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batsplat · 9 months ago

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Chad reed on always the entourages creating the drama. I cannot believe that is what caused rosquez downfall but also given the level of Vale's celebrity and the way he carried himself, I can totally believe that it was the entourage (iPad stand I'm looking at you) that brought the end

(about reed's 2020 quotes in this) yeahhh I mean the downfall was caused by a whole bunch of factors, not just any one thing... like all great tragic narratives, it feels inevitable from a global perspective and yet thoroughly preventable in its specifics, with loads of points where you think, 'oh, if things had just gone a little bit differently'... there's this tension in how, in the end, maybe it would've always gone wrong, but a lot had to come together for it to go wrong in quite such a spectacular fashion

reed's definitely correctly identified one of the factors - the entourages, and valentino's entourage specifically. though fwiw, I did cut off the article before reed predicted the marc/fabio rivalry was headed a similar way (this was from 2020, obviously before the arm injury):

for better or for worse, fabio has skipped the villain arc to head straight to the depressed frenchie arc

regardless of whether this rift would have happened or not, the idea that marc would have gotten a new appreciation for the situation valentino found himself in is at least an interesting one. though if anything, the rivalry with fabio would have more closely paralleled valentino's with the other aliens (new talent coming through, but with the previously dominant rider still a regular winner). now is the time marc's learning what it feels like to come back from a prolonged absence from being competitive at the highest level - and of course with a new superstar simultaneously making his debut

so yeah, anyway, tragedy, you can point to all sorts of strains and pressures and tension inherent to professional sport that were exacerbated by the personalities involved and the influence of the media and the passage of time etc etc. but never mind all that, let's get back to entourages! I know you mention everybody's favourite b-list shakespeare villain, but I'm going to basically mostly ignore him because it's well-trodden ground. yeah, it does help to have one guy who's whispering poison into your ear for a prolonged stretch of time before showing up at your motorhome doorstep with a bunch of telemetry and a dream. and yeah, there were people in valentino's entourage definitely encouraging this path to doom. but what I'm also interested in is the flip side - why nobody stopped him

I would like to submit into evidence this passage detailing the thoughts of vale's mechanic alex briggs. now briggs in this excerpt blames two groups for how things went down in 2015:

the yamaha side (specifically the press group) for not talking him down from the ledge before the presser

the crew chief and other assorted italians on the team for being too "yessy" and not standing up to him

let's briefly (for a given value of the word) focus on the first one. if you're a random yamaha pr person and you see the valentino rossi run to a press conference (given he was late) with a bunch of papers in his hands (well, he's not actually holding the papers in those gifs, but presumably somebody's got them), it's probably a tough ask to expect you to hold up the valentino rossi and ask him what exactly he's intending to do with those papers. also, is he really going to back off because you, random yamaha pr person, have asked him to please not accuse the competition of sabotage? added context is that some at yamaha were aware of what valentino thought about the race at phillip island (which we'll get to in a sec), but god knows if the pr people did. unless he confided in anyone on the yamaha side what the plan was, a lot of them would have been blindsided too - which does come back to the problem of how big a deal valentino is and how maybe you're a little more cautious about questioning what he's about to do with those papers than you would be with somebody else. it does feel like perhaps a bit too much to expect for them to have launched some last-minute intervention, or to even know what kind of intervention they could have gone for beyond low-level comedy hijinks to stop him from even getting to that room. why did nobody from yamaha place a banana skin in his path

but we do know that at least some in yamaha were aware of valentino's great big phillip island sabotage theory, because lin jarvis has very helpfully told us as much (from the post-sepang media scrum):

Q: Do you think it was a mistake for Valentino to [provoke?] Marc so much on Thursday with a very personal and hard attack? Jarvis: There are always many different ways of addressing different problems - Valentino chose to do it in that way. Perhaps that is what provoked Marc into being quite aggressive on the track. I really don't know, you need to ask Marc not me about that. Every action has a consequence. That's life. Q: And did you know before that Valentino was going to be so aggressive with Marc in the press conference? Did you know before? Did you discuss with Valentino about this decision or you didn't know until it happened? Jarvis: Personally, I was not aware of that. I was aware of Valentino's opinion of the race in Australia, but I was not aware... but I was not aware that he would - Q: Don't you think because Valentino at the end of the day is an employee of Yamaha he should discuss before with you about such an important decision, to attack a rider of another factory in such a heavy way [...]? Jarvis: You can't control every incident, everything that happens and you know, generally we have a very good [...] relation, connection with our riders, we talk to them before about things before, but anyway I think this is something Valentino felt strongly about and it was his decision and that's it.

note the use of the word "personally", which does leave the door open to others within yamaha (outside of valentino's inner circle) knowing what was going to happen. jarvis, unsurprisingly, comes down pretty firmly on the side of 'well what were we supposed to do'. given that jarvis admits he knew valentino's theory and is hardly a stranger to valentino's modus operandi - after all, he was already team boss at the time of another tense press conference in sepang eleven years prior that took place in the wake of valentino accusing a competitor of messing with him - you do have to wonder whether yamaha could not have tried a little harder to stop valentino. but again, accounting for the power of valentino's status and the power of his character, I'm personally unconvinced yamaha could've done much to convince valentino to change his mind

so then: the italians. a little bit of context - briggs started working with crew chief jerry burgess in 1994 and both of them were on mick doohan's team for all of his five 500cc titles. when doohan's injuries forced his retirement, valentino inherited his championship-winning team upon moving up to 500cc. jb was vale's very first crew chief in the premier class, and him as well as briggs have been working with vale since december 1999. understandably, this is a very tightly-knit group. it is one that made the jump to yamaha with valentino - here's just a quick excerpt (also from oxley's valentino rossi: all his races) about briggs' thoughts on that move:

When Valentino decided to defect to Yamaha, he was determined to have his crew go with him. Only one stayed at HRC. "We first got to know about the Yamaha deal in Portugal, I think [September 2003]," Briggs continues. "I wanted to stay with JB, because I hadn't finished learning what I wanted to learn. "I remember a clandestine meeting in the car park at Phillip Island, about salaries and how everything was going to work. It was really exciting. When I very first started working with Honda the whole group was very much a team. Towards the end we felt like it started to become a bit us and them: the engineers and management, then the mechanics and the riders. They'd sort of got too big for their boots - they'd designed this wonderful bike, so it was like it had nothing to do with us. That made it easier to leave.

and also about the move to yamaha, from the 2020 barker biography of valentino:

But with his trusted crew chief Jerry Burgess and most of his other team members from the Honda garage agreeing to defect with him, Rossi had the crew he needed, not only to win but also to enjoy his racing. It was a heartening display of loyalty and something of a risk for all involved. ‘When I announced to the mechanics that I was going with Valentino they said, “I’m coming too,”’ Burgess later explained. ‘Some of those guys were leaving very secure jobs and taking a big gamble.’

the group also survived the move to ducati (obviously a deeply frustrating two years not just for the guy riding the bike) and the move back to yamaha. but then, valencia 2013, valentino announced his decision to fire jb in a press conference organised for the pair of them. his 2013 season had been deeply frustrating - yes, he had gotten a podium in his first race beating both marc and dani, but after that generally speaking he couldn't come close to matching the other aliens when healthy. he was comfortably the fourth best rider that year, scrapping and clawing his way through midfield battles and having to rely on misfortunes befalling the three title contenders to achieve his podiums and his sole victory at assen. he was considering retiring at the end of the 2014 season once his current contract expired, but wanted to try everything he could to see whether he could be competitive again against the world's very best. and so, he made the decision to roll the dice and get himself a new crew chief, the italian silvano galbusera

now I have to say, personally I have a lot of time for this decision (even if it was maybe not... uh, enacted in the most graceful of manners, given how sudden it was). I come from a sports background where a certain ruthlessness in personnel decisions is encouraged and generally praised - if something isn't working, you should have the courage to make a change, even if it's deeply uncomfortable (including on an interpersonal level). also, while it was a sudden departure, it's not like burgess was that keen on sticking around much longer (again from the same oxley book):

Valentino ended his collaboration very suddenly at the end of 2013. Burgess was shocked but not too much, because he already knew that he was coming to the end of his own career. "When it ended for me I'd already been doing it 30-odd years and I'd told Valentino a few weeks earlier that I wasn't going to sign any more multi-year contracts. I was 60 by then, so I'd go year by year. I'd already signed a contract for 2014, but I would've thought if we hadn't had any more success by then that there wasn't much point in continuing. I felt we would win more races but I was more doubtful about championships. "I'd read enough sporting biographies to know that sportsmen change their coaches towards the end of their careers. It can give them a spike in results but it doesn't change the overall story. Looking back, Valentino's career went on longer than I expected. He enjoyed some success but no more championships and that's what you race for. Of course he was in the unique position of being able to get a factory bike until he retired. He was very special and deserved everything he got."

which, look. again, personal bias, but to me it's reasonable to part ways with somebody who doesn't think any more titles are plausible, because at that point it's just somebody who has a very different view on your career than you do and may well not stick around for much longer anyway. also, at the end of the day, jb was wrong! valentino came extremely close to winning another title, and just because he didn't, doesn't change the fact he could have. if it had rained on the 8th of november 2015 in valencia, we might be having a very different conversation. (or if they hadn't changed the bloody qualifying format post-2012.) honestly, if the 2016 and to a lesser extent the 2017 season had gone just a little differently - a working bike in mugello here and an unbroken leg there - he could have been a genuine title threat in two more seasons. in any case, what it does show is that valentino even at the end of 2013 was still as determined as ever, was ready to engage in what was a huge gamble (given how almost all his success had come with the highly decorated jb) on the off chance he might find what it took to win again. this will not have been an easy decision for valentino. here's a write-up of the presser at valencia, that stresses how uncomfortable the occasion was, how surprising a decision it was to jb, but how publicly at least there was a lack of recriminations (which, to be fair, wouldn't be much fun to do in a shared presser):

