FIRST GUITAR HERO IN THE HISTORY OF RECORDED MUSIC.

PIC INFO: Spotlight on Aaron Thibeaux "T-Bone" Walker (1910 – 1975) American blues musician, pioneer and innovator of the jump blues, West Coast blues, and electric blues sounds. Artwork by William Stout for his "Legends of the Blues" portraits series.

LEGACY & OVERVIEW: ""How significant was T-Bone Walker to the evolution of the blues?" he repeats the question. “Well,” he says after a long pause. “You look back at everyone who’s ever stood in front of a band playing the guitar and it all traces back to one man. T-Bone Walker was the first person to ever play blues on an electric guitar: How significant is that?”

But Vaughan knows Walker’s contributions go deeper than having access to new technology. Leaving it at that is like lauding a brilliant author for being the first to write a book using a word processor.

“T-Bone created a whole new language for the guitar,” says Vaughan, whose concise leads and impeccable sense of swing and rhythm show that his guitar speaks T-Bone fluently. He reaches for his 1951 Gibson hollow-body electric on the couch in his manager’s office on South Lamar; axe in hands he seems more comfortable talking about Walker, whose work in the 1940s was as major a musical influence as Texas has produced. Vaughan starts playing riffs you’ve heard on records by the Rolling Stones, Chuck Berry, Eric Clapton and Vaughan’s former Fabulous Thunderbirds and the conversation comes alive.

"You’ve heard this one a hundred times before,” he says, playing the driving intro to “The Crawl,” a T-Bird mainstay. “That’s a T-Bone lick. Here’s another,” he says, strumming the harmonic chords that open Walker’s most enduring composition, “Call It Stormy Monday.” Vaughan then hits a note and sustains it with a finger wiggle a la B.B. King, performs a jazz-billy run like the ones Scotty Moore used to play with Elvis Presley, executes the bent-note double stops identified with Chuck Berry, then apes the choppy rhythms of nascent funk guitarist Jimmy Nolen of James Brown’s band. These licks all started with Walker, who was born in Linden and raised in Dallas. The electric guitar has been the defining instrument of the past 50 years and T-Bone Walker was the first guitar hero.

“You know how everyone was blown away when they first heard Jimi Hendrix?” Vaughan asks. “Well, imagine what it must’ve been like to hear T-Bone for the first time, when those riffs were brand new.” Hendrix had contemporaries who were doing amazing things — Clapton, Jeff Beck, Link Wray, Buddy Guy — but T-Bone was on an island. He was the template for so many great guitarists who would follow. In Texas, a Mecca of electric blues guitarists, you had Rockdale’s Pee Wee Crayton, Orange’s Gatemouth Brown, Beaumont’s Johnny Winter. Dallas gave us Freddie King and the Vaughan brothers and Houston could boast Albert Collins, Johnny “Guitar” Watson, Johnny Copeland and Billy Gibbons, all carrying T-Bone’s torch."

-- MICHAEL CORCORAN, "T-Bone Walker and the Language of Electric Blues," c. April 2020 (Texas Music History)

Sources: www.michaelcorcoran.net/t-bone-walker-and-the-language-of-electric-blues and www.budsartbooks.com/product/more-legends-of-the-blues-card-set-by-william-stout.

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chicagochinesenews · 2 years

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芝加哥黑幫份子唐納德李從槍殺對手一路崛起成幫派頭目

（芝加哥時報/快訊）芝加哥凶狠的黑幫份子唐納德李(Donald Lee) 現在正在接受審判, 從檢方的記錄得知, 他是一個從槍殺敵對的對手一路崛起而成為幫派頭目的典型代表, 根據法庭上的紀錄，2002年聖誕節前兩天，當唐納德李在芝加哥西區槍殺歐內斯特·摩爾(Ernest Moore)時，芝加哥警方的一名物證技術員用攝像機拍下了這一悲劇餘波。21歲的瘦骨嶙峋的摩爾癱坐在駕駛座上，鄰里人稱他爲“皮威”(Pee Wee)，他的血浸透了汽車的中控臺, 儘管在一個幫派衝突和槍支暴力氾濫的城市，摩爾那天被殺的動機似乎很平常:在附近一個公園的毒品地盤發生爭執，敵對幫派在那裏兜售海洛因毒品。 (more…)

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todaysdocument · 2 years

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Treaty Between the United States and the Menominee Indians Signed at St. Louis, 3/30/1817

“The Parties being desirous of reestablishing Peace and Friendship between the United States and the said Tribe or Nation . . .”

The Menominee had been allied with the British during the War of 1812.

File Unit: Ratified Indian Treaty 86: Menominee - St. Louis, March 30, 1817, 1789 - 1869

Series: Indian Treaties, 1789 - 1869

Record Group 11: General Records of the United States Government, 1778 - 2006

Transcription:

X2 [Written on the top]

A Treaty of Peace and Friendship made and concluded by and between William

Clark, Ninian Edwards, and Auguste Chouteau, Commissioners on the part

and behalf of the United States of America, of the one part, and the undersigned

Chiefs and Warriors deputed by the Menomenee Tribe or Nation of Indians,

on the part and behalf of their said Tribe or Nation of the other part.

The Parties being desirous of reestablishing Peace and Friendship between the

United States and the said Tribe or Nation, and of being placed in all things

and in every respect the same footing upon which they stood before the

late war have agreed to the following Articles.

Art. Ist; Every injury or act of hostility by one or either of the contracting parties

against the other, shall be mutually forgiven and forgot.

Art. IInd; There shall be perpetual Peace and Friendship between all the Citizens of the

United States and all the individuals composing the said Menonemee Tribe or Nation.

Art. IIIrd; The undersigned Chiefs and Warriors, on the part and behalf of their said

Tribe or Nation, do by these Presents, confirm to the United States all and every

cession of land heretofore made by their Tribe or Nation to the British, French or

Spanish Government, within the limits of the United States or their Territories;

and also all and every Treaty , contract and Agreement heretofore concluded

between the said United States and the said Tribe or Nation.

Art. IVth; The contracting parties do hereby agree, promise and oblige themselves reciprocally,

to deliver up all prisoners now in their hands (by what means soever the same

may have come into their possession) to the Officer Commanding at Prairie

du Chein to be by him restored to their respective parties hereto, as soon as it

may be practicable

Art. Vth; The undersigned Chiefs and Warriors as aforesaid for themselves and those

they represent; do hereby acknowledge themselves to be under the protection of

the United States and of no other Nation Power of Sovereign whatsoever.

In Witness whereof, the Commissioners aforesaid and undersigned

Chiefs and Warriors as aforesaid have hereunto subscribed their names

and affixed their seals this thirtieth day of March in the year

[page 2]

of our Lord one thousand eight hundred and seventeen and of the

Independence of the United States the Forty First.

Done at St. Louis in the presence of

[left column]

[signed] R. Wash, Secty to the }

Commissioners }

[signed] R. Graham

U.S. I. A. for Illinois Terty

[signed] T. Harrison

[signed] Nimrod H. Moore

[signed] S. Ganntt

Lieut. U.S. Army

[signed] CM Price

[signed] Richard T. McKenney

[signed] Amos Kibbe

[signed] Nathaniel Mills

[signed] Sam Solomon

[right column]

[signed] William Clark [seal]

[signed] Ninian Edwards [seal]

[signed] Aug. Chouteau [seal]

To-wa-na-pee

Roaring Thunder [his x mark] [seal]

Wee-Kay

The Calumet Eagle [his x mark] [seal]

Mue-quo-mo-ta

The Fat of the Bear [his x mark] [seal]

Wa-ca-quon or

Sho-min [his x mark] [seal]

War-ba-no

The Dawn [his x mark] [seal]

In-e--mi-kee

Thunderer [his x mark] [seal]

Le-bar-na-co

The Bear [his x mark] [seal]

Kar-Kun-de-go [his x mark] [seal]

Sha-Sha-ma-nee

The Elk [his x mark] [seal]

Pe-no-name

The Running Wolf [his x mark] [seal]

#archivesgov #March 30 #1817 #1800s #Native American history #American Indian history #Indigenous American history #Menominee #Wisconsin #treaties #War of 1812 #diplomacy

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daggerzine · 4 years

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You Gotta Lose? Hell, Some Of Us Ain’t Dead Yet by Mary Leary

https://www.youtube.com/watch?v=f0fz3FVBlOE

NRBQ has done so many amazing songs. I never thought much about “Roll Call,” from Tiddlywinks - for one thing, it has a lighter, almost Billy Joel sound that’s more about latter day Terry Adams style than what I think of as the classic Q. Yet just as Adams’ work has grown on me, this track has made its way into my consciousness. The lyrics speak to me more in 2020 than they did when Tiddlywinks was released in 1980, before the D.C.-area music scene had lost Robert Goldstein (Urban Verbs), Kevin MacDonald (brilliant visual artist and scene stalwart who helped me design and layout [The] Infiltrator), Danny Gatton disciple/guitar maverick Evan Johns, bassist Michael Maye from the original H-Bombs, Rick Dreyfuss (Half Japanese/Chumps/Shakemore), Libby Hatch and Michael Mariotte (Tru Fax and the Insaniacs), Sally Be/Berg - REM/Egoslavia/SHE/Robert Palmer), Nurses member Marc Halpern (heroin, 1982), Lorenzo (Pee- Wee) Jones (Tiny Desk Unit) and hybrid rocker Jim Altman (HIV, 1990s). Goldstein, Dreyfuss, Maye and MacDonald succumbed to cancer, while Evan Johns’ deterioration followed years of touring, hard drinking and pushing himself past the limit.

