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flairmagazineblog · 4 years ago

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Most Anticipated Netflix Summer Movies - 2021

Netflix saved 2021 when they promised new movies weekly for the whole year. However, nothing’s more exciting than the Summer collection. There are a lot of movies coming out this summer, but Netflix has lots in store. With a collection of teen rom-coms, thrillers, zombies, etc., who can keep calm about all of that? They even have a Bob Ross movie, yes, the landscape painter. Given the release of numerous summer movies, we always love to stay on track and be on the right side of the waiting list, therefore, here is a list of the most anticipated Netflix movies coming out in Summer 2021, there’s even one with a release date in May!

Army of the Dead

The Release Date: May 21, 2021

Starting with the zombies one, it’s been a while since we saw a twist in the world of the dead. This movie tells the story of a group who were sent on a mission to retrieve $200 million well hidden in a safe below the Las Vegas strip. There is an issue, however, which is that Las Vegas has been taken over by zombies. While this may sound like your typical zombie movie, the zombies, however, are not the typical ones; as these are much faster and more intelligent. From Zack Snyder, starring Dave Bautista, Omari Hardwick, Tig Notaro, Ella Purnell, and more in ‘Army of the Dead’.

Carnaval

The Release Date: June 2, 2021

Netflix delivers Carnaval which is a Brazilian comedy. The movie takes us on a journey with an influencer whose boyfriend cheated on her. She then takes her three friends on an all-expenses-paid trip to Carnaval in Salvador. The group have a wild time and experience exciting events while they’re there, eventually and most importantly, they meet some new love interests there, as well.

Awake

The Release Date: June 9, 2021

Awake presents Gina Rodriguez to us in a brand new sci-fi movie with a concept of a world where all cars and electricity stop working. To add more spice in this world, humans lose their ability to sleep except for one person, is the young daughter of Rodriguez’s character, which is played by Ariana Greenblatt. In your imagination, could the answer to this mystery be in her hands?

Skater Girl

The Release Date: June 11, 2021

In this film, we get a story of a girl boss who is chasing her dreams in rural India, played by Rachel Sanchita Gupta. The teenager dreams of becoming a competitive skateboarder, however, she faces many struggles as she steps closer to achieving her goal.

The Last Letter from Your Lover

The Release Date: July 23, 2021

The vintage name gives you the vibes of a throwback film. The movie takes place in the ’60s. The Last Letter from Your Lover is ideal for you, If you want to see people in pretty settings fall in love, as well. This movie also follows two storylines, which enables us to know the story from both sides. It also starts in the present day in which a journalist, played by Felicity Jones, is researching old love letters that she came across. A flashback to the 1960s takes us back to an illicit love affair between a man and a woman, played by Callum Turner and Shailene Woodley, respectively, alongside Joe Alwyn, Nabhaan Rizwan, and many more.

The Kissing Booth 3

The Release Date: August 11, 2021

The long-awaited return of our favorite trio, Joey King, Jacob Elordi, and Joel Courtney is finally over; as we are ready as ever for some more teen drama and hijinks in the -sadly- final movie in the popular series of the Kissing Booth. In this film, the dilemma is as usual Elle’s, that is King’s character, who has to decide on whether to attend college with her boyfriend, Noah, or her best friend, Lee.

Sweet Girl

The Release Date: August 20, 2021

Sweet Girl gives us the Vengeful Jason Momoa who is out for revenge in a thriller about a man who seeks justice after the death of his wife while at the same time protecting his daughter played by the Dora and the Lost City of Gold star, Isabela Merced.

Beckett

The Release Date: August 27, 2021

In Beckett, we see the Malcolm & Marie star John David Washington and Alicia Vikander starring in an action-thriller, as they play a couple who are spending their holiday in Greece yet end up getting involved in a very dangerous conspiracy.

He’s All That

The Release Date: August 27, 2021

Yes, you read the name correctly and yes, it is a gender-swapped remake of the original ‘99 movie, She’s All That. Starring the TikTok star Addison Rae who plays the role of a high schooler, named Padgett, who tries to do her magic and turn an unpopular boy, who is played by Tanner Buchanan, from her class into a very popular prom king. The good news is that Rachael Leigh Cook, the star of the original film, will return to this one as Padgett’s mother.