(you'll note that the phrasing in the presser about athletes attempting to extend their carrers by changing things up is echoed in what he says in that book interview where he adds that it doesn't change the overall story, again suggesting he didn't really believe valentino would be competitive. he also uses the same phrasing in ANOTHER interview that confirms as much, but I think you get the point.) valentino said at the time, "it was a very difficult decision for me because I have a great history with jeremy. he is not just my chief mechanic. he is like part of my family. my father in racing". this is somebody he'd been working with since age 21, somebody who is not only revered within the paddock for his work with several of the sport's greats but is also a man who valentino obviously has a close personal connection to. meeting for the first time when vale snuck into the honda pit to check out the bike he might ride next season, hitting it off immediately, countless rowdy dinners together, parties, jb and another older colleague sitting back when food fights started, watching valentino grow up, working with him throughout all his big manufacturer switches, all his successes and all his failures... as much as anything else, it's evidence of how strong vale's desire to win was, how determined he continued to be, to make this choice at this stage of his career. and jb was open to the idea (at least publicly) that it might end up being a smart call:

the 'dirtiest' part of the whole affair is how it was actually carried out - it's not great form to tell your crew chief the day before you end up doing a press conference together to announce your choice. for whatever it's worth, this is how valentino justified the timeline:

and lastly, which I think is the most key part, is valentino's belief. because at the end of the day, the only reason why he's doing any of this, and the only reason why what was to come was possible at all, is that he himself still thought that he could challenge for another title - as much as that belief had come under strain:

now what this piece also goes on to say is that nobody believes this will work. nobody believes that firing jb will lead to better results. people expect that this is going to lead to his retirement, quite possibly at the end of 2014. it's worth just remembering sometimes how extraordinary valentino's return to the top of the game post-2013 really was, how it went against how we expect a rider's competitive lifecycle to work, went far beyond the longevity exhibited by any top rider before or since - all while going up against riders who are widely believed to be some of the best to ever do it. valentino beat jorge in both 2014 and 2016, and remains one of two people to outscore prime marc marquez over the course of a season. not to engage in too much rossi prop here, but sepang 2015 can't really be understood without all the frustration that led up to it, to this one golden chance, this miracle that everybody had believed to be impossible (sometimes even valentino). this wasn't supposed to be happening. it was happening. and then, so so close to the finish line, valentino could feel it slipping, slipping, slipping away

but of course, we still don't know whether changing crew chiefs is the key factor that made him competitive again. maybe he just needed a bit longer to get back into the swing of things post-ducati disaster. maybe the bikes just started to suit him better. hey, maybe it was that nifty exercise regime he'd engaged in a wee spot of espionage for so that he could pinch it off his teammate. what we can say, however, is that valentino's choice both tells us a lot about his mindset, as well as (to finally bring us back to the actual point of this post) representing a massive shift in his 'entourage'. this is what briggs is referring to in his quote - the italians. the new crew chief. the people who couldn't stand up to valentino. now obviously, as mentioned above briggs had worked with jb for the better part of twenty years and can hardly be considered a neutral party. here were briggs' feelings on the matter (yeah it's from the same oxley book again, I got it new for eighteen quid which is a very generous price, would recommend):

When JB was out at the end of 2013 it was like losing my mechanic dad. I remember being in the garage when we found out about it. Then they arranged a kind of farewell, a kind of hodgepodge farewell. It was terrible, I didn't like any of it. I was just hiding behind one of the bikes in the garage, crying, going, what's going on here? It didn't seem right to me. I think maybe Valentino thought he would get faster again sooner, but I think it took at least a year to get the taste of the Ducati out of his mouth. I think if he'd stayed with JB we would've won the championship in 2015.

which. look. we don't have time to unpack all that. but. the point is that obviously briggs wasn't exactly a massive fan of the change within valentino's team, and his comments about the 2015 season do have to be read with that in mind. as to whether vale really would have done better in 2015 with jb at his side, your guess is as good as mine. all that being said, a part of me wonders how much losing that grounding presence enabled valentino's late-2015 spiral. maybe not in terms of talking valentino out of the great big fluctuating lap times treachery theory - to state the obvious, valentino got himself involved in plenty of drama during jb's time as a crew chief. jb himself occasionally helped add fuel to the fire in those feuds, like his infamous comment about how he would be able to fix the ducati's issues in 80 seconds that casey still brings up every three business days (the comments were poorly phrased but also somewhat taken out of context, in that jb was talking about a specific set-up problem). he's generally been pretty happy to be forthright about valentino's rivals, for instance this about casey:

My feeling at the time was that Casey probably only had one game plan, and having watched Casey over the years, he doesn't have a plan B. If it doesn't go his way from the outset, it's probably one of the weaknesses that he had through the youth that he had, through the lack of experience that he had. That's not a criticism of him per se, he was still only 22 at the time.

(this is about laguna seca 2008 and how he helped valentino win that race, including in plotting out vale's rather ruthless tactics - which casey was of course not exactly a fan of.) or these. uh. harsh comments about dani from spring 2010:

Q: Is that atmosphere or track knowledge? Is it like the Spanish finding something extra at the racetracks in Spain? JB: Well, therein we show the weakness, don't we? If you can get up on that weekend, on the technical racetracks of Spain, why can't you get up on the technical racetracks like Australia, where the Italians do? Lorenzo is a guy who will and does. Stoner has been able to get up on tracks all over the world. Unfortunately, Dani Pedrosa's into his 6th year in MotoGP, and he's won 8 races, Jorge Lorenzo's two months into his 3rd and he's won 6. It's night and day between those two, is the way I see it. Dani's an extremely fast rider, but a shockingly poor racer. Q: Were you surprised at Jerez [2010] when Pedrosa fought back when Lorenzo passed him? JB: When did Dani fight back? With two laps to go, and he didn't even get close enough to try to come back. Dani has never been a fighter in races, he's a lovely kid, don't get me wrong, but you can see that Lorenzo, having Pedrosa in front of him, it was never going to be the way he was going to finish that race. He was going to finish on the ground or he was going to finish in front of Pedrosa. That's the sort of race that we want, we had that with Biaggi and Valentino, and from history with Schwantz and Rainey. All the good riders have always had somebody they have had to put the target on the back of. It was Doohan and Gardner, and Doohan won that battle hands down, and I think Jorge Lorenzo's going to win this battle [with Pedrosa] hands down.

kind of a dick! so his attitude to valentino being valentino has generally been a) well having enemies is good, actually, with an added slice of b) good luck to his enemies :) - see also this quote (from the barker biography) in the context of the gibernau rivalry:

And that made Rossi even more dangerous, as Jerry Burgess pointed out: ‘Valentino is the sort of rider I wouldn’t want to get angry. He can take you apart on the track.’

so yes, jb is also perfectly brutal in his own right, as you presumably have to be to work alongside valentino so closely for so long. he is, however, also somebody valentino has a massive amount of respect for, somebody who helped turn him into a legend and is responsible for a lot of vale's success - not least, of course, in the pivotal move to yamaha. he was replaced by a man of a far far lesser stature in the sport, one who presumably would have been grateful to valentino for the biggest job he was ever going to get. if briggs is right and there was a shift in valentino in 2015, surrounded as he was by italians (derogatory) who could not stand up to him, who allowed valentino to insist on war and peace on the pit boards, to focus more and more on things that had nothing to do with riding... it would be going a little too far to say that valentino was missing an adult in the room given he was, in fact, in his thirties and should have been capable of being that adult. and who knows what jb would have said or thought or done about the great big childhood hero deception theory. but sepang 2015 was the culmination of a lot of things, including a pressure cooker of a season that grew more and more tense and put more and more stress on everyone involved - perhaps for none more so than valentino. maybe, just maybe, if he'd had somebody around him with fifteen years of experience in handling him, who could have just occasionally told him to knock it off, to concentrate on the racing, to keep things simple (always jb's defining philosophy), to maybe not get so wrapped up in the great big spanish collusion theory...

or maybe it wouldn't have mattered! maybe we're getting cause and effect all wrong here; maybe valentino was deliberately fashioning his entourage into one that was only going to give him positive feedback. maybe he would have just stopped listening to jb, maybe the very decision to fire jb makes it clear he was no longer interested in what jb had to say. it's a tragedy, after all! maybe it was always going to go like this. maybe it was always going to end like this

speaking of entourages, marc's manager played a bit of a cameo role in fanning the flames just a little further (article from marca, 26/10/2015):

alzamora obviously will be somebody valentino is familiar with, having raced him in 125cc and also having just coexisted in the paddock over the years. valentino could of course be lying, but idk, why would he? he's already made his case by this point, and what if alzamora were to contradict him? if it's true and this conversation did happen, you do have to say it's a spectacularly unhelpful intervention from alzamora. even if marc was mad at valentino, why the hell are you telling valentino this AFTER sepang 2015? what's the plan here buddy

^ 1999 world champions: alzamora in 125cc, vale in 250cc and alex criville in 500cc. people think motogp lore is complicated but if you know like, five guys, you're set for about twenty years of drama

which does get to the heart of the matter - a lot of these people have big egos and their own agendas and they love to run their mouths. they like talking a big game and getting involved in things they really shouldn't be getting involved in. is reed right that these people in the riders' entourages 'created the drama'? well, no, I think the two men at the centre of this particular tragedy were plenty capable of doing that themselves. nevertheless, you can point to how professional sports (and motogp in particular) forces you to rely heavily on a small group of people to keep you sane at the centre of the storm, and the risks that can emerge when that small group collectively unmoors itself from reality. you can point to the perils of fame, both in making your reliance on your inner circle so unnegotiable as well as in providing you with the status and power and ego to ignore anyone who might wish to change your mind. you can point to specific figures in this story who managed to incite the conflict between the two of them, as well as how the pressure cooker competitive environment they were operating within helped set up the ultimate catastrophe. you can point to how valentino lacked anyone with the power to stop him - both in the direct sense of forcing him to reconsider and the indirect sense of commanding his respect enough to make him see sense. maybe, just like in 2004, valentino had simply been "looking for an excuse" and he was always headed down this path. or maybe if somebody had just held him back a little that year, kept him focused on his riding, maybe if the right person had intervened at the right time...

maybe, maybe, maybe. that's why it's a tragedy

#brr brr #idol tag #//#i get the sense he's unpopular on here but EYE will miss lin jarvis. i think he's funny sorry. him and his certifiably insane employees #i loveeee that media scrum love his very dry lil summary of events acting like we're not so so far down the rabbit hole #batsplat responds #essay tag

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brian-in-finance · 4 months ago

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WHAT THE STARS ARE SAYING

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"I still get Backstage emails 'cause I still subscribe to Backstage. [Backstage is) kind of the Bible in the beginning, which is amazing. Samuel French and Backstage go hand in hand, you know? You go there for your plays when you're in classes, and then you get your Backstage."

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Brian’s Note: The following story originally appeared in April 2015. Most recent update is December 2020.

The Gorgeous Determination of Caitríona Balfe

Caitríona Balfe is on the move. That's been true most of her adult life— especially the 10 years she was modeling for Victoria's Secret, Dolce & Gabbana, and others—but as she sits on the rooftop patio of a West Hollywood hotel in mid-March, she mentions that she's pulling up stakes from Los Angeles.

"It just feels silly to have an empty place for 10 months until I figure out what I'm doing with my life," the Irish-born actor says. "I've rented the same place for the last four years and now I have to give it up." Her apartment is being razed to put in condos, but her departure from L.A. is extra poignant considering this is the city where Balfe journeyed when she decided to put aside that successful modeling career and focus on the vocation she'd always wanted: acting.

Photo: Luc-Richard Elie

"I've moved so much since I was 18," she says. "I mean, l've lived so many places. New York, I lived in for almost eight years [while modeling], and that's been the longest of anywhere since I left Ireland. But L.A. is where I came and said, 'OK, this is what I wanna do with my life.' "

She refuses to think of her move as a permanent one, though. "I'll be back," she declares, "but it feels really sad. My little apartment, it's got so many memories."