(Top to bottom: Tommy Keene, Kevin MacDonald, Susan Mumford)

Those named above have been joined by Tommy Keene (the Rage/the Razz/solo/Paul Westerberg/Matthew Sweet - cardiac arrest at the age of 59; 2017), TDU’s Susan Mumford (cancer, 2018), David Byers (Psychotics/H.R./Bad Brains), and Skip Groff (Yesterday and Today/ Limp Records/Dischord - seizure, 2019). This is just an imperfect/incomplete naming of D.C.-area losses - I’m sure journalists from other cities could make lists. A horde of New Wave and early alternative musicians have died within the past few years. Whether through the stress of hard living/poverty, substance abuse, cancer or Covid-19, we’re seeing artists pass much earlier than I, anyway, expected them to.

(Top to bottom: Fred "Freak” Smith, Michael Maye with Evan Johns, Tru Fax and the Insaniacs)

We’re already past the loss of all the original Ramones. All the Cramps less Poison Ivy. Joe Strummer. Robert Quine. Hilly Kristal. Lou Reed. As of July, 2020, since 2018 we’ve also lost Andy Gill, Ivan Kral, Genesis P-Orridge, Adam Schlesinger, Danny Mihm, Ric Ocasek, Daniel Johnston, Kim Shattuck, Lorna Doom, Mark Hollis, Keith Flint, Ranking Roger, Mark E. Smith, Glenn Branca, Randy Rampage, Hardy Fox, Pete Shelley, Matthew Seligman, Bill Rieflin, Dave Greenfield, Florian Schneider, Ian Dury, Benjamin Orr, Kirsty McColl and David Roback.

(Top to bottom: Sally Be/Berg, Ranking Roger, Danny Mihm)

Talking about the deaths of talented, gifted creatives is a helluva way to start a column. But here we are. Older performers don’t always get the attention afforded newer, so the rest of this piece shares and celebrates artists from the original New Wave/punk scenes who are still around and active. Many are from the D.C.-area cornucopia I know best, while others have just come to my attention, or seem especially noteworthy.

https://www.youtube.com/watch?v=MED9_XK_JVQ

The Zeros’ Javier Escovedo has been steadily emitting tasty Americana-ish rock while occasionally dropping some Zeros sturm-’n’-drang - most recently with Munster Records single “In The Spotlight” and a track on Burger Records’ Quarantunes compilation. Quarantunes is a seven-album affair featuring 140 alternative/punk performers old and new, all of whom wrote songs between March-April 2020. A cursory listen to Volume 2 reveals the recorded version of a good night at a very wild bar, with Zeros still handily kicking ass of all ages.

https://velvetmonkeys.bandcamp.com/album/legacy-of-success?fbclid=IwAR0lJyS0YDE4e3o7LJiITEtw1lhBWMkUX47Vuag1Lf9fs2QozJJKD1lwkes

Velvet Monkeys/B.A.L.L. player and Sonic Youth/Teenage Fanclub producer Don Fleming reports, “We’ve put out new tracks ‘Theories of Rummanetics’ and ‘Legacy of Success.’ Jay has written a few ‘modules’ and Malcolm and I are having fun doing the music,” adding, “I play some electric six string on the new Rob Moss album - it’s fun to be on, with lots of guitar slingers from the DC daze.”

Yup, Rob Moss of Skin-Tight Skin has solicited contributions from Fleming and from Marshall Keith (Slickee Boys), along with a pile of talent including Stuart Casson (Psychotics/Dove/Meatmen), Franz Stahl (Foo Fighters/Scream), Billy Loosigian (Nervous Eaters, the Boom-Boom Band), Nels Cline (Wilco) and Saul Koll (the guy who made guitars for Henry Kaiser and Lee Ranaldo). The set is called We’ve Come Back To Rock ‘n’ Roll.

https://www.youtube.com/watch?v=XdIB8a_0Q4c

Chumps/Workdogs/Jam Messengers player Rob Kennedy apparently has too much energy to throw in the towel - he’s kept recording, performing and making various sorts of lo-fi, DIY mischief that never loses that fresh, ‘70s feeling. Jam Messengers released Night And Day on vinyl in 2017. One of my fave Kennedy tracks, “A Low Down Dirty Shame” speaks to this moment as well as any.

https://www.youtube.com/watch?v=e-CRBEGVLE4

Former Tiny Desk Unit/Fuji’s Navy/Rhoda & the Bad Seeds members Bob Boilen, Kevin Lay, Michael Barron and Bob Harvey have released a new Danger Painters joint, Thank Speak Love This Record. Lay joked, “I have a voice made for Morse Code” before revealing his recent work with Rhoda and the Bad Seeds material, released June 30 as Live at Nightclub 9:30. Boilen continues to introduce artists both vital and obscure via Tiny Desk Concerts and All Songs Considered/NPR.

https://www.youtube.com/watch?v=ejQ1GajwfB0

I’ve seen David Arnson play recently and can attest to his proclivity for unfettered growth via Insect Surfers, the instrumental group that originally had some trouble establishing cred. with younger D.C. punks. The Surfers’ most recent release was Living Fossils (2019). Arnson celebrated the band’s 40 years of existence with a European tour in 2019.

https://www.youtube.com/watch?v=5SkIuWIZVkM

Jad Fair says, “Half Japanese will have a new album released in November on Fire Records.” Jad’s art was recently featured at the Hiromart Gallery/Tokyo, while David has created a Facebook page where fans can pick up his colorful images for, well, mere bags o’ shells, as far as we can see - https://www.facebook.com/David-Fair-Painting-107055447700859/

Despite health issues for several members, Bad Brains has collaborated with Element to make BB themed skate wear https://www.elementbrand.com/mens-collection-bad-brains/ and added some killer live tracks to its YouTube channel.

Former WGTB programmers John Paige and Steve Lorber have been presenting Rock Continuum on WOWD-LP FM 94.3 since 2017.

Mike Stax continues to give excellent motivation for hunting down a pair of Beatle boots - Munster released the Loons’ 7” EP, A Dream In Jade Green, last year. The latest issue of Ugly Things, said by Stax to be heavily focused on the Pretty Things’ Phil May, was reported in early July to be nearing publication.

https://www.youtube.com/watch?v=-6jSc7gEAv0

Razz (the) Documentary will tell the story of how an uncommonly combustible rock band - especially with the Bill Craig/Abaad Behram line-up - helped spread the Flamin’ Groovies gospel while throwing down oddly compelling originals and taking the two-guitar thing up several notches - the producers are purportedly seeing the light at the end of the tunnel. Whether anyone can ever recreate the experience of being in an altered state via obsessive, sometimes conversational repetition of certain chords, anchored by Ted Nicely rethinking just what can be done with a bass guitar, given girth by Doug Tull’s intuitive drumming; with Mike Reidy the heat-seeking missile somewhere near the center... well, I doubt it. ‘Cause at this point you’re feeling no pain and it’s not about drinking; there is no room for anything but water - the beer will be knocked over when you’re this busy matching David Arnson’s other-side-of-the-front-line’s leaps into joydum while PCP’d out yahoos from the sticks learn the hard way that hugging Marshall amps can lead to lifelong repercussions. There (in case nothing I want to say about [the] Razz makes it into the film) - I’ve said it.

Discussions among old friends have confirmed that I’m not alone in being happily surprised at this development - we never expected our actions - which led to the hardcore explosion that’s received a lot more attention... would ever make it into any history book. Yet coverage of many of the D.C.-area musicians featured in this piece also comes with Punk The Capitol, A History of D.C. Punk and Hardcore, 1976-1983. Spring 2021 is the projected date for streaming/DVD release.

Ivan Julian came back from a scary 2015 bout with cancer to do a show in New York in 2016. The cancer has returned. Friends have organized a GoFundMe to raise money for surgery and basic needs.

https://www.youtube.com/watch?v=pDB_3by-xkI

The Shakemore fest also refuses to fade, promising “eight hours of streaming steaming video” on August 1. Sounds will be provided by R. Stevie Moore, Velvet Monkeys, Tav Falco’s Panther Burns, Half Japanese, Johnny Spampinato, Weird Paul and the Chumps, among many, many others.

Despite having played at CBGB and other alternative venues in 1979, at the height of the New Wave, Gary Wilson’s work is so distinctive, he’s rarely been included with any musical genre other than the oft-vague “experimental” category. Folks were too unmoored by his visceral performances to get behind him. Wilson’s 14th album, Tormented, was released by Cleopatra in February.

Paul Collins recently published a book that he wrote with Chuck Nolan; I Don’t Fit In: My Wild Ride Through the Punk and Power Pop Trenches with the Nerves and the Beat (Hozac Books).

As “Heath,” Michael Layne Heath, a journalist who contributed to (the) Infiltrator and many other ‘zines, published My Week Beats Your Year: Encounters with Lou Reed in May (Hat & Beard Press).