Bob Ross: Happy Accidents, Betrayal & Greed

The Release date: Summer 2021 (TBA)

While some of you might think that the movie title is quite dramatic for a film about Bob Ross, a man who has lots of memes about who paints “happy trees,” as assumed by the majority of people. However, that’s true but it’s because this documentary will provide us with glimpses into the betrayals that Ross, unfortunately, had to face throughout his life and how he handled them, followed by his death in 1995. On a side note, we recommend you watch a few episodes of his ‘happy, little show’ after this documentary.

Nouran Hassan

Most Anticipated Netflix Summer Movies – 2021 was originally published on FLAIR MAGAZINE

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darnittumbleweed · 5 years ago

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Head Canon: MGG finding out you’re prego with his baby

He’s always wanted kids

He loves his sister’s son and his half brother’s kids

He’s the worlds best uncle and everyone says he’d be an awesome dad

He wrote a kids book and has been involved in some kids entertainment through television and film so he’s clearly really interested in nuturing creativity in children

He has resigned himself to thinking he might never have kids

He knows he’s getting older and to be honest he almost has given up on being a dad

He’d almost given up on even finding love before you met

Your mutual friends set you up and it was love at first sight

You were friends first but you both sucked on hiding how hard you were crushing

He is so enamored with you

The pregnancy wasn’t planned

You haven’t been living together for that long when you find out

You’re worried that he’s going to be upset

He cries when you tell him and you assume the worst

Then you notice his smile and then he kisses you

You realize those are happy tears

You and he only tell your parents and his parents at first

Once you’re out of the danger zone and it’s clear your pregnancy is healthy then he tells everyone else in his life

So proud of you

He is so eager to take Lamaze classes with you

He’s so protective

He’s hesitant to make it public to his fan base

He loves his fans but he’s still so worried that it’ll attract the wrong attention and somehow you of your baby will get hurt

He doesn’t get a choice though because someone snaps a pic of you both when you’re out running errands and you stop at a baby boutique. You’re barely showing but the fact that he’s holding a onesie against your bud of a belly tells the full story

He’s livid that it was leaked like this

He takes back the control of the narrative by making a social media post sharing the news and begging people to respect his privacy

He’s relieved that for the most part people respect his request

You get two baby showers one in Los Angeles with your friends and one in Las Vegas that his mom insists on throwing you

That works though since you have to furnish a nursery in both his la home and the Vegas home

The nursery is very representive of you both

He makes so many stuffed animals And so many paintings for the nurseries. It’s odd as far as nurseries go but appropriate for baby Gubler.

So involved in every aspect of the pregnancy

So many kisses so much talking to your belly

He will talk to anyone about the pregnancy

His costars low key want to murder him because he won’t shut up

So panicked when your water breaks

He’s supportive and amazing during the labor and delivery

He’s so proud of you and so encouraging

He ugly cries at the sight of your baby

He’s so in love with you both

He won’t stop thanking you for giving him something so precious

He either names the baby after his mom or it’s named after him

Such a doting dad

He spoils your child

You love watching them together

You couldn’t imagine having a family with anyone but him and he so feels the same

#mgg #headcannons

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gaiapaia · 4 years ago

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Kermit and Friends: Roasted

Imagine you're watching a movie about a female talk show host. In the film, an ex co-worker from her past who fell madly in love with her started sending masturbation videos to her email address. The host would then play said videos on her show, with the approval of her former co-worker since he thinks it will bring them closer together.

Fast forward a month or so later, after realizing those masturbation videos didn't have the positive impact on the host as he hoped, the ex co-worker becomes enraged and threatens to chop the host's head off. And THEN, only days later, he calls her show to tell the host she's beautiful over and over again, and invites her out to lunch the next weekend. The host politely accepts.

Ladies and gentleman... this isn't a movie. This is Kermit and Friends.

Eric Riggs made his return to Kermit and Friends this week after we found out he threatened to slice poor Elisa’s head off. His main objective with joining the show was to invite Elisa and Andy Dick out to lunch. Andy was super excited about the invitation, completely forgetting just a month or so before Andy was the one Eric was threatening to kill. Will this lunch actually happen? I guess we’ll have to wait until next week to find out!