Balfe's sadness is no doubt mitigated by the fact that part of her need to move is due to the precipitous rise in her fortunes. She'll soon be flying to Scotland to shoot the second season of "Outlander," which returns to Starz April 4 to conclude Season 1.

When last we saw Balfe's Claire, the resourceful British nurse who comes home after World War |I only to be inexplicably teleported into the 18th-century Highlands, she was half-naked with a knife to her breast. Don't worry: Claire will get out of that scrape, but more perils await-to say nothing of the emerging multi-era romantic triangle developing between her, the Scottish warrior Jamie Fraser (Sam Heughan), and her 20th-century husband, Frank Randall (Tobias Menzies), who wonders where she's gone.

Based on the much-beloved Diana Gabaldon novels and developed for television by "Battlestar Galactica" rebooter Ronald D. Moore, "Outlander" is an ostensibly lush period-piece-within-a-period-piece drama that's consistently richer and thornier than its romance-novel trappings suggest. And much of the credit goes to Balfe, who had managed small parts in films such as “Super 8” and “Now You See Me” before landing the central role in this adaptation.

In person, Balfe is far less imposing than the steely Claire, who has to weather the dangers of being a woman in sexist, violent Scotland in the 1740s. Cast late in the preproduction of “Outlander”—Moore has mentioned in interviews how hard it was to find the right Claire—she didn’t have time to consider what the role would do to her life. “I’m so bad on social media," she confesses on this warm afternoon, nestled underneath a cabana. "I had set up an account on Twitter maybe a year or so before I got this job and had, I thought, a lot of followers — 250 or something, and most of them are my friends. Within about a month or two, it was thousands of people — and my phone, I didn't know how to turn off the alerts, so it was just going all the time. That was the beginning of the awareness."

Growing up in the small Irish community of Monaghan, Balfe had considered acting from an early age. ("I was devastated that I wasn't a child actor," she says, smiling. But after traveling to Dublin to study theater, she changed course once she received an offer to model. It wasn't a secret passion of hers, but who turns down a trip to Paris? "My parents felt that I should finish college," Balfe recalls, "but l'm slightly headstrong, so l took their advice and I completely ignored it."

Over the next decade, she lived in France, Italy, Germany, and Japan, her modeling inexperience hardly a detriment. "You'd be amazed how little information or training goes into it," she says. "When I first arrived in Paris, I was told to take a bus to the office. I left my suitcase — I barely spoke any French — and someone took me across the street, helped me buy a Carte Orange. They printed out five addresses that I had to go to that day, and then they sent me off." She still remembers at 18 riding the subway alongside 16-year-old aspiring Russian models, who knew no French or English, homesick and sobbing their eyes out. "That was just the way it was," says Balfe. "You become pretty tough. When I went to Japan, it was similar: They would drive you to their castings, but the minute you got a job, it would be like, 'Here's an address, here's a map. Good luck.' They don't have signposts in English in Japan, so the map and the address are not always very helpful."

Hear Balfe recount her early misadventures in modeling and you can't help but think of Claire, who's equally thrown to the wolves once she arrives in the 18th century amid people wary of the English in general and assertive women in particular. "Honestly, l've been in so many situations in my life where you just are completely displaced," Balfe says. “You have to adapt very quickly and figure it out. I definitely think that informs Claire a lot. It helped me understand her."

Did moving to Paris at such a young age teach Balfe that she can cope in any circumstance? "I think I didn't really realize that until many years later," she replies. "I have a great knack of not thinking about things and just going for it. You learn the hard way sometimes that you're able to get through, but sometimes it's quite tough when you're in a situation where you don't know anyone and you're trying to find your way around cities. But if an opportunity presents itself and it seems like a good idea, l'm just like, 'OK, let's do it, then I'll figure it out.'”

The decision to reconnect with her acting ambitions was conducted just as boldly. Ready to quit modeling, she moved to Los Angeles because a writer she was dating lived there. He was the only person she knew, but she had read a Vanity Fair interview with Amy Adams in which she said she trained with Warner Loughlin. "I could walk to that place from my ex-boyfriend's house," she says, "so l was like, 'Well, I'm gonna go there because I can't really drive. I started from scratch. I didn't have any managers, I didn't know any agents, I hadn't acted in almost a decade." But she just kept taking classes, moving from Loughlin to the studios of Sanford Meisner and Judith Weston. "I think when I first got here, I had a nice little air of delusion: 'It's gonna work out,'" she says with a laugh. “You just don't know how."

And then came "Outlander." By email, Moore admits that he didn't know Balfe's work until her audition tape came unsolicited to his office from her agent. Once she was chosen for Claire, he made it clear how demanding the job would be. “I told her in our first meeting that this was going to be an even bigger responsibility and workload than the normal TV lead," he writes. "Because the story was being told from Claire's point of view, Cait was going to be in every scene, every day for months, which is an extraordinary amount of work, far beyond what most actors are ever asked to do."

Moore's warning didn't faze Balfe. Writes Moore, "After she met with the president of Starz... and it was clear that she was going to land the role, I walked her to the elevator and just before the doors closed on her, I said 'Your life is about to change forever,' and she gave me a grin that was both thrilled and slightly nervous. I never saw her hesitate after that."

She's never hesitated before. As Balfe prepares to say goodbye to L.A. (for now, she thinks back to her early days in the city, trying to convince casting directors that she was more than just a model. "I went on many, many, many, many auditions that were Hot Girl No. 2 — you wanna shoot yourself," she says, laughing. "But, you know, I'm very lucky that l was even getting those auditions in the beginning. And it toughens you up. At least for me, to have that fuel to prove people wrong—it definitely spurs me on and makes me wanna work harder." Then she smiles conspiratorially. "And shove it to them."

Backstage 2

Remember… I told her in our first meeting that this was going to be an even bigger responsibility and workload than the normal TV lead. — Ronald D Moore

#Tait rhymes with hat #Good times #National Actors Day #8 September 2024 #Backstage #April 2015 #Story last updated December 2020 #Instagram

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cityofmeliora · 2 months ago

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transcript: The Summoning + Sister Imperator's speeches

in chronological order:

LINCOPIA, OTROGOTHIA MAY 20, 2015 SISTER IMPERATOR: Brothers and Sisters, you know why you are here tonight. This Ministry is now seven years into The Ghost Project. Seven long years of work. Two Papas, two albums, one gold. These are indeed some respectable numbers, but let me give you some others. Churches opened: zero. Governments toppled: zero. World leaders converted to the cause: zero. You call yourselves salesmen? Masterminds? You have done shit! And don't blame the music. The music is the very manifestation of His Dark Majesty. And don't blame this fine merchandise! It's a disgrace! Papa 2 has been let go. He is a miserable, wounded, and bitter old man, and he is washed up! But let's look forward now. This is a new piece of music. And these are your new masks. And this is Papa 2's brother. He is a full 3 months younger. This man will take the band further than any of us could ever have imagined. I present to you now… Papa Emeritus III! The Summoning (part 1)

LINCOPIA, OTROGOTHIA AUGUST 10, 2015 The clergy has convened. The time for invocation has come. SISTER IMPERATOR: Brothers and Sisters, I realize the difficulty to get this message to you. It has become more dangerous than ever before to speak aloud our dark truths. But do not be dismayed. Papa Emeritus III knows of your commitment. But he needs more from you than this squirreling in secret, these whispers underground. It's time to act! In cities around the globe, his flock will be called. You will hear the call, like the voice of a siren, a temptation in your heart that can only be fulfilled by witnessing the ascension. And its music will rattle the hearts of the sleeping. You will gather in the rains of Seattle on August 18th, in the drought-stricken heat of Los Angeles on August 20th, in the lysergic deserts of Phoenix on August 21st, in the humid metropolis of Baltimore on August 22nd, and in the crowded streets of Brooklyn on August 23rd. You will meet in the record shops, where the authorities would never think to look! There is no master, there is only The Path. There is no destination, there are only winding steps. When the guitars are tuned and the Ghouls begin their invocations, there is only one thing left to do: shake off your slack social media chains, your cheap hunger for scandal and rumor! When the first chord is struck, you will turn to your neighbor next to you in the flesh, put your arm around them, and take back your humanity! You have already fallen! Hell is here! The time for ascension is now. The Summoning II: Unholy / Unplugged Tour (August 10, 2015)

Lincopia, Otrogothia August 11, 2015 The battle for Philadelphia SISTER IMPERATOR: Children of Philadelphia. You are a special city. We have been pleased with growing unrest and incivility toward Frankie's visit next month. And we were especially pleased to register a sold-out concert on the same day Frankie would be blathering to the minions. But we also sensed a growing unrest amongst the church, especially the particular amount of attention they began paying the Ghost concert. We were ready to persevere in the name of the unholy, and to allow the dark side of Philadelphia to shine through while Frankie was in town. But this morning, we received this dispatch, a letter informing us that Ghost fans will not be able to use public transportation, park their cars near the venue, or even get the Ghost entourage close enough to load in their instruments of persuasion. So, children of Philadelphia, and in fact, children of the world, we regret to inform you that in the hopes to ensure each and every Ghost fan can attend the show, we've decided to move the Philadelphia concert at Union Transfer to Tuesday, September 29th. Concession is sometimes hard. Our quest to topple the church will be won across many battles. We thank you. The Summoning III: The Battle For Philadelphia

Lincopia, Otrogothia August 21, 2015 The arrival SISTER IMPERATOR: It has arrived! Some of you did not believe the new Papa would be able to cast a shadow as wide and as far as his great predecessor. Your faithlessness is now dust in my mouth. You should be on your knees humbling yourselves before what has been accomplished here! All you need to do is look outside. Look at the graffiti on the walls, look at the lights illuminated at night, where once there was only darkness. Mothers will whisper warnings to their children: the false prophets will wail from their hallowed churches and in underground hovels like these, across the world. Our legion will rise. But listen closely, now. There isn't much time. There is one thing you must know. [Ladies and gentlemen, I have summoned you all here. And now, I bring you Ghost!] [SAME SPEECH GIVEN AT UNHOLY / UNPLUGGED IN LA] The Summoning IV: The Arrival || Unholy / Unplugged - Los Angeles, California, USA (August 21, 2015)

