#liza warner

[comicsiswild]

Danger Street (2022) #10

[evilhorse]

Too late—the grenade’s live!

(1st Issue Special #4)

[mayamarvil]

Don’t call Superman to do a lady’s job

Danger Street #10

[mikemorris1988]

Kenny Impresses the Girls and Cartman is Jealous

[kitsunetsuki]

David Bailey - Coat by Liza Spain, Dress by Susan Small, Body Stocking by Warners, 1965, from In Vogue: Six Decades of Fashion by Georgina Howell (1979)

[paulinawoodpecker]

Tad the lost explorer: One Last Time

About: tad; a archeologist reunites with a African warrior named Dagenia from a long time part must defeat zulo and his sister Zula

(This is actually a flashback to the first film)

Tad: Trevor white

Sara: Alex Kelly

Ramirez: Elena suarel

Reena Roberto Ramirez: Olivia Rodrigo

Victoria: Elena Sanz

Ramona: pippa bennet warner

Tiffany maze: Gemma whelan

Jaiden: max Charles

Tiffany mordon: Shiela victor

Blair: dove Cameron

Ying: Constance Wu

Andrea: Christina vee

Dagenia: Moses Ingram

Imani: Maria bamford

Liza: Letitia wright

Oganda: Danai gurira

Ruth: snoop dogg

Queen Wanda: Angela basset

Zula: china Anne Mclain

Zulo: Samuel L Jackson

Songs:

More than anything: (tad and Dagenia remembering their long time part)

More than anything (reprise) (Dagenia cheers tad up)

Nobody else: AILEE (opening)

Born in the wild: Tems (end credits)

[byneddiedingo]

Liza Minnelli and Joel Grey in Cabaret (Bob Fosse, 1972)

Cast: Liza Minnelli, Michael York, Helmut Griem, Joel Grey, Fritz Wepper, Marisa Berenson, Elizabeth Neumann-Viertel, Helen Vita. Screenplay: Jay Presson Allen, based on a musical play by Joe Masteroff, a play by John Van Druten, and stories by Christopher Isherwood. Cinematography: Geoffrey Unsworth. Production design: Rolf Zehetbauer. Film editing: David Bretherton. Music: John Kander. 

In Thomas Mann's The Magic Mountain, a young German engineer, recuperating in a tuberculosis sanatorium in the Swiss Alps, decides to read up on physiology. He concludes that life itself is a kind of disease, "a fever of matter." In Cabaret, Sally Bowles (Liza Minnelli) proclaims that "life is a cabaret, old chum." Yet given that the cabaret presided over by the Master of Ceremonies (Joel Grey) in the film is a febrile sort of place, there's a coherence between the two views. Director Bob Fosse would himself go on to posit a relationship between illness and creativity in All That Jazz (1979). And Sally Bowles's favorite phrase, the seeming oxymoron "divine decadence," suggests that out of decay comes something higher. What would be the opposite, after all: satanic order? In perhaps the movie's most chilling moment, Fosse gives us a closeup of a cherubic, well-scrubbed young face, the very opposite of the Master of Ceremonies's rouged and lipsticked face that  has dominated the film from the very beginning. The boy then begins to sing "Tomorrow Belongs to Me," and as the camera pulls back we see that he is wearing the uniform of the Hitler Youth. As the crowd at the open-air beer garden, which has to this point seemed an idyllic setting, joins in and begins to raise their arms in the Nazi salute, we view the very definition of satanic order. But enough German dialectics. Cabaret is one of the great movie musicals. As a rule, I prefer musicals created originally for the movies, like the Warner Bros. films with the kaleidoscopic routines of Busby Berkeley, the Fred Astaire-Ginger Rogers movies, or the sublime Singin' in the Rain (Stanley Donen and Gene Kelly, 1952), and not musicals like West Side Story (Jerome Robbins and Robert Wise, 1961; Steven Spielberg, 2021) or My Fair Lady (George Cukor, 1964), that were translated to film from the stage. My admiration for Cabaret would seem to be an exception to that rule, except that when Fosse became director, he jettisoned the book that had been written by Joe Masteroff for the 1966 Broadway musical and went back to the source, Christopher Isherwood's 1939 The Berlin Stories. Jay Presson Allen had been commissioned to write the screenplay, but Hugh Wheeler (credited as "research consultant") heavily revised what she had written. Fosse also dropped many of the songs by John Kander and Fred Ebb, though he added new ones by them: "Money, Money" and "Mein Herr," along with one of their older songs not from the Broadway version, "Maybe This Time." And he made the significant decision to keep the musical numbers, except for the aforementioned “Tomorrow Belongs to Me,” confined to the Kit Kat Klub stage -- a touch of cinematic realism that seems essential to a story set in Berlin during the rise of the Nazis. The result is a musical essentially created (or at least re-created) for the movies. It received 10 Oscar nominations and won eight of them, including awards for Minnelli, Grey, and Fosse, as well as for Geoffrey Unsworth's cinematography. The only categories in which it lost were best picture and best adapted screenplay, which went to The Godfather and its screenwriters, Mario Puzo and Francis Ford Coppola.