In April, X released its first album in 35 years; Alphabetland.

https://www.youtube.com/watch?v=pZ1I-laItPI

As exciting for me as any of the above is Richard Hell with the Heartbreakers’ 2019 release of Yonkers Demo 1976. Hell’s “You Gotta Lose” is one of my picks for best punk/new wave singles of all time. The Heartbreakers version is, predictably, messier than the Robert Quine guitar-spiked classic. Its more excessive charms are growing on me...

https://www.youtube.com/watch?v=48QnsysCN_A

This piece could go on and on - compiling it has been exhausting. The best part has been the response to my social media call for any info I didn’t have re: the D.C.-centric scene I left for New York in 1983. Musicians anxious to keep their compadres’ names alive have hammered that post with 138 comments to date. Urban Verbs percussionist Danny Frankel, who’s played with a colorful spread of artists including Beck, Marianne Faithful, Lou Reed, John Cale and k.d. Lang, made a point of being sure I knew about the passing of Marc Halpern, a source of obvious pain. People were worried I wouldn’t mention John Stabb (Government Issue - 2016), rockabilly player Billy Hancock (2018), Fred “Freak” Smith (Strange Boutique/Beefeater - murdered in Los Angeles, 2017), John Hansen (Slickee Boys - 2010), record store owner/Wasp Records starter/music supporter Bill Asp, Jimmy Barnett of The Killer Bees, and David Byers.

One of the hardest for me to write about is Chris Morse, whose 1984 passing from a drug overdose wrenched so many - I managed to get an obituary into, I think, The New York Rocker (that physical trek was part of a long-ago blur; a very hot day of traipsing over steaming concrete in a narrow-skirted dress to deliver the copy). Chris popped up in my dreams for years - one “visitation” pushed me to write a poem about it in the ‘90s. Morse, who played in Rhoda & The Bad Seeds and worked as a doorman at The Pyramid after moving to NYC in the early ‘80s, was on one of the Urban Verbs’ early flyers. I’m on another.

(Top to bottom: Me in an early Verbs flyer/photo shot at the Atlantis; Chris Morse on another Verbs flyer)

I ended up getting so burnt out on the responsibility of populating this sad roll call, I’ve started a memorial page for them all on Facebook. The nature of truly alternative music is such that many of its lights still fail to fill the pages of major publications. Many of these lights gave a great deal of their lives, if not everything, for the art they believed in. It’s good to remember them, and those heady early days. It’s good to enjoy what we still can.

https://www.youtube.com/watch?v=cA3IfK76mmI

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maddytube · 6 years

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Juke Joint Blues - 42 great songs from the Mississippi Delta & the Deep South!

00 :00 - You Shook Me – Muddy Waters 02:43 - Dust My Blues – Elmore James 05:50 - Keep Your Hands to Yourself – John Lee Hooker 08:12 - Lightnin' Blues – Lightnin Slim 11:10 - Hard Grind – Wild Jimmy Spruill 14:08 - Sugar Mama – Pee Wee Hughes 16:36 - Jealous Man – Johnny Lewis 19:09 - She's So Good to Me – Little Sam Davis 21:20 - Neglected Woman – Alex Moore 24:02 - Chicken Hearted Woman – Clarence Samuels 26:44 - One Room Country Shack – Mercy Dee 29:34 - Week End Blues – Lafayette Thomas 32:41 - New Orleans Bound – Lightnin Slim 35:31 - I'm Him – Schoolboy Cleve 37:39 - Ride Hooker Ride – Earl Hooker 40 :23 - Lillie Mae Boogie – Alex Moore 42 :58 - Mama Does the Boogie – Red Johnson 45:47 - Wine Women and Whiskey – Papa Lightfoot 48:01 - Little Lean Woman – Little Al Thomas 50:03 - Cool Down Mama – Lost John Hunter 52:18 - I'm Gonna Leave You Baby – Lazy Lester 54:31 - She's Mine All Mine – Arthur Gunter 56:56 - She's Taking All My Money – Johnny Lewis 59:39 - Deep South Guitar Blues – Lafayette Thomas 01:02:43 - Philippine Blues – Country Jim 01:05:04 - Lost Child - Eddie Hope 01:07:14 - KC Boogie - KC Douglas 01:10:21 - Wine Head Baby - Lazy Slim Jim 01:12:13 - Good Road Blues – Wright Holmes 01:14:50 - Lester's Stomp – Lazy Lester 01:16:45 - Dark Muddy Room – Mercy Dee 01:19:47 - TNT Woman – Sonny Boy Holmes 01:22:21 - Strange Letter Blues – Schoolboy Cleve 01:25:11 - On the Hook – Earl Hooker 01:27:53 - Try and Understand – Melvin Simpson 01:30:14 - Every Night About This Time – Magic Sam 01:32:31 - A Fool No More – Eddie Hope 01:34:55 - Jump the Boogie – Papa Lightfoot 01:37:18 - Santa Fe Blues – Pee Wee Hughes 01:39:43 - Congo Monbo – Guitar Gable 01:42:05 - Rub a Little Boogie – Duke Bayou 01:44:24 - Coming Home – Elmore James JazzAndBluesExperience

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diyeipetea · 3 years

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JazzX5#347. Dizzy Gillespie: "Manteca" [At Newport (1957)] [Minipodcast de jazz] Por Pachi Tapiz

JazzX5#347. Dizzy Gillespie: “Manteca” [At Newport (1957)] [Minipodcast de jazz] Por Pachi Tapiz

“Manteca” Dizzy Gillespie: At Newport (Verve, 1957) Dizzy Gillespie Big Band: Dizzy Gillespie, Talib Dawud, Lee Morgan, Ermit V. Perry, Carl Warwick, Chuck Connors, Al Grey, Melba Liston, Ernie Henry, Jimmy Powell, Benny Golson, Billy Mitchell, Pee Wee Moore, Wynton Kelly, Paul E. West, Charlie Persip. El tema es una composición de Gil Fuller, Dizzy Gillespie y Chano Pozo. © Pachi Tapiz, 2021 Más…

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aion-rsa · 3 years

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Seinfeld: The Most Important Lessons from a Show About Nothing

https://ift.tt/eA8V8J

Netflix will stream the entire 180-episode library of a TV classic starting October 1, 2021. Seinfeld is as beloved and influential series as I Love Lucy, The Honeymooners, M*A*S*H, The Mary Tyler Moore Show, and The Simpsons. But why? It doesn’t make us feel better about ourselves and we never come out smarter. Creators Jerry Seinfeld and Larry David never produced a “very special” episode, or tugged at the heart strings. Even its most tear-jerking moment, the loss of George Costanza’s (Jason Alexander) fiancée to cheap postage stamp glue, was merely a setup to a killer punchline. But it did teach a lesson. Don’t skimp on wedding invitations, it could be fatal.

Seinfeld operated on a “no hugging, no learning” edict from its very inception. David commanded no emotional or intellectual growth would be tolerated. Michael Richards’ Cosmo Kramer only really got close to people when wearing the Kavorka jacket. Elaine, played by the now most-awarded actress in TV history, Julia Louis-Dreyfus, would never think of taking dance class.

In spite of itself, Seinfeld did promote coping skills. Kramer could afford to live in an Upper West Side apartment with no visible means of support. George’s father Frank Costanza, played by Jerry Stiller, grew to appreciate Serenity Now on demand. The wise writers of the show knew there was a fine line between Zen and nihilism. After the series finale, Jerry, Elaine, George, and Kramer have years to ponder life’s lessons.

Here is some of the knowledge the Seinfeld characters have going in:

5 – Return your library books

Jerry Seinfeld, the actor, comedian and creator of the show which bears his name, grew up knowing “reading is fundamental.” His show broke rules of television, and his character ran afoul of a library cop investigating an overdue copy of Henry Miller’s Tropic of Cancer. It was last spotted when Jerry took it out in 1971. But for a guy who started a show with a no-learning credo, it’s not a big thing.

“Maybe we can live without libraries, people like you and me,” library investigations officer Lt. Bookman (Philip Baker Hall) warns the successful comedian. “Sure, we’re too old to change the world, but what about that kid, sitting down, opening a book, right now, in a branch at the local library and finding drawings of pee-pees and wee-wees on the Cat in the Hat and the Five Chinese Brothers?” That child would probably end up like Mr. Heyman, the teacher who got fired for giving Costanza a wedgie.

4 – Wait after swimming

Do women know about shrinkage? Anyone who didn’t, learned about it from George in “The Hamptons,” from season 5. The human body was designed to operate best in its natural temperature of 98.6 degrees Fahrenheit. When a man goes swimming in cold water, the blood rushes to warm the vital parts, like the brain and heart, leaving appendages to shrink “like a frightened turtle.” No one knows why it happens. It just does. George is right to think Jerry’s girlfriend got short-changed when she accidentally walks in on him changing out of his swimsuit. Elaine doesn’t even know how men walk around with those things.

3 – Don’t trust mailmen

There is a reason United States postal workers “go crazy and come back with a gun and shoot everybody.” Speaking as one of the brethren, Newman (Wayne Knight) says it’s “because the mail never stops. It just keeps coming and coming and coming, there’s never a let-up. It’s relentless. Every day it piles up more and more and more, and you gotta get it out but the more you get it out the more it keeps coming in. And then the bar code reader breaks and it’s Publisher’s Clearing House day.”

Jerry Seinfeld’s nemesis calls in sick when the weatherman predicts showers, even though it is first on the list of the “neither rain, nor sleet, nor snow” mailman oath. Oh, and forget everything you think you know about zip codes, “they’re meaningless.”

2 – Do the opposite

“Hi, my name is George. I’m unemployed, and I live with my parents.” With a pickup line like that, what could possibly go wrong? It lowers the bar so much, it is irresistible, and there is nowhere to go but up. When Costanza tries out his bad luck opening he’s a flailing real estate agent with little to no prospects.

“My life is the complete opposite of everything I want it to be,” he says. But realizes “If every instinct you have is wrong, then the opposite would have to be right.” And George Costanza vows, for the rest of his life, to go against any normal instinct he feels. By the end of the episode he is working as the Travelling Secretary of the New York Yankees.