Thankfully Elisa had some protection on the show yesterday with her lawyer Dan. After having so many legal and harmful threats sent her way over the last few months, it only made sense for Elisa to lawyer up. However, I don’t think Elisa ever expected that everyone a part of the show would try to steal her lawyer away from Elisa!

It seems like everyone in the Kermit and Friends universe needs or wants a lawyer these days. T-Bob is still fighting his 911 abuse case. Dave Robinson wants to lock his noisy neighbors up. Andy needs a lawyer for all types of things he doesn’t think is appropriate to discuss on the show (God only knows how deep that goes). Barry Boss is looking for a lawyer to sue the Feds. And so on and so forth!

The best part of all this is that Dan isn’t actually a lawyer. No, Dan Jablons is a great actor who once played a lawyer on Curb Your Enthusiasm. Dan was so convincing that he had everyone begging him to represent them yesterday. What a talent! Hopefully we’ll get to see Dan again in the near future.

Elisa was joined by two other very special guests this week: Prodigy Coach Janel Jones and stand-up comedian roaster Alex Hooper.

Janel Jones is a 20 year Army veteran who’s made headlines by raising her son to dominate the stock market game. At the age of 13, her boy managed to hit 6 figures by investing in Tesla options. Pretty impressive!

Since Janel is in the Army and gets deployed in different countries often, she makes the most of her time with her kids when she’s home by developing their skills to be financially independent. Janel has done a heck of a job. If you would like to follow in her amazing footsteps, check out her Parenting a Prodigy course by clicking here.

Alex Hooper is most known for his appearances on America’s Got Talent where he roasted the hosts. If you watch Kermit and Friends regularly, you know how self-deprecating Elisa can be, so of course she loved having a big time roaster like this come on and poke fun at her. Elisa gleefully cracked up at every joke he made towards her. What a sport she is.

Alex was a blast though. His roasting isn’t mean-spirited at all, just lighthearted witty jokes and then he turns into a sweetheart if he senses you’re taking it a little too hard. That said, Alex is a roasting master so he’s not someone you want to trade jabs with. He even wrote a book on roasting called, Roast Yourself To Happiness: A Comedian’s Guide to Finding Joy by Embracing Your Flaws. Click here to order your copy today!

As mentioned, Andy Dick was back on the show this week. He’s still suffering from his broken ankle. If it’s really broken, he’s going to be suffering a long time since Andy just expects it to heal on its own rather than see a doctor.

We found out Andy had to cancel a trip to Las Vegas where he was due to have a meeting with the director of the upcoming film The Birthday Cake, Jimmy Giannopoulos. The thing is, Andy was planning on taking this vacation without his fiancé! You would think a fun trip to Vegas would be even more fun with a beautiful outgoing woman like Elisa by your side, and not to mention what it could do for Elisa’s career if she were a part of these big meetings Andy supposedly had. But alas, karma hit poor Andy with an ankle lock and kept him home, bedridden. What a shame.

While Andy was stuck in bed, he got one of his many roommates, Eric, to show off his paintings. Eric is actually a pleasant artist unlike the other artist Elisa is used to dealing with. If you would like to check out some of Eric’s artwork and possibly buy a piece from him, check out his Instagram by clicking here.

Sigmond once again blessed KAF with his presence, bringing his partner Wappy onto the program. They were supposed to do a duet together but unfortunately Sigmond got cold feet and backed out. Instead, Wappy would do a solo piece that genuinely impressed myself and the entire audience watching. Very talented guy. Check out Wappy and Sigmond’s Soundcloud page by clicking here.

Another special musical guest this week was Rebekah, who was booked by none other than Tall, Dark, and A Handful. She did an absolutely beautiful performance of an original song she wrote called Bygones Be Bygones. You can watch her music video for it by clicking here.

However, not to sound like Gonzo, who is unbelievably infatuated with the person I’m about to mention, but I must say the best musical performance this week came from Mr. Karaoke King himself, Johnny B. He performed a karaoke version of Bobby Darin’s Mack the Knife that had Andy Dick in Heaven as he laid in bed singing along while all of Kermit’s beautiful friends danced to the music. It was a wonderful sight to behold.