[davidmansfield]

A Gift From Tony Bennett

In 1972, when I was 15 and growing up in the New Jersey suburbs I joined a band that included Danny and Dae Bennett, sons of the late Tony Bennett. Over the next couple of years we had quite a bit of success, including being signed by the legendary Mary Martin to record an album for Warner Brothers Records. As “Quacky Duck and his Barnyard Friends” we became regulars at the equally legendary Upstairs at Max’s Kansas City, though between sets I had to hide in Sam Hood’s production office, as I was legally too young to be in the club.

One of our showpieces was a satirical sendup of the Jagger-Richards hit, “Satisfaction”, rearranged as a late 20s-early-30s-era uptempo swing tune. At the end of the song I would take a long solo on the violin, as I did my teenage best to imitate Stephanie Grappelli and Stuff Smith. It always got a laugh, and lots of applause.

In those days Tony was, I suppose, a typical divorced-dad musician; he dearly loved his boys but was mostly on the road. Every now and then he’d blow through town and spend time with them, often taking them on some kind of musical expedition. Sometimes he’d include the rest of the band; one I remember in particular was a double bill with Liza Minelli and Lena Horne at Carnegie Hall, both in their prime and at the height of their powers.

On one of those trips, Tony decided to dedicate the evening to me. He had heard our version of “Satisfaction”, and somehow heard something in my playing he wanted to encourage (that seemed to be an ongoing motif in his life). I was no jazz player by any means, my musical diet consisting mostly of Beatles and Hendrix, but I did idolize Grapelli. So— first stop, Buddy Rich’s new club that had just opened up on the East Side, “Buddy’s Place”. Buddy, of course played a brilliant, brash set, a big treat for Dae (who was our drummer). Then Stephanie Grappelli walked out onto that little stage. He was in his mid-sixties by then, but was soon playing up even more of a storm than he had in his 20s when he was in the Quintette du Hot Club de France with guitarist Django Reinhardt. Of course I was ecstatic. And Grapelli had this young kid with him, an English violinist named Nigel Kennedy (yes, that one), who for a few numbers took the lead and gave Stephane a run for his money. I imagine Tony saw me sitting there slack-jawed and got quite a kick out of it. After the set, he introduced me to Stephanne, who was sweet as could be. One thing I will never forget— he had the most gentle handshake. In a daze, I was ready for the evening to wind down.

Not so fast— Tony herded us into a cab and we headed for the West Side, where we were summarily plunked down at another jazz club, and out walked a 75-year old Joe Venuti. Like Tony in his later years, Joe was only slightly cowed by age, and still swingin’— hard. I was, of course, over the moon.

It was a night I’ll remember all my life. Thank you Tony.

[libertineangel]

Tagged by @jaz-zmatazz to shuffle my playlists and post 'em, thanks!

