#foundations magazine

[monigote001]

The bastard

Amazing edit of the magazine cover by my gal pal @datiz !! ♥️🫵🫂

The drawings:

[2001hz]

Shiseido Foundation ad on The Back of Hanastsubaki Magazine n°556 (1996)

[sbrown82]

So, not only did Harry and Meghan finance this trip with their own resources, their Archewell Foundation just announced three major contributions to support education, culture and community well-being in the areas they visited.

#ShowUpDoGood

[filmnoirfoundation]

The NOIR CITY 2023 Annual is now available to purchase on Amazon: https://amzn.to/3XGN58U

The best of the best from the Film Noir Foundation's 2023 NOIR CITY Magazines, is here—essays, profiles, interviews, and appreciations of classic and modern noir films from today's top writers. This year's contributors are Imogen Sara Smith, Danilo Castro, Rachel Walther, Jake Hinkson, Vince Keenan, Steve Kronenberg, John Wranovics, Jeremy Arnold, Peter Tonguette, Wallace Stroby, Andy Wolverton, Thomas Burchfield, Ben Terrall, and Eddie Muller. Book layout and design by Michael Kronenberg. And, as with any purchase from the FNF, when you buy the NOIR CITY Annual 16, you'll be helping fund the non-profit foundation's film restoration efforts.

[garadinervi]

Princeton Praised a Professor for Winning a MacArthur. What About Its Probe Into Her Pro-Palestine Support?, «Dr. Ruha Benjamin, a recipient of this year's prestigious "Genius" award, discusses her employer's crackdown on speech.», (interview), by Inae Oh, «Mother Jones», October 2024

«Princeton chose not to include my responses to their Qs about the MacFellow award in this announcement—What it was like when I got the call? What the award means to me? What I’m working on now?—bc I asked them to accurately recount my response to Q1 or to not quote me at all.» ― Dr. Ruha Benjamin (responses in full here)

Princeton Professor Ruha Benjamin awarded MacArthur 'genius' grant, by Rebekah Schroeder, Office of Communications, Princeton University, Princeton, NJ, October 1, 2024

(image: Ruha Benjamin. John D. and Catherine T. MacArthur Foundation (Creative Commons Attribution-NonCommercial 4.0 International License))

[jeremyleerennerdotcom]

jeremy's interview with cigar & spirits magazine is now online. have a read to hear him chat about his recovery, his vodka partnership and his philanthropy

[vertigoartgore]

David Anthony Kraft's Comics Interview #114 (1992) cover by cover artist Brian Stelfreeze. Source

[hart-on-my-sleeve]

Found some Jimbles on the honeymoon trip!

I love the last one a lot~

I'll be uploading more when I'm back home, managed to find a ton of wrestling magazines hehe!

[blowflyfag]

WORLD WRESTLING FEDERATION MAGAZINE :  MAY 1990 

YOUTH, SPEED, & FURY

SHAWN MICHAELS FACES BRET “HIT MAN” HART

It promised to be a dream matchup. Bret “Hit Man” Hart and Shawn Michaels, components of the two of the World Wrestling Federation’s most dynamic tag teams-the Hart Foundation and the Rockers, respectively–agreed to test each other’s heralded ralents in a singles bout. What followed was a dazzling display of wrestling scientific and grueling combat. Even after the contest became inflamed to the point that the referee had to call for a double disqualification, each gladiator left with great respect for the other. 

“I didn’t expect anything less.” stated the handsome Michaels, unwinding in the dressing room with his partner Maety Jannetty after the bell. “When you sign on the dotted line against Bret ‘Hit Man’ Hart, you sign to fight a hurricane. I had to give it all I had, and—if you ask me—I came out of the battle looking pretty good.” He touched a bump above his left eye and joked, “This’ll heal fine, and soon I’ll be breaking hearts again. But the first thing on my mind right now is Bret Hart. What I wouldn’t do to step in the ring with him again and gain a decisive victory!”

Several yards down the corridor, the mood was the same. Hart and teammate Jim “The Anvil” Neidhart looked at one another and grinned. 

“Tough kid,” Neidhart muttered.

Hit Man shook his head. “He fought some match. My ears are still ringing from his punches. I’d love to say ‘I didn’t know he had it in him,’ but that’s not true. The reason I wanted this match is that I knew that Shawn Michaels is a fabulous wrestler. I’ll give him this: He knows how to mix it up. I guess next time I’ll have to play a little bit harder.”