You could tell Elisa had a blast during yesterday’s show. When she has fun, everyone has fun. That’s ultimately what the show is for me, so yesterday’s Kermit and Friends episode was perfect. Elisa’s pacing and timing with each guest was flawless, and the show flew by like it was only a half hour long. After Kermit and Friends yesterday, Elisa went on a karaoke bus ride throughout the city with her friends, which you could see on her Instagram stories. The joy on Elisa’s face during those stories, during Kermit and Friends yesterday... that is how I want Elisa’s life to always be. Here’s hoping. 🙏

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elliot-elliot · 5 years ago

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Things i forgot about in PJO/HOO

TLT:

Percy accidentally fired a war cannon into a school bus

He also accidentally made his entire class fall into an aquarium tank thing

Grover cries when he’s frustrated

Grover has a note excusing him from PE “for the rest of his life”

Halfway though the school year their old math teacher had a nervous breakdown

Once, Percy told Grover that he didn’t think mrs Dodds was human and Grover was deadass just like “yes. You’re right” completely seriously

Chiron has tournament days where he would dress up in Roman armor

Percy assumed all the weird weather was because of global warming

Percy called his English teacher an old sot

Grover is a terrible liar

MASSIVE BLUE SOCK

Grover’s bladder acts up when he gets upset

Sally’s parents died in a plane crash when she was 5, and was raised by her uncle who didn’t really care about her

Sally wanted to be a novelist

She had to quit school her senior year to take care of said uncle, who got cancer

Gabe made Percy provide his gambling funds, and Percy said that if he didn’t, Gabe would “punch his lights out”

Percy has nightmares about Mrs Dodds

Percy genuinely liked Yancy Academy

Percy did the warding off evil gesture towards Gabe, and the screen door shut so hard “it whacked him in the butt and sent him flying up the stairs as if he’d been shot from a cannon”

Percy was stalked by a cyclops in 3rd grade

In preschool, he strangled a snake with his bare hands, and his mom found him playing with it like a rope

At the cabin, grover cursed in Ancient Greek, and Percy understood it perfectly

Percy thought Grover was a donkey from the waist down

Percy tried to get the Minotaurs attention by waving his red rain coat

Percy said he would rather live on the streets or pretend he was 17 and join the army if it meant not living with Gabe

Percy said that Mr D looked like a Cherub

They have satyrs at most schools

There was a different Latin teacher for the first week of the school, but Chiron convinced him to take a leave of absence

Mr D plays pinochle with the satyrs

There’s an orientation film

Grover eats mr D’s Diet Coke cans

Probation in the 1900s was Zeus’s punishment to Mr D

Percy likes basketball

Percy tripped when coming into the Hermes cabin for the first time

Most teachers are literally monsters

For a mortal, nectar and ambrosia turns their blood to fire and their skin to sand

Clarisse calls Annabeth “wise girl”

Percy accidentally sprayed Annabeth with toilet water

Chiron told Percy that he might be considered a myth in 2000 years

Luke pulled a switchblade out of his pocket and Percy thought Luke was gonna gut him

Percy is really good at canoeing

Luke’s the best swordsman they’d had in 300 years

Percy was able to disarm Luke on his first try after he poured water on his head

Hitler was a son of hades, since WW11 was the sons of Zeus and Poseidon on one side, and the sons of hades on the other

Houdini went on a quest to the underworld

In capture the flag, clarisse tried to cut Percy’s hair

Percy apologized for the water healing his Injuries

Someone left a newspaper about Percy and his mom going missing inside his doorway

Mr D wanted to Spontaneous Combust Percy

It’s illegal to make copies of Zeus’s lightning bolt

CHB has a hydra head from Woodstock

The oracle told Percy the prophecy through the image of Gabe and his friends

Grover eats pinochle cards “like potato chips”

Luke made Percy blush almost as much as Annabeth blushes when she’s around Luke

Chiron told Percy only to use his sword in emergencies

Mortals aren’t important enough to be killed by celestial bronze

Percy was famous for loosing pens at school

Annabeth was explaining the Athens rivalry thing to Percy, and he was like “they must have really liked olives” and Annabeth got mad and then he was like “Now, if she’d invited pizza—*that* i could understand” which made her even more mad, and Argus then winked at Percy