SISTER IMPERATOR: Welcome! Welcome, my faithful brothers and sisters! Your presence here is proof of your commitment. If you are unsure, cast off your doubts now. There is no turning back. The rite you're about to witness is but one small but essential movement in our spiritual revolution. We prayed, and he has arrived! But! But! He will demand more of you! He will need to hear from the abyss of your hearts that you are ready. His is a voice of the pit and the pinnacle! His Nameless Ghouls are the music of the [UNINTELLIGIBLE] but your holy noise is the key! You must cry out his name! Say it with me now: PAPA EMERITUS! AGAIN! AGAIN! AGAIN! Very good. Shh! Shh! Shhhhhh! Listen. Do you hear it? Do you? It's the terrible sound of the ignorant– the mistrust and anger of the masses. The world is unstable and they have lost their balance. But we, here together, are the new foundation. we are the shape of things to come! There's not much time. We won't be able to do the required incantation. We must let the music do the summoning. My brethren, my brethren, bow your heads and raise your horns to pierce the veil of heaven, so the skies will be torn asunder! And Papa may fall into our midst! Now is the moment. Now, there is no other. Papa Emeritus III! Ghost! Ghost is here! Los Angeles, CA, USA (October 26, 2015)

EARLIER TODAY LINCOPIA, OTROGOTHIA THE CLERGY HAS ADJOURNED. AND THE NAMELESS GHOULS ARE SUMMONED. SISTER IMPERATOR: I think you all know why you have been summoned here. It's time to re-assess, to take stock of your failures. It started with a vision: you were all standing before me, hoodwinked and bound with both caddy and shack! I led you each toward a coffin, where you were made to lie down. The lids were closed, and one by one, I placed a level on the top to make sure you were still and cold in the darkness. Iron nails fell from my hands and scattered like leaves around my feet. I know that behind your masks, you are smirking at me, proud of your trivial accomplishments. Let's see what you have really done to topple the spires and the men who hurdle around their false god. No… Oh, yes. [LAUGHING] The industry has noted our good works with their trinket. And as a result, our message is carried further and wider. But do we take such trinkets as sacrament and the measure of true accomplishment? No! We don't need their approval. The truth of our work is not measured by awards and nods from the establishment. Can someone say "two in a row now", from the Swedish academy? It is still only a drop in the dark water of our mission. Sit still! Stop staring! Have you heard enough of the list of your petty dreams laid bare? Are there any among you who can say you can bear witness to the signs of the coming change? I see more of the same slumbering dreamers sleepwalking to their glass-and-brick towers, bowing at the feet of their priests and their false gods. I have here letters from your followers, demanding that we explain why nothing has changed. They have made their own sacrifices. But what have you done? How will you answer them? By holding up your golden gramophone? Is this the change you promised? Is this the sign of a new age? It is nothing! It is another false idol. It is time to answer for your failures. This is going to take some time, so I would prepare yourselves. Pray to your Dark Gods that you can handle what is to come. "NEXT: ARE YOU READY? LET'S DISCUSS THE MISSION, MAN" The Summoning V: The Square And Hammer (September 13, 2016)

"Later that day…" LINCOPIA, OTROGOTHIA The proceedings intensify. SISTER IMPERATOR: I expect no more interruptions. You had your chance to defend yourselves. Without your guitar and drums, you are are mere acolytes, not the grand missionary men you were trained to be. You want to be equal to your Papa? Ha! But all you can do is [UNINTELLIGIBLE] your own egos, waxing nostalgia about your petty sins. Well let's see what you have really done. You have sat for insipid interviews, answering insipid questions, afraid to reveal your true undertaking. You wear your masks for the press, but your masks were never intended to simply hide your faces– they are the visage of The Gods, and you mock them with your senseless orgies and trysts. Even your depravities are dull! I would like you to turn to exhibit one. Look at all the places you have been, all the cities you have made a mark on. But the rain has washed it all away… like the piss of a dog! Why are believers still living in secret, spinning your records in their parents' basements? Why have you not led them into the murky light of His shadow? You are supposed to lead. It is your task. Your task! To lead! I think you're afraid of real change. Let's take a breath. I think I understand the problem. You think Papa's words should be enough. But then you misunderstand the nature of true power. Papa is not a mouthpiece for the Dark Divinity. He is not a pawn. He is a mediator. He is the path. His way is the truth and the darkness! And you– you are his apostles. And yet, you deny, you deny! And so I charge you with deceit and with letting good people falter! The very people who believed in you. Your doubt sows their own. I charge you with dereliction of duty! For the harrowing initiation you have been through, I would charge you with treason! The Summoning VI: The Proceedings Intensify

"Days later…" Lincopia, Otrogothia Fatigue and apathy have set in. SISTER IMPERATOR: Despite your weakness, and your cowardliness, your failures, I still believe in you. And I believe in you because I have seen the future! I have already been witness to three transfigurations, and each time I can see that we are closer to the final glory, and I have seen you rise to the occasion each time. So can you do it again? Huh? Hmm? Do you see this [UNINTELLIGIBLE], this haunted servitor of our Dark Father asking for nothing while it does its simple tasks? You see it and all think, "Our instruments are far greater than that old broom!" But they are not! They are merely tools to do His great work! Sometimes, yes, you're genius, with the tools you have been given. I have attended your rites, watched you claim souls of thousands, of your strings, your skin, your masterful use of electricity. I, too, have been moved to tears as I stood before you as the music reached a sort of… transessence. This is why I believe. After all we have been through in these past few days, all the shames laid bare, are you ready to start anew? The new coming is about to begin. Will you take up your instruments? Will you be able to commit to the utter annihilation of all this is false? All that is greed? All that is staid and conformist and empty? Hm? Then rise. Rise!!!! Now! I give you another chance at transformation. But you must beg. You must demand to be sacrificed! You must prostrate your hearts while you stand tall in the dark, for the fourth incarnation of Papa will guide us. But we need faith now. Swear to me that my faith in you is not in vain. Swear to me now in His Unholy Name. Say it now after me, say it loud enough to shatter the windows of the world's lies. Say "I am ready! I am ready! I am ready!!!!" The Summoning VII: Believe This

#sister imperator #papa emeritus iii #terzo #nameless ghoul #radley post #the band ghost lore #quotes

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scottfreed · 8 months ago

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Comparing the Text of the "TANGLED: Before the Ever After SERIES BIBLE" and the "Tangled The Series: Series BIBLE"

I wanted to compare the text from the two Tangled bibles from the Disney leaks since there seemed to be a lot of overlap in the language and I was interested to see what had changed between the initial BEA bible(2015) and the TTS series bible(2018).

I'm in the asoiaf fandom and we do this with old George RR Martian drafts and manuscripts all the time, a sort of literary archeology. I took the plain text of both documents and ran a comparison to see what had changed between the two bibles. ((My dumbass put the 2018 TTS document as the original and the 2015 BEA doc as the "modified" one. So the Struck through text is actually the older/original/BEA.))

So obviously, the TTS bible was far longer since it was created and modified far later into development and even after wrap. It encompasses waaay more material. So naturally, all the S2 material outside if a brief synopsis was not in the BEA.

S1 Characters that do not appear in the 2015 BEA bible, but do in the 2018 TTS bible include: Angry, Red, Sugarby, Monty(even though his episode was), WRECK MARAUDER (Same as Monty), Fidella, and surprisingly: Stan and Pete.

And most surprising of all: the Captain didn't have a character profile in that initial document even though I could swear he has more episodes than characters like Lance, Varian, Quirin, and Xavier who all do have profiles in the 2015 BEA one.

I wonder if this indicates the order in which the characters were developed, or if they had different initial plans to use certain characters with more frequency and that didn't work out.

And as I sort of mentioned, in the BEA document, there were only summaries of six episodes after the special; "Challenge of the Brave," "Rapunzel's Enemy," "Cassandra Vs. Eugene," "In Like Flynn," "Under Wraps," and ""Fitzherbert PI."

It's fascinating to me how most of these are Cass and Eugene focused eps, with only one truly Raps focused one.

Anyway...

First big difference in the text:

By far the most common and consistent change between versions was Cassandra's job.

In 2015 in the Before Ever After pitch, she was consistently referred to as a "handmaiden" and then as of the 2018 TTS series bible this was changed everywhere to "lady in waiting".

I always wondered about this shift. At first I wondered if the change was to distance the show from the wildly successful, but thematically dark/adult "Handmaid's Tale" which came out within like a month of TTS, but now I'm wondering if it was more to align her thematically with her later characterization of "the Lady in waiting who is sick of waiting." It's probably that latter option. But I did kind of prefer the handmaiden angle since a lady in waiting is still comparatively powerful nobility. And imo a "maid" taking on a Kingdom is way more sympathetic than a lady doing so. It could have just added that extra layer of class conflict, but oh well.

No matter the reason, "Handmaiden" is out, "Lady in waiting" is in!

Attila got a little fleshing out between versions! Though this never seemed to materialize. I almost wonder if someone needed to hit a word-limit or something. I would have liked to see an ep showing Attila more and more integrated into Coronan society. See his progress from S1 to S3.

It seems the decision to have the full entourage outside of the main three on the mission might have been a later addition. (Alternatively the 2015 bible might have just had need to be more short and concise with the S2 details.)

It did seem(unfortunately) like the spare 5 didn't contribute much to the overarching plot, so I wouldn't be surprised if that were true. (And I'm including the Hookfoot filler episodes with that.) It would have looked pretty different, but might have been more character focused if they had gone in that direction.

Seems the Lorb episode was originally REALLY different...

The idea of them being mythical leaf people was a later addition, as well as the island aspect of the setting.

And it looked like the human "distinct tribe of people" were originally going to be worshiping Rapunzel and not Pascal. I can certainly see why they changed this so much.

It would be hard for Raps to beat the Demigoddess allegations and maintain the everyman vibe, plus the God Guise/Cargo Cult tropes are awkward as hell in that context.

"The Brotherhood of the Stone" ?

"The Brotherhood of the Stone" ?????

..... Brotherhood fans btfo, its so over, we will literally never recover from this. *passes away*

No but really, no distinct mention of Adira or someone in her role. I wonder if the idea of discord/disagreement among the Brotherhood members didn't come about until later.

This is pretty cool! I didn't know that "Plus Est En Vous" seemed to be the initial name for the special! Then it got changed and used for the finale.

It also looks like "Cassandra vs. Eugene" was a pretty different episode initially as well.

It looks like originally, the scavenger hunt was not intended to lock them in the dungeons, and the Stabbingtons weren't involved.

I'm kind of of two minds on this one since on the one hand I like when decisions are deliberate and not just a matter of coincidence gives the characters agency. Plus I like the Stabbington's as villains and was glad to see them. But on the other hand, Rapunzel locking people in a cell when being locked away against her will is so central to her character and no one ever calling her out for it was so off-putting to me. Plus it made the Stabbingtons much less threatening.

I almost want to see that original version of that ep. I wonder if it would have been more character-focused.

And the last little changes I noticed were to "In Like Flynn" where they changed the word "crime" to "scheme" in the description and dropped the "King" for just "Frederic" probably just to convey the lighter tone of the episode better.

Oh, and one more!

The "Moonstone" didn't seem to be named as of BEA and there was some intentional(?) ambiguity about Edmond and his title and origin.

Overall not a lot of big differences. But it was a bit surprising what elements and characters where emphasized compared to what ended up manifesting in the show.