1 – Keep reservations

“You better give me the insurance because I’m going to beat the hell out of this thing,” Jerry tells a rental car agent in the season 3 episode “The Alternate Side.” He is absolutely justified, even though auto insurance on a rental is a rip-off, according to The Good Place. The first rule to comedy is timing, and the first rule to making a reservation is keeping it. Look how well it worked out for the gang when trying to get seated in “The Chinese Restaurant.”

That rule also applies to car rentals, so Jerry is fully within his rights to break the credo of the show and explain the laws of perpetual motion. “You know how to take the reservation,” he schools the agent. “You just don’t know how to hold the reservation. And that’s really the most important part of the reservation: the holding. Anybody can just take them.” That’s how he got booked on The Tonight Show.

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0 – Nothing

If we learned anything from all our years watching Seinfeld, it is that we’ve learned nothing. Not a thing. Legend has it, the show was pitched to the networks like that, and this was corroborated in “The Pitch.” “So, we go into NBC, we tell them we’ve got an idea for a show about nothing,” Jerry asks George for clarification. In reality, the whole show-about-nothing pitch was made up by the press. But Seinfeld knew enough to play into that.

He learned it on Seinfeld.

Seinfeld will be available to stream on Netflix starting October 1, 2021.

The post Seinfeld: The Most Important Lessons from a Show About Nothing appeared first on Den of Geek.

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gloriousgardendonut · 6 years

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Boats......

"Believe me, my young friend, there is nothing – absolutely nothing – half so much worth doing as simply messing about in boats" - Ratty - Wind in the Willows. So we swapped the campervan for a boat we have boated before in both cruisers and narrow boats and love it. In fact Simon has a long term plan to live on a boat…….oh as well as live in a mobile home…….oh and in a cottage that needs renovating……and finally on a plot of land where we actually build our house from scratch! We've boated before on the beautiful Norfolk Broads, once in summer, which is very busy, but amazing to see so many boats and once in Spring which was very quiet and more relaxing. We've also been on the Oxford Canal with the excitement of using locks but also the daily worry of not dropping the 'windlass' - that's the bit of equipment essential for opening the locks. We've also been on the Union Canal in Scotland via the engineering marvel that is the Falkirk Wheel - essentially a rotating boat lift that replaced a staircase of locks that took a lot of time and energy to navigate. Doing this in a barge was exciting and scary for those a little uncomfortable with heights. For this boat trip we started in Ely in Cambridgeshire with our boat hired from a boat yard on the Great River Ouse. Ely is a city but it feels like a market town. The cathedral is worth seeing inside and out, the architecture, paintings and fittings are spectacular. Only a short distance away from the centre is the river, which is a hive of activity for boaters and the locals. We spent a day and night in Ely walking along the river, site-seeing and trying the local bars and restaurants. We had one of those days when you blow the gap year budget because it's sunny, laid back and a relaxing place to be. We made up for the little blow out by spending zilch for the following few days by staying on the boat and relying on the supplies from home - emergency pasta and gin cocktails (Portsmouth gin at that - a present from a friend on finishing work for the gap year - chin chin Jacque Ashton). The boat was a cruiser with two 'wee' cabins, one had seats and a mini kitchen and the other cabin had a bed a wash basin and separate compartment with shower and toilet. A tight space but palatial compared to the van. The compartments were separated by the central driving compartment, where we alternated the role of captain and ships mate throughout the week, although someone took the role of captain much more seriously than the other. The bed was a strange triangular shape with the head part under the bow of the boat (that's the front). On night one claustrophobia set in for me as the space was small, confined and difficult to get out of without doing a backflip. So whilst Simon stayed put, myself and the dog moved to the front compartment where you could convert the seats to two single beds. I had one, Skyler had the other…..until about 5am when Skyler decided he'd jump onto mine and we'd share - a tight squeeze but there's nothing quite as nice as a doggy spooning you. For a week we cruised at 4-7 miles an hour along the River Great Ouse and its tributaries the Little Ouse, Wissey, Lark and Brandon Creek. We also went along The Cam where you can go as far as Cambridge, but we had decided not to visit the bigger towns or cities on this particular trip. Boating is best enjoyed if you sit back and just watch the views go by. As a commuter I spend 2-3 hours a day travelling along the motorways and busy roads of Lancashire, often on autopilot with the main objective of getting from A to B as quickly as possible; A and B being home and work. I spend little time taking in the scenery as a matter of safety. With a small boat it's very different, there's not a lot you can do other than chill out and spend a lot of time looking at the scenery. Once you do that you begin to see in great detail the views, the wildlife and nature in action. Swans teaching their signets the ways of the river, cows chewing the cud and flicking their tails, herons watching majestically from the banks, dragon flies frantically chasing your boat, ripples shimmering and breaking against the waterlilies and disturbing for a second the stillness of the yellow flowers sprouting from them. The vistas stretch for miles across fields with tiny villages recognisable by their church spires poking out on the horizon and then suddenly the vistas disappear and you are enclosed by reeds or trees of every variety, shaded but penetrated by flashes of sunlight. Every so often there is the excitement of a bridge - or rather getting the boat through it without hitting the sides. Then comes the mooring up!!!! Mooring is actually a simple task if logic is used and all remain calm - steer the boat in, knock off the power, secure the front end and then secure the back end, job done. Alas, for us mooring seems to cause a lot of tension, a row often errupts with choice language, raised voices and a lot of disagreement about who's fault it was the mooring didn't go to plan! Arguments aside there is something really lovely about being tied to the river bank, knowing you are there for the night far from civilisation in the peace and tranquility of the countryside all 'alone'. That is unless you listen to local folklore which can make you a bit nervous about the 'alone' bit. Local folklore has it that at night out on the paths near the waterways and fens of Cambridgeshire and Norfolk there is a ghostly presence known as the 'Black Shuck'. Described as a large black hound with red eyes as big as saucers that prowls about howling so as to make your blood run cold. Apparently though there are tales of the Shuck helping out the fairer sex who may find themselves lost in the fens and that he has on occasion guided them back to the safety of the villages. I could find no details though on what he does to men, making Simon a little nervous when conveniently I was already cosy on my PJs when he had to take Skyler out on the dark mooring for his before-bed pee…………ARH-WOOOOOOOOOOOOOOOO! Of course you don't need to sleep out in the middle of nowhere with wild beasties. Along the rivers and canals are pretty villages and pubs where you can enjoy the local hospitality, often these moorings are busier with other boaters and locals so there is that sense of safety in numbers if you don't like being in more secluded places. Littleport is one such place, an hour or so up the river from Ely, we stayed there on our first night, crossing a little bridge from our mooring to the Swan on the River,where we had a few glasses of the amber nectar and a lovely meal. Word of warning though, remember you are on a river and you need to be able to walk in a straight line at closing time back to your mooring, otherwise you'll be getting a bit closer to those waterlilies mentioned earlier than you hoped. Of course being on the boat doesn't mean just looking out and doing nothing, being on the boat is a perfect time to indulge in pastimes you might not get a lot of time to do in your busy working week. There's talking, reading, writing, playing games, taking photos, drawing, painting, maybe like me learning sailing knots and discovering local folklore. Cruising for 3-4 hours a day seemed about right for us as it gives you the opportunity to do some off boat activities too. Off the boat you can potter around the local area or walk for miles along the river paths (essential for doggy owners - remember the dog needs to pee and unless very clever can't cock their leg over the side). We are suckers for pots of tea and cakes at the village tea rooms and love to get a little mellow at the local pubs. Whilst cruising you may also come across a local markets, village fetes or visitor attractions. We visited Denver Sluice Complex, a historically controversial piece of waterway engineering built to prevent the often catastrophic flooding of the villages and fens around the rivers in this low level part of the country. Historically this lock and sluice system didn't meet the need it was intended for and blame was put on insufficient funding and miscalculations in its engineering structures (even John Rennie had a go). This resulted in more flooding and difficulties for village and boating trades over many years. Now it is in working order and whilst some feel it is still not as a good as it should be it has prevented further widespread flooding of the area. As for the traditional boating trades, as seen with many other areas across the country an increase in rail and road networks has meant a decline in these trades leaving the rivers free for mainly leisure boating. The railways are definitely evident in the area as the lines cross the river in several places and we did moor up very near the train line on a couple of occasions. Not everyones cup of tea, but we both love the sound of trains and watching with interest the origins of the freight on the freight trains, these often come from far and wide reminding us of how big the world is away from our boat and little piece countryside mooring. It was strange (van owners will understands this), but I felt a little guilty abandoning the campervan for a boat at the beginning of the week. However, by the end of the week we were sad to be leaving the boat behind after such a relaxing week and would have loved to carry on for longer, but boating is not cheap unless you own the boat of course. We agreed as we left that if we ever got a boat it would be a barge rather than a cruiser, with a tiller and not a wheel, the bed would be big and square, not a triangle and we'd have our mooring on the river not in a marina, it would be next to a field and a railway line with a short walk to the village tea shop and pub. Simon as always has begun researching this and will shortly bombard me with results in his bid to go and live on a boat. Unfortunately he is a hoarder and you can't live on a boat if you are a hoarder, so I have given him a load of charity bags in a bid to get him to have a clear out….. Watch this space!!!! One good thing about getting home was having the luxury of a proper bed to sleep in, although for the fist night I seemed to retain a sense of gentle rocking like I was still on the boat, but maybe that was Skyler pushing his luck and wriggling in for a spoon!!! So again with the words of Toad from Wind in the Willows it's back to the magnificent van (cart) for our next adventure in the gap year.