Annabeth gave Percy her hat so he could escape off the bus

Grover was gonna defend himself from the furies with a tin can

Grover ties Mrs Dodds’s legs up with her own whip

Percy told Mrs Dodds to eat his pants in Latin

Medusa turned Grover’s uncle to stone

Medusa is/sounds middle eastern

Percy told Medusa that they were from a traveling circus, and when they were alone Annabeth told Percy “your head is full of kelp”

Grover told Medusa that he takes vitamins for his ears

Satyrs can’t get migraines

Percy fucking mailed Medusa’s head to mount Olympus, and he signed the package “with best wishes”

GLADIOLA THE FUCKING PINK POODLE

Annabeth appeared on her dads doorstep in a golden cradle

Annabeth calls Grover “goat boy”

Percy hates confined spaces

I JUST REALIZED THIS HIS FIRST OUT OF 2 (i think 2?? Maybe there’s more??) TRAUMATIC ELEVATOR EXPERIENCES

The chimera has a rhinestone collar that says “Chimera— rabid, fire-breathing, poisonous— if found, please call Tartarus—ext. 954”

Echidna told Percy what she is— the mother of all monsters, and Percy was like “isn’t that a type of anteater”

The chimera poisoned Percy

Percy jumped from the arch assuming that it would kill him, in order to protect the mortals that were on the arch

Percy fucking lit a lighter at the bottom of the Mississippi

The campers were taking sides— Zeus or Poseidon

Gods can’t steal each other’s items directly

Percy said the leather on ares’s motercycle looked like “Caucasian human skin”

Percy said that ares’s was handsome

Percy said he broke clarisse’s spear and ares was like “oh dope”

Ares threatened to turn Percy into a prairie dog

Ares gave them a bag of double stuffed Oreos

Percy thought that the reason he could talk to zebras but not lions was because of another learning disability

They released a zebra into Las Vegas

Percy snapped Annabeth out of the lotus haze by looking her in the eyes and saying “spiders. Large, hairy spiders”

Percy threw away ares’s backpack, but once they left the lotus hotel, it reappeared on his shoulders

THE WATER BEDS

The lotus card had infinite money, and the cab driver referred to her as “your highness”, which Annabeth likes

They let the cab driver keep the (infinite) change

When at santa monica, percy looked out at the ocean, thought about how 2/3rds of the world is covered in water, and wondered how he could be the son of someone so powerful

Percy just. Fucking walks into the water and annabeth is like “percy what the fuck are you doing” and headass just keeps walking until he’s fully submerged

A mako shark nuzzled him like a dog

Percy used to see sea spirits smiling at him in the waves at Montauk beach

Houdini could “escape even the depths of tartarus… damn, talk about foreshadowing

Percy told the bus driver he was a stunt double for a bunch of child actors

Percy said L.A. reminded him of Ares

They got attacked by a gang

CRUSTY

Percy tricked crusty into getting into his own beds, and percy then cut his head off

Grover told Charon that all 3 of them drowned in a bathtub, and Charon looked mildly impressed

Percy bribed Charon into letting them in

Percy’s Traumatic Elevator Experience count so far: 2

The river Styx is polluted

Annabeth held percy’s hand on the boat

Thomas Jefferson is a judge of the underworld

Grover compared Asphodel to standing in a wheat field in Kansas forever

Cerberus is a purebred Rottweiler

Annabeth played fetch with Cerberus

Annabeth promised Cerberus that she would come back and play fetch with him again

Cerberus considers Annabeth a friend

Percy saw things in the Fields Of Punishment that he “didnt want to describe”

Percy said he wanted to go to the Isles of The Blest when he dies

THEY ALMOST FALL INTO TARTARUS.

Percy said that Hades’s eyes reminded him of Hitler’s

Percy wondered if Hades’s underwear was made of trapped souls like his robe was

Percy interrupted Hades to tell him that Charon wanted a raise

Hades threatened to “stop death”

PERCY TOLD HADES TO PLAY WITH CERBERUS MORE

Annabeth gave percy her necklace to wear for good luck (with fighting ares)

Percy jumped over ares on a 6-foot wave

Percy fucking told the entire city of LA that they could get a free appliance, and he gave them Gabe’s phone number. Fucking love this kid.