#tangled the series #rapunzel's tangled adventure #disney leaks #tts #rapunzel #tts eugene #tts cassandra #tts brotherhood

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elipheleh · 10 months ago

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mary & george feature in tv & satellite magazine. airs in the uk on tuesday (5th) at 9pm on sky atlantic & sky showcase. boxset will be available on sky boxsets/NOW.

text under the cut

Hollywood star Julianne Moore adopts her best English accent this week when she plays Mary Villiers, a mother-of-four determined to secure her family's future, in Sky's seven-part drama Mary & George.

When she learns that King James (Tony Curran) is in a sexual relationship with his adviser, the Earl of Somerset (Laurie Davidson), Mary realises she could gain considerable power and influence if her son George (Nicholas Galitzine) becomes the King's new favourite.

'Mary is from a kind of middling aristocratic family,’ explains Moore, 'She's living in less-than-ideal circumstances, looking for a way to educate her children and keep herself alive. The only way she's really able to do that is through her relationships with powerful men.’

After sending George to France to learn refinement, Mary endeavours to get him noticed - and King James is soon enamoured with the handsome young man.

'At the beginning, the relationship is very transactional for George’, explains Galitzine, 29. 'I don't think he develops feelings for James until a few months, perhaps years, into the relationship. George definitely has something to gain, but the love is very much real between them.'

Although the King is aware of the power games being played around him, he finds it refreshing that George comes from outside the usual circles of the royal court.

‘James is comfortable when hes in the company of his lovers - he wants to forget about being a king,’ says Curran, 54. ‘He wants that distraction of feeling safe with another person, as opposed to lords and politicians constantly grabbing at him, wanting him to make decisions about affairs of state.’

OUTRAGEOUS TRUESTORY

The series is based on the nonfiction book The King's Assassin by Benjamin Woolley, and Moore was drawn to the project by the way Mary seemed ahead of her time.

‘There was something outrageous and direct about her’, says Moore, who won a Best Actress Oscar in 2015 for her role as an early onset Alzheimer's patient in Still Alice. 'She seemed to have her own desire for power and agency in a situation where she might possibly have none. It's interesting what she achieved at a time when women couldn't even own property.’

The cast also includes Trine Dyrholm as Queen Anne of Denmark, Niamh Algar as Mary's confidante, prostitute Sandie, and Nicola Walker as the Queen's lady-in-waiting Lady Hatton.

Mary & George's salty language and revealing sex scenes may surprise some viewers, but the stars believe it reflects the earthy instincts of its characters as they grapple for power.

"The sensuality in the show isn't crass in any way, says Curran. 'It was certainly interesting for me. I'd ask the producers, "What am I wearing today?" and theyd reply, “Your birthday suit, pal!"’

'It's not a typical period drama because of the licence it takes with behaviours and sexuality,’ agrees Moore. 'It's beautiful and opulent and a wildly entertaining romp through history.’

Who’s Who (top right of image)

Mary Villiers

Julianne Moore

The deeply ambitious mother lives on her wits and wants to create a lasting legacy for her family.

George Villiers

Nicholas Galitzine

Mary's second son gains new-found confidence and charm after an educational visit to France.

King James

Tony Curran

The first joint ruler of Scotland and England, the King is seldom seen without an entourage of male companions.

Robert Carr, Earl of Somerset

Laurie Davidson

The King's current favourite is determined to stop George from usurping him.

Queen Anne of Denmark

Trine Dynolm

The Queen would prefer her husband's favourite to be someone she can control.

Sandie

Niamh Algar

Mary's confidante is a prostitute in a high-end brothel, making her privy to the secrets of the rich and powerful.

#nicholas galitzine #nick galitzine #tony curran #julianne moore #mary and george #mary & george #not rwrb #elio’s #alt text added #and the full text is in the post #didnt get all the words because i couldn’t work out where to put all the image captions #but generally got most of it #george villiers #idk why the quality is so bad rip

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posttexasstressdisorder · 4 months ago

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Trumpland

Trump’s New Brand of Woman is Mean, Loud and Ugly

FROM THIS...

Once he had a Praetorian guard of 5-foot-ten blonde relatives. Things have recently taken a turn—and not for the better.

Nell Scovell

Updated Sep. 17, 2024 2:28PM EDT Published Sep. 17, 2024 1:27PM EDT

The last time a woman said “I love you,” to Donald Trump, his wife Melania was probably miles away.

More likely, these three little words escaped from the cartoonish lips of Harley Quinn’s less sane sister Laura Loomer. A recent guest on Trump Force One, Loomer is quick to express her deep love for the “greatest president ever.” Then again, she also once believed that “bad fajitas. . . will kill you faster than COVID.”

Trump, the great dealmaker, has truly traded down. His 2016 women’s circle fell in line with The Trump Organization’s corporate branding as “bold, beautiful and glamorous.” Sure, Melania was a birther, but she didn’t shout her opinions. There was a quiet elegance to the former First Lady’s racism. And while Ivanka never deserved the job of Senior Advisor to the President, she showed a polish that made it seem like she could hang with world leaders even as they rolled their eyes at her.

Loomer Denies Affair With Trump in Toxic Rant Against HarrisLOOMEY TUNESWill Neal

Still, “bold, beautiful and glamorous” was exactly what Trump hoped to project in June, 2015 when he floated down to earth from his penthouse triplex with his model wife Melania perched on the escalator in front of him like a Rolls Royce hood ornament.

In that announcement of his candidacy, Trump said point-blank, “I’m really rich.” He also said horrible things about immigrants.

The image he presented was clear: he was a man to be feared…and envied.

When Trump announced his run in June 2015, waiting for him at the bottom of the golden escalator was a family entourage. Now only Lara (second left) remains.

Christopher Gregory

Former model Vanessa Trump, then married to Donald Trump Jr., stood in the background, forcing a smile for the camera and all dressed in black. A cry for help? Perhaps. By 2018, Vanessa Trump had filed for divorce.

So apparently unaccustomed to his wife’s presence was he that when she appeared on stage at the RNC, Trump seemed surprised.

Marco Bello/Reuters

The loss of these three women has left an approximately 5’ 10,” shapely hole in Trumpland. Nature abhors a vacuum and into those breaches have ridden the three horse-faced women of the apocalypse: Laura Loomer, Lara Trump, and Kimberly Guilfoyle. Suddenly, Trump’s brand of “bold, beautiful and glamorous” turned loud, mean and unappealing.

In head to head comparisons, they show how Trump’s standards have dropped. And as Trump heads into the final sprint of 2024, it is fair to say that in this election, he is feared more…and envied less.

From Ivanka Trump to... Lara Trump

Where once it was Ivanka who boasted about demale empowerment at his side, now Trump has no public support from his daughter and instead it is his daughter-in-law Lara who speaks up for him.

Ivanka Trump walked into the White House vowing to increase jobs and opportunities for women. Instead, her administration wiped out almost two generations of women’s progress and (thanks to the justices it appointed) stripped away reproductive rights. In her defense, Ivanka always looked pretty.

The new model of Trump woman is loudly, literally, in her support of the former president, physically demonstrative, and definitely less discreet (in every sense) than their predecessors.

Like Trump, Lara enjoys calling attention to herself. She has shared videos of her fitness routine and an a cappella version of Tom Petty’s “Won’t Back Down” that she sang on Australian TV. On that show, Lara claimed that she was not “seeking a music career” (wise!) but has since released another music video with Madeline Jaymes (unwise!) “Hero,” a tribute to firefighters, is a cringey mess where Lara sings, “You’re climbing up the ladder/And the screams are getting louder.” “Ladder” and “louder” do not rhyme and this lyric should be considered a crime against Stephen Sondheim and prosecuted to the fullest extent of the law.

With Lara representing Trump womanhood, the poise is gone. Elegance has been replaced by mud-slinging. On her internet talk show “The Right View,” Lara read out a viewer question that accused her of being stupid. She clapped back, “What is stupid is voting for a party that hates you and hates this country. What’s stupid is voting for a party that ultimately wants the destruction of America.”

In a sense, she’s right.

From Melania Trump to... Laura Loomer

On the left, an immigrant-turned-First Lady who kept the racism in the background. And on the right, the woman who denies an affair with Trump and for whom the racism is the point.

At past 9/11 memorials, Melania has stood by her husband and looked sad. She is very good at that. But last week, Trump ditched Melania and brought crackpot conspiracist Laura Loomer to a 9/11 event at Ground Zero. This was a new low for Trump who once falsely boasted that after the destruction of the World Trade Towers, he now owned the tallest building in Lower Manhattan.

That same week, Loomer accompanied Trump on his private jet to the debate and joined him in the spin room. Trump later claimed on Truth Social that “Laura Loomer doesn’t work for the Campaign,” which suggests she was traveling with him for personal reasons, perhaps as a friend or as Bill Maher has conjectured, a friend with benefits. (Loomer has denied that she and Trump are lovers.)

Loomer traveled with Trump on his private Boeing 757 to the presidential debate in Philadelphioa; his wife Melania did not. She has not been seen at his side since the RNC in July.

Loomer bragged that Donald Trump Jr. has floated her name for press secretary which she said would be “great,” but what she’d love even more, she explained, was “some type of position where I could vet people.” See, Loomer’s praise for Trump is boundless—he’s “brilliant,” “generous” and “loyal,” but, as she notes, “nobody’s perfect.”

“He doesn’t necessarily always have the best judgment when it comes to the people he surrounds himself with,” Loomer told James. “Because we saw a lot of grifters.”

That’s why Loomer wants to vet people—to keep away the grifters and, as she said, “Show them, ‘No, you’re an opportunist…or you’re married to this person who’s actively working against Donald Trump.’” (Shiv to Kellyanne Conway. Ouch.)

Loomer isn’t shy about telling Trump that she loves him. And he has returned Loomer’s love, showering her with accolades, letting her know she’s “fantastic” and “amazing.” He’s even offered the highest praise that Trump can give to a woman, singling out Loomer in the crowd and telling her, “You look so beautiful…as always.”

She may not be blond or tall, but Loomer is definitely Trump’s type: unapologetically racist.

From Vanessa Trump to... Kimberly Guilfoyle

As his father’s female entourage has degraded, Don Jr. has gone from having his wife Vanessa quietly at his side to being the fiancé of Kimberly Guilfoyle, best known for the sheer volume of her public speaking.

Vanessa and Don. Jr. split in 2018 after 12 years of marriage and five kids. Vanessa continues to support her ex-father-in-law and showed up at the RNC to cheer on her 17-year-old daughter, Kai. Nine months after the breakup, Don Jr. started dating Kimberly Guilfoyle, the attention-seeking, liberal-hating former wife of California Governor Gavin Newsom.