In the stands, the fans were almost as winded. The bout had been so intense that it seemed to blur past the spectators. When one man applied a punishing hold, the other was quick with a counter. As soon as the referee broke a clutch, the grapplers were tangled up again. When the combatants decided to start bending the rules, nothing less than a four-man brawl—starring the Rockers and the Hart Foundation—followed. 

“These guys didn’t let up for a single second, observed manager Bobby “The Brain” Heenan, normally on the opposite side of both competitors. “I’m not saying that either of these chumps could beat one of my men, but I still watched the match with interest. Because Hart and Michaels are similar types of wrestlers, I figured I’d see what they use against members of the Heenan family. That’s the key to smart managing, pal. Learn their repertoires and use the knowledge to your advantage.” 

[Bret Hart showed his lightinglike reaction time and his quick reflexes by grabbing Shawn Michaels in a reverse atomic drop when the two ran the ropes.]

Heenan was intrigued by this contest. While the manager is short on praise for his foes, his interests in the Hart-Michaels confrontation can be interrupted as a compliment to both men. By taking meticulous notes on the match, Heenan sent out a clear message: Hart and Michaels are at the top of their profession and pose a threat to every other wrestler.

The information was not news to the battlers. The bout had come about through mutual respect, coupled with the desire to overcome a formidable challenge.

Michaels was clearly the hungrier of the two, and his thirst for greatness was understandable. In Hart he saw an accomplished athlete, solid in technical skills and proficient in fisticuffs, who had “made it” as both a singles and tag team grappler. With Neidhart, Hit Man had held the WWF Tag Team Championship. In individual competition, he had established himself as a contender for the WWF Championship and Intercontinental Titles, and he was even profiled in a special issue of WWF Wrestling Spotlight.

Hart was just as anxious to log a victory. Despite Bret’s apparent youth, he has grown into a hardened veteran of the mat wars, and he wanted to ensure that he had not grown rusty. Hit Man viewed Michaels as one of wrestling’s “new breed,” one who rebels against the conventions of ring combat and who improvises and innovations in each match. The moves utilized by the Rockers impressed Hit Man, and he admitted feeling twinges of envy. Hadn’t he also been labeled a spectacular new force in the early days of the Hart Foundation? From the dressing room entrance, Bret watched the Rockers wage war with the mountainous Powers of Pain. He was reminded of the Foundation’s brace encounter with Andre the Giant in the closing moments of Wrestlemania 2’s battle royal. He wanted a bout with Michaels, to test himself. 

Rather than being divided in its loyalties, the crowd was solidly behind both wrestlers, giving each a rousing cheer as he made his way to the ring with his regular tag team partner. To offer moral support–or, perhaps, when two fiercely determined athletes square off–Jannetty and Neidhart remained at ringside after the bell rang. 

The match began in a sportsmanlike fashion, and it seemed relatively even. They locked up collar-to-elbow, with Michaels backing Bret into the turnbuckles. The Rocker broke the hold, detaching himself from his foe. When they tangled again, Hit Man applied a reverse wristlock. Michaels wiggled, loosened his opponent’s grip, then slipped behind Hart and clamped on a hammerlock. Bret displayed his experience by reversing the maneuver.

The fireworks that would be seen later in the match were ignored in the manner in which Michaels broke the hold. He thrust his elbow backward into Bret’s throat. The gesture was hardly a whack with a closed fist or a kick to the rings, but it qualified as roughhousing.

Hart recovered swiftly. He caught the Rocker in a reverse atomic drop and leveled him with a meteor of a clothesline. A snapmare appeared to disable Michaels further, but the war was just beginning. Whether the Rocker had exaggerated his injuries or recovered from the brink of defeat by pure heart, he still will not say. 

[Shawn Michaels struck with solid skill and dazzling moves. In the end, tempers flared, and a wild, full-fledged brawl ensued.]

What is known is that Michaels began fighting as if he had never been hurt. He slid out of the way of his foe’s elbowdrop and did some fancy spinning in midair to land on his feet after a backflip. Hart turned around to be blasted by a dropkick. Seeing Hit Man sprawled on the canvas, Michaels went for the kill.

His planning was premature. Bret waited for his opponent to mount the top rope before gripping him from underneath and hurling him across the ring. Possibly embarrassed by Michaels’ good showing, Hit Man got tough and unleashed forearms and elbows. 

Tempers were starting to flare. Michaels contained his anger long enough to avoid a side suplex–doing a 360-degree turn while being lifted, landing on his feet and bodyslamming Hit Man. Again, both men ran the ropes. This time, it served neither’s advantage, as they elbowed on another and hit the mat simultaneously.