"There’s real life for you, embodied in that little cart. The open road, the dusty highway, the heath, the common, the hedgerows, the rolling downs! Camps, villages, towns, cities! Here today, up and off to somewhere else tomorrow! Travel, change, interest, excitement! The whole world before you, and a horizon that’s always changing! And mind, this is the very finest cart of its sort that was ever built, without any exception."

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thedoortoyesterday · 4 years

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FROM TEXAS TO CALIFORNIA

Songs Of and By Charles Brown

Charles Brown (1922-1999) was both an outstanding dulcet-toned blues singer and a superlative pianist who was a key figure in the 1940's development of the style known as west coast blues.

He began his recording career as a member of Johnny Moore's Three Blazers whose memorable line-up was Charles on vocals and piano, Johnny Moore on guitar and Eddie Williams on bass.

Their first real success was with DRIFTING BLUES also known as

DRIFTIN' BLUES and WALKING AND DRIFTING.

https://youtu.be/fUyC2l--fSw

The song was written by Charles but credited not only to him but also Messrs. Moore and Williams. Recorded in September 1945, it became a #2 R&B hit in '46 on Philo, Eddie and Leo Mesner's Los Angeles-based label, the name of which was swiftly changed to Aladdin. Johnny Moore was the brother of Oscar Moore, guitarist with The King Cole Trio.

DRIFTIN' BLUES remains one of the most revived blues songs and among other artists who released their own versions over the years were Chuck Berry, The Paul Butterfield Blues Band, Bobby 'Blue' Bland, Ray Charles, Boozoo Chavis, Eric Clapton, Clifton Chenier, Sam Cooke, Snooks Eaglin, Billy Eckstine with Count Basie, Lowell Fulson, John Hammond, John Lee Hooker, Albert King, B.B. King, Little Walter, John Mayall, The Steve Miller Band, Della Reese and Pete Townshend.

Other successful songs recorded by Johnny Moore's Three Blazers featuring Charles Brown included NEW ORLEANS BLUES (in 1947 on Exclusive Records and written by Leon Rene, Exclusive's owner) https://youtu.be/EvZe6RSBqQY and MERRY CHRISTMAS BABY, also on Exclusive in '47, written by Charles but officially credited only to Lou Baxter and Johnny Moore. https://youtu.be/FCVjY4qAiy8 MERRY CHRISTMAS BABY is another major copyright boosted by cover versions by such as Otis Redding, Elvis Presley, B.B. King, Rod Stewart, Sheryl Crow and Bruce Springsteen.

In 1948, Charles was signed as a solo artist on Aladdin and logged up a series of R&B best-sellers including GET YOURSELF ANOTHER FOOL (Edward Mitchell) (#4 in '48), https://youtu.be/sYVIyA9Z7Ds TROUBLE BLUES (Charles Brown) (#1 in '49) https://youtu.be/cZWs_dUqIrI , IN THE EVENING WHEN THE SUN GOES DOWN (Traditional) (#4 in '49), HOMESICK BLUES (Charles Brown) (#5 in '49), MY BABY'S GONE (Charles Brown) (#6 in '50), BLACK NIGHT (Jessie Mae Robinson) (#1 in '51), https://youtu.be/-71jfEwX-xQ and SEVEN LONG DAYS (Jessie Mae Robinson) (#2 in '51). Another important Charles Brown copyright is PLEASE COME HOME FOR CHRISTMAS (Charles Brown/Gene Redd) which he first recorded for King in 1960.

The Door To Yesterday is proud to present a new podcast containing an interview that I recorded in 1991 with Charles which was edited by Andrew Mackenzie as a promotional sampler for EMI Music Publishing.

Charles had been appearing at the Hollywood Roosevelt Hotel and I invited him to help me put together a sampler to promote both his own compositions and recordings that he made over the years of other writers' songs. The interview took place in EMI Publishing's studio on Sunset Boulevard with Charles seated at the piano. In addition to the extracts that I play from original records, he sang and played live.

The sampler includes the following songs: DRIFTIN' BLUES (Charles Brown/Johnny Moore/Eddie Williams), IF I HAD YOU (Ted Shapiro/James Campbell/Reginald Connelly), AGAIN (Lionel Newman/Dorcas Cochran), PLEASE DON'T DRIVE ME AWAY (Charles Brown/Jesse Ervin), HONEY SIPPER (Charles Brown/Linda Woodward), THAT OLD FEELING (Sammy Fain/Lew Brown), I'M SAVING MY LOVE FOR YOU (Charles Brown), BLACK NIGHT (Jessie Mae Robinson), TROUBLE BLUES (Charles Brown), SEVEN LONG DAYS (Jessie Mae Robinson/Charles Brown), BAD BAD WHISKEY (Amos Milburn), THE MESSAGE (Clarence Landry) and DRIFTIN' BLUES (Charles Brown/Johnny Moore/Eddie Williams).

Here's a link to the complete podcast:

https://we.tl/t-nKKAWgBFic

EMI Music Publishing is now part of Sony/ATV and Capitol Records is now owned by Universal Music Group; the references I made during the interview both to EMI and to Capitol reflect the ownership of those companies in 1991.

Charles was just one of a number of highly influential Texas-born bluesmen.

Here are a few tracks reminding us of some of the others...

BLUES AFTER HOURS

(Pee Wee Crayton)

by Pee Wee Crayton

(Modern: 1948)

https://youtu.be/IXaAcPFLozY

CALL IT STORMY MONDAY (But Tuesday Is Just As Bad)

(Aaron Walker)

by T-Bone Walker

(Black And White: 1947)

https://youtu.be/98MeVUjqyTo

FROSTY

(Albert Collins)

by Albert Collins (Hall: 1965)

https://youtu.be/wrfOpXApxYQ

HIDE AWAY

(Freddy King/Sonny Thompson)

by Freddy King

(Federal: 1961)

https://youtu.be/eEuvfM9c3yY

I QUIT MY PRETTY MAMA

(Ivory Joe Hunter/Lois Mann)

by Ivory Joe Hunter

(King: 1950)

https://youtu.be/5ihiTrYRQDU

ROOMIN' HOUSE BOOGIE

(Jessie Mae Robinson)

by Amos Milburn

(Aladdin: 1949)

https://youtu.be/5UMHjn1Gr70

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elementofmovie · 7 years

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RENDEZ-VOUS MANQUÉ AVEC DOUBLE-FACE

Jusqu’à la fin des temps on se souviendra de Billy Dee Williams pour un rôle : Lando Calrissian, l’autre vaurien de la première trilogie Star Wars et ancien propriétaire du Millenium Condor qui livra Han et les autres à l’infâme Dark Vador à la fin de L’Empire Contre-attaque avant de faire amende honorable en détruisant la nouvelle mouture de l’Étoile de la Mort dans Le Retour du Jedi. Bref, un gentil vaurien, finalement. Mais on a tendance à oublier que Williams prêta ses traits, sa moustache et son goût pour les belles sapes à un autre personnage légendaire de la culture populaire du vingtième siècle : Harvey Dent, malheureusement avant qu’il ne devienne Harvey « Two-Face » alias Double-Face, dans nos contrées.

Bien sûr, c’était dans les années 80 – bien avant qu’on donne à Nick Fury les traits de Sam Jackson dans la série Ultimate puis dans les films Marvel –, dans le Batman de Tim Burton, qui reste à ce jour l’un des tout meilleurs films de super-héros, toute période confondue. Mais disons-le tout net, son rôle dans le film n’est pas mémorable et son temps de présence à l’écran assez court. Pourtant impossible de ne pas frémir à l’idée d’un Double-Face campé par cette bonne vieille trogne de Billy Dee Williams. Fantasme ultime que les multiples réécritures et autre changement de réalisateur lors des épisodes suivants de la saga anéantiront à tout jamais. Mais avant de revenir sur ce qui a fait capoter l’affaire, un petit retour en arrière – ou flashback pour les anglophones confirmés – s’impose.

Fin des années 70. Un gentil barbu à lunettes auquel presque tout le monde – y compris quelques-uns de ses amis réalisateurs du Nouvel Hollywood – a conseillé d’abandonner son « petit film de space opera pour adolescents retardés » savoure son succès sans oublier de bûcher sur de nouveaux projets : les aventures d’un archéologue antinazi sur les traces de l’Arche d’alliance et la suite, bien sûr, de La Guerre des Étoiles. Au moment d’envisager le casting de cette suite tant attendue par les fans, le nouveau nabab se souvient d’un acteur afro-américain recalé au casting pour le rôle de Han Solo qui plus tard lui avait reproché le manque de diversité dans la galerie de personnages pourtant cosmopolites du premier film. Très vite Lucas bloque son choix : Billy Dee Williams sera Lando, le vieil ami de Solo avec qui il a fait les « 400 coups ». Plus habitué aux plateaux de série télé, ce choix propulse Williams à un autre niveau de célébrité, et cela d’autant plus que le contrat pour L’Empire inclut également sa participation au volet final de la trilogie. Et si aujourd’hui on peut avoir du mal à l’imaginer, à l’époque se retrouver ainsi propulsé en tête d’affiche de la saga la plus juteuse de tous les temps n’est pas rien pour un acteur noir à Hollywood.