Like Lara and Loomer, Guilfoyle revels in the spotlight. As the national chair of the Trump Victory Finance Committee and self-described “proud Latina,” she is often called upon to give speeches. Her style is distinctive. She starts at full volume and rises from there. She ends every sentence with an exclamation mark. She could wake the dead.

This was Guilfoyle in full flight at the RNC in Milwaukee, belting out her love of Trump and the MAGA creed.

That’s ugly behavior and, sadly, no cosmetic procedure can reverse it.

Now according to The Daily Mail, Guilfoyle appears to be on the way out with reports that Don Jr. has been spotted kissing socialite Bettina Anderson. Anderson is a graduate of Columbia with a degree in art history and a megawatt smile. On her IG account, she posts old jokes from Reddit as if she thought of them herself: “Me at a cocktail party: “Do not touch” would be scary to read in braille don’t you think?”

In another IG post, she writes, “having adhd + anxiety is RIDICULOUS bc I just got lost in a reverie about whether I could make & sell butter from scratch and then I was like WAIT... what was I spiraling about before I got distracted by butter???? oh yeah, whether I’m capable of love 🙃“

It sounds like Anderson will fit right in with the Trumps and give the campaign a shot of glamor which they need.

And if Anderson doesn’t pan out and Guilfoyle takes off humiliated, the campaign could always call up Trump’s other daughter Tiffany. She’s right there... waiting in the wings...desperate to get the nod and prove to her father that she can be dreadful, too.

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mariacallous · 7 months ago

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The father of televised presidential debates was Newton Minow, most famous for saying television was a “vast wasteland” as chairman of the Federal Communications Commission (FCC) under President John F. Kennedy. But years before that, as an advisor to Illinois governor and presidential candidate Adlai Stevenson, Newt made the case for debates, and Stevenson, championing the idea, helped make it happen for the first time with the Nixon-Kennedy debates in 1960.

That was followed by a 16-year hiatus, until, with Minow’s active participation, we got debates back with Ford and Carter in 1976. To institutionalize them, the leaders of both parties subsequently agreed to create a bipartisan structure to make them a regular showcase for elections. The Commission on Presidential Debates (CPD) was born in 1987 under Minow’s tutelage. It ran the general election debates from 1988 on, building on a format that had three presidential debates and one vice presidential debate, usually on university campuses, with a series of events and programs involving students, faculty, large audiences of foreign dignitaries, and observers, all trying to make debates a fundamental feature of elections. The Commission was the catalyst for debate commissions in many countries, including emerging democracies.

Debates International, representing 40 democracies and nascent democracies, said this in a statement about the Commission1:

The CPD does not simply organize debates. The Commission establishes standards for integrity and professionalism that inspire debate organizers across the globe. The CPD’s commitment to transparent and participatory democracy reaches beyond U.S. borders. It offers a model to follow for both emerging and strong democracies.

The CPD debates are a testimony to the power of democracy. They provide a neutral and accessible platform and guarantee that the electoral process is representative of the will of the American people. This platform has been key to building more robust democracies around the world, inspiring leaders and citizens to value and defend electoral transparency.

At different times in the past, I have participated in CPD programs at presidential debates—at University of Massachusetts Boston in 2000, University of Miami in 2004, Hofstra University in 2012 and University of Nevada, Las Vegas in 2016. My wife, son, and I also attended the first presidential debate in Cleveland in 2020. The CPD has also been supportive and helpful in the summer debate camp our Matthew Harris Ornstein Foundation has sponsored for public school kids in the DC area—including letting the students in our first camp, in 2015, use the actual podiums Barack Obama and Mitt Romney used in 2012.

The Cleveland experience was, to be sure, a traumatic one. The Commission and the Cleveland Clinic had put in place stringent COVID-19 protocols. Attendees were tested that morning with results that afternoon, with the full monty, not instant, tests. The audience was small, with seats having separation and with excellent ventilation. Masks were required. We sat in the audience not far from where the Trump entourage came in, sat down, and removed their masks. A Cleveland Clinic doctor went over to them—Trump family and staff—and asked them to follow the protocols and were met with a figurative middle finger of defiance. Trump’s congressional guests, including Jim Jordan and Marsha Blackburn, walked around maskless, delighting in flouting the rules. And we learned later, to our horror, that Trump had tested positive for COVID-19 before the debate, a despicable and reckless violation of rules and standards.

Many criticized the Commission for allowing this fiasco. But sitting there, in the venue, I realized that Trump and his guests had put the Commission in a no-win situation. They first had accepted the assurances of the Trump campaign that he and the others had tested and tested negative—they had, in fact, not arrived early enough for the Clinic to do the clinical test. And if the Cleveland Clinic representative had tried to eject the Trump group from the debate set right before it was ready to start, it would have created a scene that would have been seized upon by Trump and destroyed the entire debate process.

Of course, we had the debate itself, where Trump screamed, shouted, interrupted, lied, kept talking long after his allotted speaking time was up, and bullied moderator Chris Wallace. But as I viewed the debate after, not in the live moment when I was nauseated by the spectacle, two things stood out. First was that viewers—voters—had seen Biden being calm and collected and with a grasp of the issues as Trump ranted and dissembled. Second was a seminal moment: when Chris Wallace asked Trump about white supremacist groups and specifically the Proud Boys, he defended them and gave them the message “Stand back and stand by.” When January 6 occurred, and the Proud Boys were at the center of the violent insurrection, Trump’s debate statement tied him even more directly to the effort to overturn the election.

Like many others, I have my own critique of the debate structure. I would like to see questioners who are experts, not just prominent journalists, who, no matter how capable, do not have the depth to follow up on shallow assertions by candidates with second and third probes, or to contradict every misstatement or distortion. And it is clear that moderators must have the ability to cut off the microphones of candidates who violate the rules by talking over their opponents or talking well beyond their allotted times.

Perhaps the two debates that Trump and Biden have agreed to do outside the Commission’s aegis will come off well, with ground rules that at least allow the mike cutoff (assuming Trump will show up without the ability to bully without consequence the moderator and his opponent.) But by moving away from the stellar bipartisan group that has managed debates for the past nine presidential elections, we will lose the guarantee that debates will continue to be a regular, institutionalized feature of our elections. Candidates will have an easier time avoiding debating when there is no structure in place in advance. We will lose the link that other countries have relied on to legitimize debates, and the value to college campuses, students, and many others for having the debates and the programs that accompany them.

Whatever their flaws, debates do give us some window into the candidate’s perspectives, and they are especially valuable for voters who generally pay little or no attention to politics. And even for those of us who follow politics for a living, debates are often illuminating. We should work with the Commission to reform its processes to make the debates better. But I am certain that if the CPD disappears, we will regret it down the road.

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ghost-of-you · 1 year ago

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Do you ever think about how Michael and Luke both agreed with Calum when Calum said he’d already planned what he was going to say if asked where Ash was in the podcast, before Ashton makes the joke the other two carry on with? The whole band, possibly independently of each other, all agreed to just lie for Ashton if anyone questioned where he was. I love the little jokes we get, but I still can’t stop thinking about Michael and Luke both going “yeah me too” when Calum says he’d already decided what he’d say if anyone asked (and it’s low key funny that Calum evidently decided gaslighting was his solution, make people question who the hell Ashton even is. People: Where’s Ashton? Calum: There’s never been an Ashton in this band, who are you talking about?)

Anon, darling, I had to sit with this ask, because I did think about it a lot. That story has so many layers to just leave you crying in the club. I know no one takes the 2015 Rolling Stone article seriously, but I read that after the podcast because the Christmas shows were right after the dude that wrote it followed them around since he followed them around Michael's birthday, so around November 19 to 23 maybe, since they mention a show they did on November 22 and the first of the shows is December 1 (they did 10 holiday shows in 2015). But the closing of that article is this:

CLIFFORD’S FAVORITE BAND moment last year did not happen onstage, or when they were getting chased, or when their record went to Number One. It was in Milan, when 5SOS asked for five minutes alone during a tour stop, away from its entourage. That’s when Hood started climbing out a window, into the parking lot. The others followed. “We were like, ‘Holy shit, this is going to be the greatest prank ever,'” says Clifford. “We shut the window and jumped out and hid in the parking lot, and watched our managers go in the room. “They opened the door and were like, ‘Where did the guys go?'” he continues. “They went in the bathroom, the whole thing. They started freaking out. ‘Holy shit, they’re all gone.'” “We could have ran,” says Clifford, smiling. “We could have ran far away.”

They were in Milan in 2015 on May 8 and 9 and on November 12. There's a chance this story and the one on the podcast are a month apart. There's a chance they climbed out a window in fucking Italy thinking about running less than a month before Ashton comes up to them and says, I have a ticket to Seatle, I'm out of here. This is something that they all had been thinking about. And the way they were all ready to take the fall for Ashton makes me even more insane because Ashton is the oldest, we all joke he's the dad of the group, but they were all like, we got you, you go is just, yk? Michael had just turned 20, Luke and Calum were still 19, they were kids dude. Ready to gaslight the shit out of their management to give Ashton his break. And they had talked about it enough for Calum, Michael, and Luke to already have a story rehearsed. That's beyond insane.

#my heart aches for babysos #glad to see them in a better place now #but sure dude i did think about it aoksoaksoaksa #anon 😌#i was asked

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subcdkate · 2 months ago

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01 Jan 2015 (4)

The rest of the night I was expecting be snatched up like those other harem girls that were handled earlier in the evening. Several times I purposefully worked an area of the club near the exits, but each time I thought I could escape without being noticed security or one of the muscle guards would turn me away. One of the clubs regular security guys obviously had his eyes on me all night, so I hoped using that to my advantage and when I saw that he was alone at the rear entrance I made my move.

Kate did her best girly bimbo impression and shamelessly flited with him for a couple minute before, "It's so smokey in here tonight, would you like join me in the alley for some fresh air?" He looked down the narrow hallway back toward the main room before nodding and stepping away from the door. I touched his arm lightly to make seem to be what he thought would be coming next, "Just give me a minute or two and I'll be ready. I hope you have a big cock." Then to seal the deal I reached down and handled his growing bulge, "Oh, goodness! I want your erection filling me with your creamy load while I deep throat your throbbing cock." I gave a seductive wink before pushing past him and out the back door.

I walked out slowly, but as soon as the door snapped shut I was running for my life, needing to cover a couple blocks before reaching the safety of my car and then I would disappear for a couple days and try figuring out my next move. I ran as quickly as possible, thankful I wasn't in high heels, as my normal foot wear attire for these events. Once I reached the end of the alley I thought I had gotten away unnoticed when I scurried out of the darkness and directly into a line of limos on the street where the Prince and his entourage were in the process of leaving the party. I froze in place, not knowing what to do when Robert walked out and began talking to his royal guest as two of the harem girls willingly entered the second limo with three middle eastern men. It wasn't long before Robert accidentally glanced in my direction and began to intently stare directly at me. The syndicate's property had nowhere to hide so I tried to slowly back up toward the security of the alley and decide what Kate's next move would be.