A classic moment occurs when they rose and took turns exchanging suplex attempts. The defensive skills of each were so refined that neither could accomplish his task. 

Frustrated, they wrestled into the corner. Neither wished to break. Asserting his authority, the referee wedged between them. When separated, they could not wait to duel again. Words were exchanged, then shoves. Bret clocked his adversary. Jannetty stepped onto the apron to argue with– and then punch–Hit Man. Neidhart chimed in and was slugged by Michaels. Within seconds, the ring was flooded with WWF officials trying to restore order in a four-way free-for-all. 

Remarkably, the bad feelings were left in the ring. Each man recognized the others gutsiness, and each will go so far as to compliment the rival tag team. Both the Rockers and the Hart Foundation pledge support for each other if it is needed. 

But if it is not, Bret Hart and Shawn Michaels cannot wait to tear into each other again. 

[dustedmagazine]

Rempis / Adasiewicz / Abrams / Damon — Propulsion (Aerophonic)

The title of this recording is apt. Saxophonist Dave Rempis, vibraphonist Jason Adasiewicz, bassist Joshua Abrams, and drummer Tyler Damon sustain direction and momentum throughout its three lengthy tracks, which are excerpted from a concert that transpired on August 31, 2023 at Elastic Arts in Chicago. But it could just as easily be called Cusp, since it captures the precise moment when the quartet’s leader transitioned from one career phase characterized by intense community engagement to another that will focus upon articulating a mode of improvisational music-making that’s taken decades to develop.

Besides his dogged work as a musician and label proprietor, Rempis is an indefatigable organizer. He’s had a strong hand in the production end of the Hyde Park Jazz Festival and Pitchfork before that, and for 21 years he ran a weekly concert series presenting improvised music for the Elastic Arts Foundation. The latter affiliation came to an end the night that this music was played, when Rempis booked himself to play the final concert of his tenure with Elastic Arts. It fell on the same weekend as the Chicago Jazz Festival, which has often been an occasion when he would choose to play with one of his more enduring ensembles in some smaller venue after the main festival closes for the night. But this time he picked a new combo, albeit one with deep roots. Rempis, Adasiewicz, and Abrams are part of a cohort that came onto Chicago’s jazz scene in the 1990s, and they’ve been appearing on records together in varying combinations for nearly two decades. Damon and Rempis have been frequent collaborators since 2017, when their trio Kuzu (with Tashi Dorji) was first born on Elastic’s stage.

This web of associations is key to the character of the music on Propulsion. Everyone here understands what Rempis is after, and knows how to make it happen. The essence of his aesthetic is a convergence of the micro and macro. He’s committed to total improvisation. The music is made in the moment that is played, and the selection of personnel is his chief compositional decision. But that’s still very much a compositional act, since Rempis wants his improvisations to develop cohesive forms shaped by the imagination of every contributor. Even an unaccompanied passage, such as the incandescent, circular breathing-fueled four-minute line drawn by Rempis’ alto that opens “Egression,” is simply part of a larger, collectively conceived work. While his keening instrumental voice pushes forward, a calmer vibraphone melody wreathes it, and a seething maelstrom of bowed bass and Sisyphean drumming first fuels the progress and then resolves it as the music gently lands night quite fourteen minutes later.

Music like this doesn’t work unless all parties involved are tuned into each other from moment to moment. But it also requires musicians with sufficient recall where the music has recently been to make contributions that make sense as part of a larger developmental arc. While nothing quite matches the experience of being present when such music is being willed into existence, Propulsion comes close enough to deliver the feeling as well of the sound of committed co-creation.

Bill Meyer

[agirlnamedbone]

Jenny George (pub. in POETRY, 2018)

[basicallyanotherwitchesthing]

Here & Now, magazine, Uni-Com Foundation, August 1974

[krispyweiss]

Television Co-founder Tom Verlaine Dead at 73

- “This man’s importance can’t be overstated,” Scott Metzger says

Tom Verlaine, the guitarist and singer who co-founded the influential punk band Television, has died at 73, Rolling Stone reports.

The magazine cited Patti Smith’s daughter, Jesse Paris Smith, who said Verlaine died Jan. 28 following a “brief illness.”

“More 2023 fretted heartbreak,” a “saddened and bummed” Vernon Reid wrote on Twitter.

“One of the great punk lead stylists. Tom Verlaine was a true downtown hero.”