Malheureusement, la suite sera un douloureux retour à la réalité : si l’on excepte une apparition aux côtés de Stallone dans Les Faucons de la Nuit et un passage devant la caméra d’Abel Ferrara pour New York, 2 heures du matin, les deux rôles marquants de Williams dans les eighties sont sa participation à la cinquième saison de Dynastie et son rôle d’ambassadeur publicitaire pour une bière américaine bien connue – ce qui lui vaudra d’ailleurs quelques critiques. Mais heureusement pour lui, au même moment, Warner qui planche depuis déjà quelques années sur l’adaptation des aventures de l’homme chauve-souris est sur le point de valider son choix pour le poste de réalisateur en la personne de Tim Burton, alors seulement porté par le succès de Pee-Wee’s Big Adventure. Le futur réalisateur de Sleepy Hollow accepte volontiers, mais pas sans apporter de nombreuses réserves au script qu’il juge trop proche des récentes aventures de Superman, alors seul exemple d’adaptation réussie d’un comic book sur grand écran – également produit par la Warner, qui plus est. Burton sort sa machine-à-écrire pour pondre un nouveau synopsis inspiré des récents travaux de Alan Moore et Frank Miller qu’il a dévorés malgré son manque d’intérêt pour les comics avant de laisser la main à un jeune scénariste nommé Sam Hamm – heureux temps où de jeunes cinéastes quasi inconnus pouvaient être embauchés sur un blockbuster et contraindre le studio à adopter leur vision ! Pendant ce temps-là, Burton tourne, toujours pour la Warner, Beetlejuice avec dans le rôle-titre un certain Mickael Keaton, alors sympathique acteur de comédie ne se doutant pas de ce qui l’attend.

Boosté par le succès de « Bételgeuse », la production de Batman s’accélère et l’on en vient rapidement à l’étape cruciale du casting. Pour le rôle de Batman/Bruce Wayne, Burton force littéralement le studio à engager Keaton qui essuiera une sévère campagne de dénigrement de la part de fanboys enragés par ce choix saugrenu – à l’époque – et qui n’hésiteront pas à noyer le siège du studio de lettres de menace et/ou d’insulte. Pour le rôle du Joker, on embauche le grand Jack Nicholson, qui rafle au passage un joli pactole, et pour le rôle de Vicky Vale, la troublante et torride Kim Basinger – tout juste auréolé du bide au box-office du pourtant terriblement sympathique J’ai épousé une exta-terrestre avec Dan Aykroyd et Alyson Hannigan –, au nez et à la barbe (et au bras cassé) de la malchanceuse Sean Young qui retentera sa chance en vain pour le rôle de Catwoman dans Batman Returns, mais ceci est une autre histoire... Pour les seconds rôles, moins de remous sont à signaler, même si pour le rôle secondaire mais potentiellement crucial du procureur Harvey Dent le studio tente de caser un visage plus vendeur en la personne de l’incandescent Don Johnson, en pleine bourre grâce au phénomène Miami Vice. Mais encore une fois, Burton impose ses décisions et embarque ce bon vieux Billy Dee Williams dans l’aventure, avec bien entendu dans un coin de la tête l’idée d’en faire son Double-Face dans une éventuelle suite du film.

Le Batman de Tim Burton sort sur les écrans américains le 23 juin 1989 – il faudra attendre la rentrée de septembre pour découvrir le film en France – et casse véritablement la baraque, devenant même l’un des plus gros succès de l’histoire. Une véritable batmania explose alors aux quatre coins du monde. Les fans de comics ne sont plus seuls. Badges, casquettes, T-shirts à l’effigie du Dark Knight envahissent les rues tandis que le célèbre logo jaune et noir du film devient un symbole aussi connu que le S de Superman. Illico la suite est officialisée par Warner qui charge Hamm de brosser un canevas du tonnerre alors même que Burton, pas très chaud pour remettre le couvert, part tourner un conte de fée sur une créature aux mains en forme de ciseaux interprétée par la vedette écorchée vive de 21 Jump Street. Dans les premières versions du script, Catwoman et Le Pingouin sont déjà de la partie, et Harvey Dent également. En fait son rôle est à peu de chose près celui que tiendra finalement Christopher Walken (dans le rôle de Max Shreck) dans la version tournée du script. Selina Kyle est son assistante et c’est d’ailleurs elle qui dans le final du film doit – sous les traits de Catwoman – lui donner un baiser électrifié faisant de lui… Double-Face.

Comme prévu initialement c’est Williams qui doit reprendre son rôle d’Harvey Dent et incarnera donc Harvey « Two-Face ». Mais c’est sans compter sur les sempiternelles réécritures et les inévitables changements de scénariste inhérents à la production de blockbusters. Peu enthousiasmé par le script de Hamm qui ne développe pas assez selon lui le personnage de Catwoman, Burton sollicite, sur la foi de son travail sur Fatal Games (un teen movie machiavélique porté par le duo Winona Ryder/Christian Slater), le scénariste Daniel Waters pour injecter un peu de noirceur à l’ensemble. Au fil des versions, il semble alors de moins en moins certain que Double-Face apparaisse dans cette suite. Waters écrit même une scène dans laquelle Dent met son avenir entre les mains de sa pièce fétiche qui retombe du bon côté, remettant ainsi à plus tard le coup du sort devant entraîner sa maléfique transformation. Mais finalement rien de tout cela n’apparaîtra dans la version finale du film, Harvey Dent étant purement et simplement éjecté de l’intrigue, à l’instar de la belle Vicky Valle – qui elle bénéficiera au moins d’une ligne de dialogue pour justifier son absence. Le coup est dur pour Williams dont la carrière tourne au ralenti, mais l’acteur ne perd pas espoir et est toujours prévu au casting de la seconde suite d’ores et déjà sur le plan de travail de la Warner qui compte sur Burton pour rempiler au poste de réalisateur.

Mais lorsque Batman le Défi sort enfin sur les écrans presque trois ans jour pour jour après le premier épisode, le studio, qui a déboursé un budget deux fois plus conséquent pour cette suite, fait la fine bouche face aux premiers chiffres du box-office. Le film est pourtant bien un succès et fait même un meilleur premier week-end que le film de 89. Seulement, il termine sa carrière bien en deçà des sommets atteints par le premier Batman. Et pire : la noirceur et les moult allusions sexuelles contenues dans le film vont à l’encontre des partenariats signés par Warner avec de grandes marques appréciées des enfants – dont l’une représentée par un clown à salopette jaune a même dû retirer des figurines à l’effigie des « héros » du film de ses joyeux menus pour enfants. Pour autant Warner laisse dans un premier temps le cinéaste natif de Burbank travailler sur le film dont le titre de travail tout en sobriété est Batman 3. Et outre le retour de Catwoman, une myriade de personnages est annoncée au programme : Rene Russo en nouvelle conquête de Bruce Wayne, L’Épouvantail sous les traits de Brad Dourif (qui était le premier de choix de Burton pour Le Joker), Marlon Wayans en Robin et… c’est tout ! Toujours pas de Harvey « Two-Face » Dent à l’horizon, au grand dam de Williams.

L’acteur est proche de se faire une raison et d’enfin accepter la triste vérité : il ne sera jamais Double-Face. Cependant un coup de théâtre frappe la production de ce troisième opus des aventures du Caped Crusader : Burton, malgré le succès des deux premiers épisodes qui lui est en grande partie imputable, est remercié par Warner qui le relègue à un poste honorifique de producteur fantôme – en plus d’un probable pourcentage sur les futures recettes du film. Et de fait, le nouveau réalisateur embauché dans la foulée va faire table rase des pistes de travail du Batman 3 version Burton. Et ce réalisateur qui quelques années plus tard sera presque unanimement détesté des fans du Chevalier Noir s’appelle Joel Schumacher. Le réalisateur de Génération Perdue débarque avec de nouvelles idées en tête et l’ombre de Burton, bien occupé à la production d’un film en stop motion contant l’histoire d’un squelette décidé à sauver Noël, ne semble pas l’impressionner. Alors que Keaton qui réclamait un cachet irréaliste au studio pour sortir de l’aventure la tête haute est rapidement remplacé par l’éternel Val Kilmer (le meilleur Batman selon Bob Kane !), Russo est tout aussi rapidement remerciée en raison de son âge jugé trop avancé pour pouvoir semble-t-il séduire Kilmer à l’écran. Exit également L’Épouvantail – et Dourif, donc – et l’aguicheuse Catwoman, que le studio avait pourtant sauvé d’une mort certaine en exigeant des reshoots afin de l’insérer dans le plan final de Batman le Défi, tandis que Marlon Wayans se voit versé son salaire en guise d’indemnités de licenciement anticipé – il révéla d’ailleurs durant la promo de G.I. Joe qu’il touchait encore des royalties pour ce rôle qu’il n’a jamais joué.