Finally reaching the safety of the dark alley as the Prince entered his limo, which gave Robert a chance to signal me to get back inside the club, before waving good bye to the Prince as he drove off. It was then that I noticed a police officer driving his beat and it felt like fate had stepped in. I knew it was risky, but I had to take the chance to run for the policemen's protection, but just as I made my final decision the squad cars rod lights sprung to life followed by the tires squealing as they drove off in the opposite direction to help some other victim of a crime. I thought I could still run off down the street away from Robert and his crew hoping for the best when I felt a steel barrel pressed into my lower back. It was one of the syndicate's largest muscle guards, "Where the do you think you're going?" Robert was still staring at me and motioned for me go with his guard, and with a weapon cocked and loaded behind me I dejectedly turned and walked back down the alley returning to the club.

Outside the back door the club's security guard was sprawled on the pavement bloodied and severely beaten. The guard behind me chuckled, "Damn amateur security. Thinking about a blow job and not the job he was hired to perform. He didn't know you were a sneaky little sissy bitch." As I reentered the club there was a long line of patrons exiting out of the front entrance. I discovered just by the chatter I overheard from several couples that once the Prince exited the party was on the move another location.

Walking in from the opposite direction was Robert and a muscle guard, and on a direct line toward me. I was surprised to see he was acting like nothing had happened, "Well, it's almost three in the morning, and I always live up to my agreements. Why don't you get changed and get out of here. James will make sure you get back to the hotel safely. If I don't see you again I hope your time with us will always remain a pleasant memory." The boss then turned and walked off like I was some insignificant ex-employee. Not a single mention of my current status after tonight's silent auction.

Not wasting a moment I rushed back to the dressing room and quickly changed into my street clothes, rejoining my body guard as he walked us toward the front entrance. I did briefly catch Mary's eye before leaving as she gave me a look that clearly meant 'what's happening?'. I just smiled and gave a subdued wave before we exited the club.

That walk back to the Hotel Cecil was nerve racking, as every step I expected a van pulling up filled with men in hoods that would abduct me, but when I finally reached the hotel lobby I felt relieved and felt a bit safer, and when the sexy night manager waved me over the guard held his ground near the front entrance while I moved to find out what she needed, "Hello. When you checked in yesterday afternoon the manager forgot to have you sign this." She pushed the paperwork across the desk and purposefully leaned over so that I could easily look down her open blouse and see her pink areolas. Distracted by her luscious breasts she handed me a pen, "It's for your late checkout later today that was prearranged. It's so you don't get charged for an extra day." I looked back up into her deep brown eyes and explained, "My reservation wasn't on my credit card, and I plan being gone long before my checkout time." She gave me the sweetest wink, "That pig of a man that is the day manager is always screwing up and I am just trying to cover his ass." It all seemed like a reasonable hotel policy and I shrugged off my resistance and signed next the X.

The sexy red head slid another envelope across the marble desk while snatching the paperwork from my view before I could read what I had just signed, "This is a gift for being a guest in our Presidential suite. Inside is a complimentary two-night stay in any room. The management is extending this offer to you the next time you are visiting Los Angeles, just not in the Presidential suite." I knew I would never use it, but also thought it might be useful if I ever acted upon my hooker fantasy.

Once inside my suite I grabbed all of my belongings and stuffed them in my bag. Passing by the rear window I looked out see if my car was still waiting for me. It was, and I was happy see two other cars in the rooftop parking lot, and the parking attendant was already gone for the evening. I quickly checked to be sure I wasn't leaving anything behind and as I was reaching for my bag I heard a key in the lock of the door and I froze in terror.

#diary #slave auction #permanent slave #feminized sissy #brainwashing #exposed faggot #exposed and humiliated #sissifyme #humiliated sissy

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whileiamdying · 1 year ago

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Tony Bennett, Jazzy Crooner of the American Songbook, Is Dead at 96

From his initial success at the Paramount in Times Square through his generation-spanning duets, his career was remarkable for both its longevity and its consistency.

By Bruce Weber

July 21, 2023

Tony Bennett, a singer whose melodic clarity, jazz-influenced phrasing, audience-embracing persona and warm, deceptively simple interpretations of musical standards helped spread the American songbook around the world and won him generations of fans, died on Friday at his home of many decades in Manhattan. He was 96.

His publicist, Sylvia Weiner, announced his death.

Mr. Bennett learned he had Alzheimer’s disease in 2016, his wife, Susan Benedetto, told AARP The Magazine in February 2021. But he continued to perform and record despite his illness; his last public performance was in August 2021, when he appeared with Lady Gaga at Radio City Music Hall in a show titled “One Last Time.”

Mr. Bennett’s career of more than 70 years was remarkable not only for its longevity, but also for its consistency. In hundreds of concerts and club dates and more than 150 recordings, he devoted himself to preserving the classic American popular song, as written by Cole Porter, the Gershwins, Duke Ellington, Rodgers and Hammerstein and others.

From his initial success as a jazzy crooner who wowed audiences at the Paramount in Times Square in the early 1950s, through his late-in-life duets with younger singers gleaned from a range of genres and generations — most notably Lady Gaga, with whom he recorded albums in 2014 and 2021 and toured in 2015 — he was an active promoter of both songwriting and entertaining as timeless, noble pursuits.

Mr. Bennett stubbornly resisted record producers who urged gimmick songs on him, or, in the 1960s and early ’70s, who were sure that rock ’n’ roll had relegated the music he preferred to a dusty bin perused only by a dwindling population of the elderly and nostalgic.

Instead, he followed in the musical path of the greatest American pop singers of the 20th century — Louis Armstrong, Bing Crosby, Judy Garland, Billie Holiday, Frank Sinatra — and carried the torch for them into the 21st. He reached the height of stardom in 1962 with a celebrated concert at Carnegie Hall and the release of his signature song, “I Left My Heart in San Francisco.” And though he saw his popularity wane with the onset of rock and his career went through a trough in the 1970s, when professional difficulties were exacerbated by a failing marriage and drug problems, he was, in the end, more than vindicated in his musical judgment.

“I wanted to sing the great songs, songs that I felt really mattered to people,” he said in “The Good Life” (1998), an autobiography written with Will Friedwald.

It’s hard to overstate Mr. Bennett’s lasting appeal. He was still singing “San Francisco” — which led many people to think he was a native of that city, though he was actually a through-and-through New Yorker — more than half a century later. He sang on Ed Sullivan’s show and David Letterman’s. He sang with Rosemary Clooney when she was in her 20s, and Celine Dion when she was in her 20s.

He made his film debut in 1966, in a critically reviled Hollywood story, “The Oscar,” playing a man betrayed by an old friend. And though he did not pursue an acting career, decades later he was playing himself in movies like the Robert De Niro-Billy Crystal gangster comedy “Analyze This” and the Jim Carrey vehicle “Bruce Almighty.” He was 64 when he appeared as a cartoon version of himself on “The Simpsons.” He was 82 when he appeared on the HBO series “Entourage,” performing one of his trademark songs, “The Good Life.”

A lifelong liberal Democrat, Mr. Bennett participated in the Selma-to-Montgomery civil rights march in 1965, and, along with Harry Belafonte, Sammy Davis Jr. and others, performed at the Stars for Freedom rally on the City of St. Jude campus on the outskirts of Montgomery on March 24, the night before the Rev. Dr. Martin Luther King Jr. delivered the address that came to be known as the “How Long? Not Long” speech. At the conclusion of the march, Viola Liuzzo, a volunteer from Michigan, drove Mr. Bennett to the airport; she was murdered later that day by members of the Ku Klux Klan.

Mr. Bennett also performed for Nelson Mandela, then the president of South Africa, during his state visit to England in 1996. He sang at the White House for John F. Kennedy and Bill Clinton, and at Buckingham Palace at Queen Elizabeth II’s 50th anniversary jubilee.

An ‘Elusive’ Voice

He won his first two Grammy Awards, for “San Francisco,” in 1963, and his last, for the album “Love for Sale,” with Lady Gaga, last year. Altogether there were 20 of them, including, in 2001, a lifetime achievement award. By some estimates, he sold more than 60 million records.

The talent that spawned this success and popularity was not so easy to define. Neither a fluid singer nor an especially powerful one, he did not have the mellifluous timbre of Crosby or the rakish swing of Sinatra. If Armstrong’s tone was distinctively gravelly, Mr. Bennett’s wasn’t quite; “sandy” was more like it. Almost no one denied that his voice was appealing, but critics strove mightily to describe it, and then to justify its appeal.

“The voice that is the basic tool of Mr. Bennett’s trade is small, thin and somewhat hoarse,” John S. Wilson wrote in The New York Times in 1962. “But he uses it shrewdly and with a skillful lack of pretension.”

In a 1974 profile, Whitney Balliett, the longtime jazz critic for The New Yorker, called Mr. Bennett “an elusive singer.”

“He can be a belter who reaches rocking fortissimos,” Mr. Balliett wrote. “He drives a ballad as intensely and intimately as Sinatra. He can be a lilting, glancing jazz singer. He can be a low-key, searching supper-club performer.” But, he added, “Bennett’s voice binds all his vocal selves together.”

Most simply, perhaps, the composer and critic Alec Wilder said about Mr. Bennett’s voice, “There is a quality about it that lets you in.”

Indeed, what many listeners (including the critics) discovered about Mr. Bennett, and what they responded to, was something intangible: the care with which he treated both the song and the audience.

He had a storyteller’s grace with a lyric, a jazzman’s sureness with a melody, and in his finest performances he delivered them with a party giver’s welcome, a palpable and infectious affability. In his presentation, the songs he loved and sang — “Just in Time,” “The Best Is Yet to Come,” “Rags to Riches” and “I Wanna Be Around,” to name a handful of his emblematic hits — became engaging, life-embracing parables.

Frank Sinatra, whom Mr. Bennett counted as a mentor and friend, once put it another way.

“For my money, Tony Bennett is the best singer in the business,” he told Life magazine in 1965. “He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.”

Mr. Bennett passed through life with as unscathed a public image as it is possible for a celebrity to have. Finding even mild criticism of him in reviews and interviews is no mean feat, and even his outspoken liberalism generally failed to attract vitriol from the right. (An exception was his call, after the drug-related deaths of Michael Jackson, Amy Winehouse and Whitney Houston, for the legalization of drugs, a view loudly denounced by William J. Bennett, the former drug czar, among others.)

With the possible exception of his former wives, everyone, it seemed, loved Tony Bennett. Skeptical journalists would occasionally try to pierce what they perceived as his perfect veneer, but they generally discovered that there wasn’t much to pierce.

“Bennett is outrageous,” Simon Hattenstone, a reporter for The Guardian, wrote in 2002. “He mythologizes himself, name-drops every time he opens his mouth, directs you to his altruism, is self-congratulatory to the point of indecency. He should be intolerable, but he’s one of the sweetest, most humble men I’ve ever met.”