Television’s 1977 debut, Marquee Moon, is considered a touchstone; it is one of only two albums the band released in its initial incarnation.

“Not many first-time-hearing experiences in my life compare to the first time through Marquee Moon,” drummer Steve Gorman (the Black Crowes/Trigger Hippy) tweeted. “There weren’t any words then, and there really aren’t any right now.

“Damn.”

Guitarist Scott Metzger of Joe Russo’s Almost Dead concurred, calling the LP “a holy grail of creative rock guitar, song craft and arranging that I always end up going back to year after year.

“This man’s importance can’t be overstated,” Metzger wrote on social media. “RIP, Tom Verlaine.”

After Television’s demise, Verlaine would release nine solo albums between 1979 and 2006, even after Television reformed 1992 and continued to play sporadically. But Marquee Moon had the greatest impact; Jason Isbell said he and the 400 Unit walk onstage to that LP “most nights” and he called Verlaine “the realest deal.”

“May Tom Verlaine rest in peace and love,” Todd Rundgren’s Spirit of Harmony Foundation said.

1/28/23

[filmnoirfoundation]

AND THE WINNER IS...

Here are the winners of the FNF's NOIR CITY Magazine #41 donation drive held August 29 - September 5, 2024:

Existing donors

★ Winner of the Criterion DVD of The Asphalt Jungle (1950): Larry Long, Hammond, IN. Winner of the Criterion Blu-ray release of Bound (1996): Lloyd Stires, Pittsburgh, PA. Winner of the Flicker Alley release of the FNF restoration Too Late for Tears (1949): Deanna Trainham, Fairfax, VA

★ Winner of the Criterion Blu-ray release of Thelma & Louise (1991) starring Susan Sarandon and Geena Davis, illustrator Graham Chaffee’s To Have and To Hold, and the NOIR CITY Experience book about the first twenty years of the NOIR CITY film festival: Andrew Hawkins, Wilmington, DE

★ Winner of the new release of Kino Lorber’s Film Noir: The Dark Side of Cinema XVII with Edward G. Robinson films Vice Squad (1953), Black Tuesday (1954), and Nightmare (1956); the Flicker Alley Blu-ray/DVD release of the FNF’s latest restoration No abras nunca esa puerta (1952 - Argentina); and a copy of Eddie Muller’s The Distance. Ruth Adar, San Leandro, CA

★ Winner of the Gloria Grahame trio: Human Desire (Kino Blu-ray Special Edition), Odds Against Tomorrow (Kino Blu-ray Special Edition), and In a Lonely Place (Criterion DVD); the Flicker Alley Blu-ray/DVD release of the FNF’s restoration El vampiro negro (1953 - Argentina); the about-to-be-published NOIR CITY Annual 16 (releasing September 2024); and the NOIR CITY Experience book – 20 years of the NOIR CITY film festival: Douglas Cablk, Oak Park, IL

★ EXTRA - Donors to receive the NOIR CITY Experience book Karen Meacham, Victoria, TX; Nicolas Consales, Fanwood, NJ; Michael Goswell, Pittsburgh, PA; Daniel Ferko, Lexington Park, MD; and Roberto Maragoni, San Jose, CA

New donors

★ The five new-subscriber winners of the five NOIR CITY Magazine back issues --   #16, #25, #28, #33, #38  -- are: Geoffrey Bickford, Freedom, NH; Jacqueline Davis, Akron, OH; Tommy Jansson, Sweden; Anthony Towle, New York, NY; and Anthony Martinez, Los Angeles, CA

★ The three new-subscriber winners of Flicker Alley Blu-ray/DVD releases of two FNF restorations -- Too Late for Tears (1949) with Lizabeth Scott and Dan Duryea and The Man Who Cheated Himself with Lee J. Cobb, Jane Wyatt, and John Dall: William Ardis, Frisco, TX; Doyle Bartlett, Ada, OK; and Danielle Johnson, Scottville, MI

Thank you to everyone who contributed to the Film Noir Foundation! A reminder that anyone who contributes $20 or more to the FNF and signs up our mailing list always receives a free year's subscription to NOIR CITY e-magazine. Contributors may receive additional FNF thank you gifts depending on the amount of the donation.

[garadinervi]

Textentwurf 'Pyromanische Anleitung' für ZERO 3 von Daniel Spoerri, ca. 1961 [ZERO foundation, Düsseldorf. © Daniel Spoerri]

[alwaysalwaysalwaysthesea]

Dang, beer, get over yourself.

(source: July 10, 1939 LIFE)