I don't use literal playlists so here's my MP3 player's first ten selections, with almost all my music ripped to it:

The 101ers - Hideaway

The Jam - All Mod Cons (live from Dig The New Breed)

The Jam - Liza Radley (Extras demo)

Elvis Costello - Blame It On Cain (live at the Warner Theatre, 28/02/78)

Joe Strummer & the Mescaleros - Mega Bottle Ride

Rancid - Get Out of My Way

Ramones - I Want You Around (Ed Stasium version)

Bob Dylan - Shelter From The Storm

Green Day - Ashley (Demolicious version)

The Beatles - Sun King

[jonathanmoya1955]

Arthur Revisited: A Comedy Classic or Relic of Its Time?

Warner Bros Warner Bros Steve Gordon‘s *Arthur* (1981) is a delightful mix of laughs and touching moments. It stars Dudley Moore in a fantastic role as the lovable, always tipsy millionaire Arthur Bach. Moore brings the character to life, making him charming and a bit reckless, which pulls you into his extravagant, chaotic world. Alongside him is Liza Minnelli as Linda, a spirited,…

[comicsiswild]

Danger Street (2022) #12

[evilhorse]

1st Issue Special #4

[lboogie1906]

Rutina Wesley (December 21, 1978) is an actress. She is known for her roles as Tara Thornton on True Blood and Nova Bordelon on Queen Sugar.

She was born and raised in Las Vegas. Her father, Ivery Wheeler, is a professional tap dancer, and her mother, Cassandra Wesley, was a showgirl. She attended high school at the Las Vegas Academy of International Studies, Performing, and Visual Arts. She studied dance at Simba Studios and the West Las Vegas Arts Center.

While at the Las Vegas Academy, she missed some auditions for college training programs. She decided to attend the University of Evansville in Indiana. She earned her BFA in Theatre Performance. She enrolled at the Juilliard School and graduated. Her studies included a summer spent at the Royal Academy of Dramatic Art.

She was featured in the Broadway play The Vertical Hour. She appeared in The Public Theater production of In Darfur by playwright Winter Miller.

She had a minor role in Hitch, which was edited out in the final cut. She made her on-screen debut as the main character in How She Move. Before shooting the film, she underwent a five-week dance rehearsal period. Portraying a woman of Jamaican descent, she took dialect coaching for the role.

She had been cast in a recurring role on Hannibal. She portrayed Reba McClane, as “a blind woman who enters into a relationship with Francis Dolarhyde, and helps soothe his murderous urges, at least at first.” She appeared as Liza Warner in the fourth season of Arrow.

She married her former Juilliard classmate Jacob Fishel (2005-13), an actor. africanhistory365 #africanexcellence #deltasigmatheta

[qnewsau]

Liza Minnelli’s upcoming memoir also being developed as tv series

New Post has been published on https://qnews.com.au/liza-minnellis-upcoming-memoir-also-being-developed-as-tv-series/

Liza Minnelli’s upcoming memoir also being developed as tv series

Liza Minnelli‘s upcoming memoir is also in the works as a TV series, according to Variety.

Minnelli is writing the memoir alongside longtime friend and collaborator Michael Feinstein as well as Josh Getlin and Heidi Evans, while development on the series is led by Sam Haskell, founder of Magnolia Hill and Minnelli’s former agent.

The 78-year-old will release the book in the first half of 2026, which will take readers through her famous family, her career, love life, as well as her struggles with substance abuse.

“I am beyond excited to work with Sam Haskell of Magnolia Hill Productions and Warner Bros. Television on bringing my story to life in this special way,” Minnelli said in a statement.

“Sam has been a dear friend and an invaluable part of my professional life, and I couldn’t think of a more fitting collaborator for this incredibly personal project. I can’t wait to share my story with the world.

“I would not trust this story with anyone besides Sam. My belief was always, ‘Tell it when I’m gone!’

“SUD isn’t about willpower or strength. It is about the wiring of our brains it is about how genetics impact our lives and the lives of those we love.

“It is now time to remove shame and stigma. I’m grateful to experience longevity by working on recovery every day of my life.”

“Liza’s story is one of the most extraordinary, inspiring, and unforgettable in entertainment history,” Haskell said.

“It is an honour to have the opportunity to bring her incredible life to the screen, and I am thrilled to continue our long-standing friendship through this collaboration.”

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For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.