Son of Queens

Anthony Dominick Benedetto was born on Aug. 3, 1926, in the Long Island City neighborhood of Queens, and grew up in that borough in working-class Astoria. His father, Giovanni, had emigrated from Calabria, in southern Italy, at age 11. His mother, Anna (Suraci) Benedetto, was born in New York in 1899, having made the sea journey from Italy in the womb. Their marriage was arranged. Giovanni and Anna were cousins; their mothers were sisters.

In New York, where Giovanni Benedetto became John, he was a grocer, but beleaguered by poor health and often unable to work. Anna was a factory seamstress and took in additional sewing to support the family. Anthony was their third child, their second son, and the first of any Benedetto to be born in a hospital. Giovanni, who sang Italian folk songs to his children — “My father inspired my love for music,” Mr. Bennett wrote in his autobiography — died when Anthony was 10.

Anthony sang from an early age, and drew and painted, too. He would become a creditable painter as an adult, mostly landscapes and still lifes in watercolors and oils and portraits of musicians he admired, signing his paintings “Benedetto.” His first music teacher arranged for him to sing alongside Mayor Fiorello La Guardia at the opening of the Triborough Bridge (now the Robert F. Kennedy Bridge) in 1936.

For a time he attended the High School for Industrial Arts (now called the High School of Art and Design) in Manhattan, but he never graduated. He dropped out and found work as a copy boy for The Associated Press, in a laundry and as an elevator operator.

“I couldn’t figure out how to get the elevator to stop at the right place,” he recalled. “People ended up having to crawl out between floors.”

At night he performed at amateur shows and worked as a singing waiter. He had just begun to get paying work as a singer, using the stage name Joe Bari, when he was drafted.

He arrived in Europe toward the end of World War II, serving in Germany in the infantry. He spent time on the front lines, an experience he described as “a front-row seat in hell,” and was among the troops who arrived to liberate the prisoners at the Landsberg concentration camp, a subcamp of Dachau.

After Germany surrendered, Mr. Bennett was part of the occupying forces, assigned to special services, where he ended up as a singer with Army bands and for a time was featured in a ragtag version of the musical “On the Town” — directed by Arthur Penn, who would go on to direct “Bonnie and Clyde” and other notable movies — in the opera house in Wiesbaden.

He returned to New York in August 1946 and set about beginning a career as a musician. On the G.I. Bill, he took classes at the American Theater Wing, which he later said helped teach him how to tell a story in song. He sang in nightclubs in Manhattan and Queens.

A series of breaks followed. He appeared on the radio show “Arthur Godfrey’s Talent Scouts,” the “American Idol” of its day. (The competition was won by Rosemary Clooney.) There are different versions of the biggest break in Mr. Bennett’s early career, but as he told it in “The Good Life,” he had been singing occasionally at a club in Greenwich Village where the owner had offered Pearl Bailey a gig as the headliner; she agreed, but only on the condition that Joe Bari stayed on the bill.

When Bob Hope came down to take in Ms. Bailey’s act, he liked Joe Bari so much that he asked him to open for him at the Paramount Theater. Hope had a condition, however: He didn’t like the name Joe Bari, and insisted it be changed. Dismissing the name Anthony Benedetto as too long to fit on a marquee, Hope christened the young singer Tony Bennett.

The Hits Roll In

The producer Mitch Miller signed Mr. Bennett to Columbia Records in 1950; “Boulevard of Broken Dreams” was his first single. Miller was known for his hit-making prowess, a gift that often involved matching talented singers with novelty songs or having them cover hits by others, for which he was criticized by more serious music fans and sometimes by the singers themselves.

He and Mr. Bennett had a contentious relationship. Mr. Bennett resisted his attempts at gimmickry; Miller, who believed that the producer and not the singer was in charge of a recording, applied his authority. Still, together they achieved grand success.

By mid-1951, Mr. Bennett had his first No. 1 hit, “Because of You.” That same year, his version of the Hank Williams ballad “Cold, Cold Heart” also hit No. 1; three years after Williams died in 1953, Mr. Bennett performed it in his honor at the Grand Ole Opry in Nashville.

Other trademark songs followed: “Rags to Riches” in 1953; “Stranger in Paradise,” from the Broadway show “Kismet,” also in 1953; Jule Styne, Betty Comden and Adolph Green’s “Just in Time,” from the show “Bells Are Ringing,” in 1956. That same year, Mr. Bennett was host of his own television variety show, a summer replacement for a similar show that starred another popular Italian American crooner, Perry Como. In 1958, he recorded two albums with the Count Basie band, introducing him to the jazz audience.

In the 1950s, Mr. Bennett toured for the first time, played Las Vegas for the first time and got married for the first time, to Patricia Beech, a fan who had seen him perform in Cleveland. The marriage would flounder in the 1960s, overwhelmed by Mr. Bennett’s perpetual touring, but their two sons would end up playing roles in Mr. Bennett’s career: the older one, D’Andrea, known as Danny, became his father’s manager, and Daegal, known as Dae, became a music producer and recording engineer.

In July 1961, Mr. Bennett was performing in Hot Springs, Ark., and about to head to the West Coast when Ralph Sharon, his longtime pianist, played him a song written by George Cory and Douglass Cross that had been moldering in a drawer for two years. Mr. Sharon and Mr. Bennett decided that it would be perfect for their next date, at the Fairmont Hotel in San Francisco, and it was.

They recorded the song — of course it was “I Left My Heart in San Francisco” — six months later, in January 1962. It won Mr. Bennett his first two Grammys, for best male solo performance and record of the year, and worldwide fame. In “The Good Life,” he wrote that he was often asked if he ever tired of singing it.

“I answer, ‘Do you ever get tired of making love?’” he wrote.

Just five months later, Mr. Bennett performed at Carnegie Hall with Mr. Sharon and a small orchestra. He got sensational reviews — though The Times’s was measured — and the recording of the concert is now considered a classic.

But as the 1960s proceeded and rock ’n’ roll became dominant, Mr. Bennett’s popularity began to slip. In 1969, he succumbed to the pressure of the new president of Columbia Records, Clive Davis, to record his versions of contemporary songs, and the result, “Tony Sings the Great Hits of Today!” — including the Beatles’ “Eleanor Rigby” and “Something” — was a musical calamity, a record that Mr. Bennett would later tell an interviewer made him vomit.

His relationship with Columbia soured further and finally ended, and by the middle of the 1970s Mr. Bennett had formed his own company, Improv Records, on which he recorded the first of two of his most critically admired albums, duets with the jazz pianist Bill Evans. (The second one was released on Evans’s label, Fantasy.) Together the two opened the Newport Jazz Festival, which had moved to New York, at Carnegie Hall in 1976.

Improv went out of business in 1977, and without a recording contract Mr. Bennett relied more and more on Las Vegas, then in decline, for regular work. His mother died that year, and the profligate life he had been living in Beverly Hills caught up with him; the Internal Revenue Service was threatening to take his house. His second marriage, a tumultuous one to the actress Sandra Grant, collapsed — she would later say that she would have been better off if she had married her previous boyfriend, Joe DiMaggio — and he had begun using marijuana and cocaine heavily.

One day in 1979, high and in a panic, he took a bath to calm down and nearly died in the tub. In later years he would play down the seriousness of the event, but he wrote about it in “The Good Life,” describing what he called a near-death experience: “A golden light enveloped me in a warm glow. It was quite peaceful; in fact, I had the sense that I was about to embark on a very compelling journey. But suddenly I was jolted out of the vision. The tub was overflowing and Sandra was standing above me. She’d heard the water running for too long, and when she came in I wasn’t breathing. She pounded on my chest and literally brought me back to life.”

Mr. Bennett turned to his older son for help. Danny Bennett took over the management of his career, aiming to have the American musical standards that were his strength, and his handling of them, perceived as hip by a new generation.

Somewhat surprisingly, the strategy took hold. An article in Spin magazine, which was founded in 1985, declared Mr. Bennett and James Brown as the two foremost influences on rock ’n’ roll, and the magazine followed up with a long, admiring profile.

A Career Revival

Encouraged by executive changes at Columbia Records, Mr. Bennett returned to the Columbia fold in 1985. The next year he released the album “The Art of Excellence.” WBCN in Boston became the first rock station to give it regular airplay. Released in the emerging CD format, it spurred the sales of Mr. Bennett’s back catalog as music fans began replacing their vinyl records with CDs.

In 1993, Mr. Bennett was a presenter, along with two members of the Red Hot Chili Peppers, at MTV’s Video Music Awards. The next year he gave an hourlong performance for MTV’s “Unplugged” series, which included duets with K.D. Lang (with whom he would later tour) and Elvis Costello. The recording of the show won the Grammy for album of the year.

The revival of Mr. Bennett’s career was complete. Not only had he returned to the kind of popularity he had enjoyed 40 years earlier, but he had also been accepted by an entirely new audience.

He recorded albums that honored musicians he admired — Duke Ellington, Louis Armstrong, Frank Sinatra and Billie Holiday — and he collaborated on standards with singers half, or less than half, his age. On the 2006 album “Duets: An American Classic,” he sang “If I Ruled the World” with Ms. Dion, “Smile” with Barbra Streisand and “For Once in My Life” with Stevie Wonder, and revisited his first Columbia single, “Boulevard of Broken Dreams,” with Sting. Five years later, on “Duets II,” his collaborators included Aretha Franklin, Queen Latifah, Willie Nelson and Ms. Winehouse.

As the century changed, he was once again touring, giving up to 200 performances a year, and recording prolifically.

In 2007 Mr. Bennett married a third time, to his longtime companion, Susan Crow, a teacher four decades his junior whom he had met in the late 1980s. Together they started a foundation, Exploring the Arts, that supports arts education in schools, and financed the Frank Sinatra School of the Arts, a public high school in Queens.

Mr. Bennett had lived in the same Manhattan apartment, where he died, for most of his adult life, except for a few years in Los Angeles and London, Ms. Weiner, his publicist, said. He is survived by his wife; his sons, Danny and Dae; his daughters, Johanna and Antonia Bennett; and 9 grandchildren.

If there was a magical quality to Mr. Bennett’s life, as suggested by David Evanier in a glowing 2011 biography, “All the Things You Are: The Life of Tony Bennett,” it is encapsulated by a story Mr. Bennett told to Whitney Balliett in 1974.

“I like the funny things in life that could only happen to me now,” he said. “Once, when I was singing Kurt Weill’s ‘Lost in the Stars’ in the Hollywood Bowl with Basie’s band and Buddy Rich on drums, a shooting star went falling through the sky right over my head and everyone was talking about it, and the next morning the phone rang and it was Ray Charles, who I’d never met, calling from New York. He said, ‘Hey, Tony, how’d you do that, man?’ and hung up.”

#Anthony Dominick Benedetto #Tony Bennett #New York Times #Obituary

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