Quant à Williams, la joie d’apprendre que Double-Face sera le grand méchant – avec L’Homme-Mystère – du futur Batman Forever est de courte durée. Car si l’heure semble être enfin arrivée pour le terrifiant Harvey « Two-Face » d’avoir finalement le droit à sa version de chair et d’os – en effet, l’arrivée prévue de Double-Face dans la série des sixties sous les traits du jeune Clint Eastwood n’eut pas le temps d’aboutir avant l’annulation du show –, l’acteur ne semble pas faire partie des plans de Schumacher qui ne voit pas en lui l’étoffe d’un super-vilain : « Je ne l’ai pas envisagé pour le rôle car pour moi il ressemble plus à un héros. Il me fait penser à Clark Gable. » Satanée moustache ! Et puis surtout le réalisateur de L’Expérience Interdite a un acteur en vue pour personnifier Double-Face ; « J’ai toujours voulu Tommy Lee Jones. Je venais de terminer Le Client avec lui, et j’ai toujours pensé qu’il ferait un parfait Harvey « Two-Face » Dent. » Si les rumeurs veulent que Williams, définitivement écarté de l’affaire, ait été dédommagé par un gros chèque de la Warner, lui a toujours nié avoir signé un contrat pour plusieurs films, à l’inverse de Wayans, et affirme n’avoir jamais reçu un quelconque dédommagement. L’affaire est donc close et l’on continuera de deviner les regrets derrière les réponses diplomatiques que fera l’acteur au cours de diverses interviews abordant le cas Double-Face. Surtout que même en reconnaissant certaines qualités au premier Batman de Schumacher (Kilmer est solide dans la peau de Wayne tandis que Nicole Kidman fait des ravages en femme fatale, sans parler de la prestation déjantée de Jim Carrey alors au sommet de son art), il demeure difficile de sauver la prestation de Jones qui tente vainement de rejouer le Joker de Nicholson. Le seul intérêt de sa prestation est de rappeler ses réelles aptitudes au cabotinage – que certains de ses rôles chez Oliver Stone avaient laissé transparaître –, lui qui aujourd’hui est surtout connu pour son inévitable personnage de solide gaillard taiseux et imperturbable.

Et si plus récemment, on a eu le droit dans le Dark Knight de Nolan à une nouvelle version moins cartoonesque de Double-Face par le morne Aaron Eckhart, difficile d’oublier qu’un jour le grand Billy Dee Williams, qui avait su, malgré le nombre famélique de scènes mis à sa disposition dans le film donner un certain éclat au procureur Dent, a failli avoir sa chance pour incarner Double-Face, ce vilain tragique dont le destin ne tient qu’à une pièce. Nul doute que le destin de Williams, lui, en aurait été changé. Aujourd’hui, l’acteur travaille essentiellement pour la télévision, et reprend à l’occasion le rôle de sa vie – pour un jeu-vidéo, un caméo ou un dessin-animé –, celui de Lando Calrissian, cet escroc sympathique, ce gentil vaurien aimé des fans de toutes la galaxie. Et lorsqu’en avril 2014, une photo en noir et blanc réunissant le casting du nouvel épisode de Star Wars confirme au passage le grand retour des anciens, Williams brille par son absence. « Où est Lando ? », s’interrogent des millions de fans. Lando n’est pas de la partie comme l’a récemment confirmé Lawrence Kasdan, scénariste sur Le Réveil de la Force. Trop de personnages, d’intrigues et de sous-intrigues, de réécritures et de débats houleux au cours de la pré-production pour faire revenir tout le monde d’un seul coup. Lando devra attendre le prochain tour.

Williams, lui, garde espoir en interview et se montre confiant quant à son futur retour dans la franchise qui l’a rendu célèbre.

Son heure viendra… peut-être.

[Cet article fut initialement publié sur la première version du site rockyrama.com]

#billy dee williams #harvey dent #two face #double-face #batman #tim burton #michael keaton #lando calrissian #star wars #la guerre des étoiles #l'empire contre-attaque #le réveil de la force #christopher nolan #joel schumacher #tommy lee jones #aaron eckhart #1989 #rockyrama

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gaycocksmodels64 · 4 years

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petty-crush · 7 years

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“No Small Affair”

-an odd, wonderful, joyous teen comedy that resonates quite well, even over patches of sparseness

-it lingers in the mind due to the strong direction and especially the magnificent, tender cinematography

-no surprise, as the main character is a photographer, and there is a warm blanket of nostalgia by both the writer, director, and cinematographer

-I actually really really enjoyed Jon cryer’s acting here, he plays a earnest vulnerability surrounded by a wall of faux cynical protection

-nice bit with all the frame with a frame as cryer’s character tries to photograph moments of empty space and animals, +he wearily notes how he cannot stand humans

-I can’t tell if his character’s voice over narration was part of the original intent, or a boardroom note. +It comes off as unintentionally clumsy in the first twenty minutes or so (as does the music)

-I laugh as I see cryer’s father figure(really step father) is played by Jeffry tambour. He really filled in that niche early, didn’t he?

-funny bit where cryer talks to his mom about his brother bringing home another fiancé, which leads them to argue about whether or not he is just saying that so he can sleep with them with impunity

-great visual moment where Cryer notices that he accidentally did snap a shot of a human and, more shockingly, he likes her. +He then proceeds to blow up several photos of her, assembling them in his wall like a giant jigsaw piece

-the mysterious woman is played by Demi Moore, who handles the role with good cheer

-I must stress that cryer’s character is 16, and combined with his numbness to his family (and those feelings coming out obtusely) this makes clear why cryer does certain acts but does not condone them

-Tim Robbins plays a wanna be punk dork, and he has his moments

-cryer is getting TV eyed by this nerdy girl who loves arcade games with coke sized glasses, and her thirst is palpable

-personally I think this girl is way more of a catch than Demi moore’s character, but there is no accounting for taste

-the fact that she’s played by Jennifer Tilly at the dawn of her jaw dropping beauty and attitude doesn’t hurt

-ok, now cryer’s brother and his fiancé is revealed and she is played by Elizabeth Daily (“Dottie” from pee wee, the singer of the title song of “Better Off Dead”) +this director has an eye for interesting and stunning women

-Demi Moore is finally found, and she is a singer in a band, reminding me of that early tori amos album where she did all that hair metal/“material girl�� stuff that just didn’t suit her

-cryer’s brother is a tall glass of knucklehead with a thin layer of good hearted slobbering dog

-cryer’s awkwardness is like a beacon in the night

-there is an odd subtext of cryer’s character being a minor wandering in strange lands he shouldn’t

-the next day he goes back to the bar and overhears Moore arguing with her guitarists; perplexing moment where the guitarist says he is too old at 28 for bands and if he doesn’t make it young, he’s out the game (I call chickenshit)

-Moore goes to the aquarium to see a tumor fish to calm down

-cryer ingratiates himself to Moore in a bewildering way

-cryer’s brother has a bachelor party where they all buy him an escort; leading him to drolly note “there’s only one room in this apartment; where we gonna do it?”

-so cryer takes a under aged drink (first of many) and suggests they go see Moore sing

-the escort is touched by this tells cryer he can have her

-cryer’s blushing is a thing of beauty

-this is definitely a 70’s vibe where pretty much anything goes,

-cryer is too shy but meekly asks for a hug; the escorts laugh and adds “now that is a first”

- cryer’s mom catches them (they hilariously share a pillow to cover themselves-although cryer is still wearing underwear) and the escort excuses herself + kids in the 80’s got away with everything

-cryer boyishly finds Moore again and tries to connect more

-I don’t believe for a second Moore finds anything of loving value in cryer, but I do believe she loves the attention-the desire to be loved as a icon; in turn he can only appreciate her on a surface level + this disconnected relationship gives the film a unique emotional registry

-Moore follows cryer to school and wants to be photographed again, shocking his classmates

-again, cryer ignores the cauldron of lust that is Jennifer Tilly’s arcade girl, and I just gotta wonder why

-what is tambour even talking about with being a dope smoking kid who grew up? I find this a pretty accurate summation of a certain group of people who can’t accept they aren’t hip anymore. Pretty funny

-I also laugh at the fact the owner of the bar Moore plays at is acted by George Wendt, who did a pretty gotdamn similar role in TV. +I guess bar crawls are a mixed media thing

-this 80’s montage is one of the very, very best I have seen; the great cinematographer Vilmos Zsigmund is texturing every shot in this film with outstanding lighting and angles + it parts the oceans to let the synth music land like a ufo

-funny spot where cryer is trying to take moore’s picture, but a couple asks for a photo of them, so in one long double speed shot cryer runs around and takes twenty shots of them +kinda reminds me of “A Clockwork Orange” or “Benny Hill”

-in one of the best sequences of the whole film, cryer and moore crash a wedding for free food and drink; while she’s in the bathroom cryer is accosted by the father who demands money +his sputtering is a joy to behold

-cryer gets Moore to sing, and she totally slows down his style to do a cover of a old standard, essentially turning into a 80’s Norah jones

-this is where the film really gets cooking, this pause and abstraction shows that even with the robo music, there was a artistic bent to directors in 80’s films if they had the courage to pursue it

-this is definitely one of the most 80’s films I have ever seen; I mean that as a compliment

-in that it is a series of escapades, very loosely connected, but also surprising and varied

-in a move wholly surprising and seemingly out of a young banksy, cryer takes all his money (six grand) and has his photos of her plastered on every cab in the Bay Area

-this leads to my favorite line in the film “I’ve learned that you may be disappointed by people’s humanity, but never by their greed”

-Moore is getting all kinds of sketchy calls, realizes what happens, then freaks out and finds cryer at French class

-the French teaching is both irked and delighted at being told to fuck off in French

-cryer’s reasoning is so perfectly adolescent, and so starkly sad in his inability to differentiate true feelings and obsessions

-so after they part he goes to drink himself to death

-Moore is talked back into singing at her old bar (people are waiting around the block to see her) and she stuns then with her throaty renditions of older songs, perhaps proving people don’t want a new drug, just one in a newer suit

-I’d call bullshit but every five years some other sparkling turd carries on the baton + thus proving “same as it ever was”

-cryer has a trash bag apparel, to die like the garbage he feels he is

-thank gawd “Dottie” is here to take slobbering dog brother to find him, and then slobber bro breaks his foot on the bike

-funny jump cut to said foot

-as cryer finds out that Moore “loves” him he goes back to her apartment (which I neglected to mention is bohemian to the extreme) where she tells him thank you, and now she must go to Los Angeles

-cryer comes off as rather small here for selfishly wanting her, but, again, he is sixteen and has no healthy emotional support

-this clearly didn’t blip as a problem at the time, but now moore’s young twenties character is clearly doing statutory assault

-but I guess it’s love (or something approaching it) so sure why not

-ok, funniest moment of the film, where cryer (in bed next to Moore) calls his mom(in bed next to tambour) and says he won’t be coming home tonight +tambour says to say goodnight and then takes the phone and says “good job, son”

-like he knew without ever seeing it; he just had a hunch

-this is the first time I’ve ever seen a couple naked in bed calling another (let alone older) couple naked in bed + usually it’s a lawyer or some shit

-a long lingering look at each other in a airport, then off forever

-why am I getting recollection of “la la land”?

-so this airport has a arcade

-cryer remembers his brother saying that “love only happens once, but sex washes off” (source?)

-so, finally, (and with one more montage to establish all her past horniness) cryer goes to Tilly’s arcade girl to see if he can gobble her ms pac man fruit

-this is a very kitsch, offbeat teen humored film that is a series of escapades; there is a weird alternatively randy and sentimental vibe that permeates it; it’s also a blast and I can’t recommend it enough

#no small affair #jerry schatzberg #jon cryer #demi moore #jeffrey tambor #new beverly cinema #jennifer tilly #elizabeth daily #new bev #vilmos zsigmond #long reads #film #art

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papermoonloveslucy · 7 years

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Lucy and the Scout Trip

S2;E26 ~ March 30, 1964

Synopsis

When one of the dads can't go on the Cub Scout camping trip, Lucy and Viv step in. Unfortunately, they lose the canoe, topple the tee-pee, and get lost in the wilderness as well!

Regular Cast

Lucille Ball (Lucy Carmichael), Vivian Vance (Vivian Bagley), Gale Gordon (Theodore J. Mooney), Jimmy Garrett (Jerry Carmichael), Ralph Hart (Sherman Bagley)

Candy Moore (Chris Carmichael) does not appear in this episode.

Guest Cast

Barry Livingston (Arnold Mooney, left) is probably best remembered as Ernie, the adopted son on “My Three Sons.” His first appearance on that series was just one week after he first played Arnold Mooney in “Lucy Gets Locked in the Vault” (S2;E4). Unlike most child stars of the era, Livingston is still acting today.

Arnold's mother is named Irma. He has two brothers (Bob and Ted Jr.) and an older sister who lives in Trenton, New Jersey.

Desi Arnaz Jr. (Billy Simmons, center) is the real-life son of Lucille Ball. His 1953 birth was worked into the plot of “I Love Lucy” although Desi Jr. never played the role of Little Ricky Ricardo. He did, however, appear on the final half-hour episode of the series “The Ricardos Dedicate a Statue” (ILL S6;E27) in a crowd scene. His first series appearance was as one of the pee-wee football players in “Lucy is a Referee (S1;E3). Here he plays Billy Simmons for the last time, although he will return in the background of the season four opener. Desi Jr. also appeared with his mother and sister on “Here’s Lucy.”

Billy is the son of Audrey and Harvey Simmons.

A dozen other uncredited young boys play the cub scout troupe.

This episode was filmed in color but first aired in black and white. CBS aired repeats for the next two Mondays before airing the final two episodes of the season.

The morning this episode originally aired (March 30, 1964), the game show “Jeopardy” premiered with Art Fleming as host. The quiz show, now airing evenings, is still on the air today.

The Cub Scouts have to perform a number of Indian lore activities to win tickets to the World's Fair. The New York World's Fair was held in Flushing Meadow, Queens, New York, opening on April 22, 1964, just three weeks after this episode first aired. It closed on October 17, 1965, although it was not open during the winter months of 1964/65. A 12-story-high, stainless-steel model of the earth called the Unisphere is all that remains on the site today. The Boy Scouts of America presented “The Wonderful World of Scouting” at the Fair.

Monday, August 31, 1964 was “Lucy Day” at the World’s Fair!

The boys are members of Pack 57, Den 8. Lucy and Viv are their Den Mothers. This was established in “Lucy Visits the White House” (S1;E25). Desi Arnaz Jr. (Billy Simmons) is also in that episode, although Barry Livingston (Arnold Mooney) is not.

According to his wife, Margaret, Joe Davis could come on the trip because he had to have his appendix out. Lucy and Viv come in his place. Writer Madelyn Martin's first husband was named Davis, so it is possible these names refer to members of her extended family.

Lucy calls Mr. Mooney “sagamore” which she says is Indian for “leader of the clan.” Lucy later shouts “Akela!” This is the scouting term for the den leader. Akela is a symbol of wisdom, authority, and leadership. The founder of the Scouting movement chose Rudyard Kipling's The Jungle Book (1894) as a source of symbolism and allegorical framework for the cub scouts.

When dressed in his 'Indian’ regalia, Mooney compares himself to a cigar store Indian. In the 18th and 19th centuries, life-size wooden representations of Native American chiefs were used as advertising symbols for tobacconists, often erected just outside the door for easy identification. The Native Americans are credited with the first use of tobacco products for smoking. Lucy says Mr. Mooney could have modeled for the nickel. The Indian Head Nickel coin was currency for five cents from 1913 to 1938. The reverse side featured an American Buffalo. It was preceded by the Liberty Head nickel and succeeded by the Jefferson Nickle still in circulation today.

Each time Lucy, Viv and Mr. Mooney appear in their ‘Indian’ costumes, the studio audience greets them with a round of applause.

Mr. Mooney demonstrates for the boys the Indian Stride, walking heel to toe. In reality, Native Americans perfected the technique of walking toe to heel to pursue their prey stealthily without excessive noise. They also used this skill for working on high rise skyscrapers in order to keep their footing on narrow beams.

Mr. Mooney compares his tracking skills to that of Daniel Boone. After following him around in circles, Lucy says they would have been better off with Pat Boone! Daniel Boone (1734-1820) was an American pioneer, explorer, and frontiersman, whose exploits made him one of the first folk heroes of the United States. He was immortalized in books, films, radio, and television. Six months after this episode aired, the TV series “Daniel Boone” starring Fess Parker began airing on NBC. Daniel Boone was also mentioned on “The Matchmaker” (ILL S4;E4).

Pat Boone is a successful pop singer during the 1950s and early 1960s. He sold over 45 million records, had 38 top-40 hits, and appeared in more than 12 Hollywood films. Pat Boone was also mentioned in “Country Club Dance” (ILL S6;E25) and “Harrison Carter, Male Nurse” (HL S5;E3).

Callbacks!

The outfit and wig that Lucy wears in this episode is the same one she wore on "The Indian Show" (ILL S2;E24).

When Lucy, Viv and Mr. Mooney are lost, hungry, and feeling that the end may be near, the episode feels very much like “Lucy in the Swiss Alps” (ILL S5;E21) where they go through pretty much the same range of emotions while trapped in a mountain cabin after an avalanche.

This is the second time Lucy Carmichael has had to be both mother and father to Jerry. The first time was when she became referee of his football team in “Lucy is a Referee” (S1;E3).

This is the third episode to be centered on the activities of Jerry and Sherman's cub scout troupe. The first was “Lucy Visits the White House” (S1;E25) and the second was “Ethel Merman and the Boy Scout Show” (S2;E19).

Blooper Alerts!

Stool Tosser! While the scouts are all giving Mr. Mooney the ‘grand howl’, Lucille Ball suddenly feels a camp stool is in her way so she picks it up and tosses it aside without much regard for where it lands!

Sitcom Logic Alert! When Mr. Mooney comes up with the idea to draw straws to determine who gets to take the canoe back to camp and who stays behind, Viv is first to pick. She immediately exclaims “I got a long one!” without seeing the size of the other two straws! How does she know the one she is holding is a long one?

WTF Happened? Lucy doesn’t trust that Viv and Mr. Mooney will return for her so she jumps in the water, capsizing the canoe - end of episode! We never discover how they were rescued. From the time Lucy leaves to find the canoe, the episode is basically about three adults getting lost - not once, but twice - while a dozen scouts fend for themselves unbothered. Thirteen minutes of screen time is dedicated to Lucy, Viv, and Mr. Mooney walking in circles and splashing around in water!

Fast Forward!

The plot of “Lucy and the Scout Trip” was pretty much recycled eight months later (minus the scouting theme) for “Lucy Becomes a Father” (S3;E9) in which Lucy takes the place of Jerry’s dead dad on a father / son camping trip. While Gale Gordon comes along as Mr. Mooney, there is no sign of Barry Livingston who played his son Arnold. In November 1964 Livingston had already joined the cast of “My Three Sons”. If one of the five uncredited boys playing the sons is supposed to be Arnold (Mr. Mooney’s other two sons Ted and Bob would have been older) he is never identified as such.

Lucy Carter dons Native American regalia (this time in her favorite color, blue), in “Lucy, The Rain Goddess” (HL S4;E15). She even got her face on a totem pole!

Lucy, Kim and Craig Carter all dressed to blend in with the Navajo Tribe, when they filmed “Lucy and the Indian Chief” (HL S2;E3) on location in Arizona in 1969, the first television sitcom to film on Native American land.

“Lucy and the Scout Trip” rates 3 Paper Hearts out of 5

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