Finally, a non-traumatic elevator experience

Zeus went to purify his bolt in the waters of Lemnos

Podeiden told percy that his rebelliousness was because “the sea does not like to be restrained”

Poseidon said that sally is a goddess among women

Gabe fucking made Sally go to work when she got back

Percy didnt know that Gabe had been hitting sally, until he saw her flinch when Gabe raised his hand

Poseiden sent him Medusa’s head back to use against gabe

The ares cabin made Percy’s laurel and painted “loser” on it

Sally sold her “sculpture” to an art collector in Soho, got a new apartment, and started going to college

The Soho gallery called the sculpture “a huge step forward in super-ugly neorealism”

Percy told luke he misses being on the quest

Ares caught luke with the bolt and helm

Grover “confused the (flying shoe) curse”

#pjo #percy jackson #percy jackon and the olympians #things i forgot #the lightning thief #heros of olympus #rick riordan #uncle rick

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swatmotorsports55s · 4 years ago

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Car Window Tinting Near Me Awards: 6 Reasons Why They Don't Work & What You Can Do About It

It used to be a symbol of rebellion and gangsterism, but nowadays, car window tinting film is proving more to be a necessity when swat motorsports compared to a luxury. Car window tinting is merely a credit card applicatoin of heat and glare rejection film on a car's window pane to lessen and limit the number of glare, infrared and ultraviolet (UV) light from permeating through the windows. Window tint comes in various degrees to cater for different permeation limits and tolerance. Such rejection films are either dyed of metalized to convert solar radiation to infrared radiation, which is then rejected back through the glass to the exterior. Car window tinting provides a wide range of advantages to the driver and in addition its passengers. One primary advantage of tint application will be the direct protection of UV radiation from sunlight. The reducing ozone means higher UV radiation might exist in direct sunlight. This sort of protection is essential to individuals who spend a considerable amount of time on the road, since it reduces their risk to a range of skin diseases. Another important attribute of car window tinting film would the increased protection and prevention against road accidents. Tinting reduces the number of dangerous glare from environmental elements like sun, snow and various elements like approaching headlights, which indirectly provides enhanced driving safety. Besides providing a coating limiting the permeation of sunlight into the car, the metallic attribute of tint also helps hold the window pane together in the event of glass shatter due to unavoidable accidents, protecting the occupants in the automobile from serious injuries. Car tinting also helps extend the useful life of a vehicle, both in terms of mileage and also interior appliances. By blocking and limiting the permeation of sunlight in to the interior of the car, it could therefore avoid the cracking and fading of a car's interior appliances just like the dashboard and also sometimes the seat covers. Extended exposure to sunlight can seriously damage the materials used to make the interior dashboard and various electronic appliances. With proper tinting, the inside temperature of the car and in addition be protected and cooled, thus preventing and limiting the risk of overheating. All these benefits make sure that the occupants of the car can fully enjoy that their vehicles provide. A common argument against the tinting of car window panes would be the inability to see what happens within the automobile. However, on hindsight, car tinting might instead improve the privacy and security of the car. On normal circumstances, car burglary often happens when the culprit can see what they want in the car. By tinting the window and limiting the visibility of what's in the car, burglars would bypass the chance to break into that specific car. Enhanced privacy might raise debates and arguments against the usage of car tinting as outsiders would not be able to see what exactly goes on behind the tinted windows. Clearly the advantage of car window tinting outweighs the costs which are incurred. Government regulations now require car tints to be allowed with a certain degree of visibility. Therefore, before choosing to tint your car windows, you must check with your local authorities about the allowed degree of car tint in order that it ends up as a win-win situation. Business Name: SWAT Motorsports Ceramic Tint and Paint Protection Address: 8035 W Sahara Ave, Las Vegas, NV 89117 Email: [email protected] Phone Number: 1 (702) 277-8100 Website: swatmotorsportslv.com Working Hours: Monday - Saturday: 9am - 6pm Sunday: 10am - 4pm

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aion-rsa · 4 years ago

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Why The Truth About Britney Spears Is So Elusive

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Britney Spears is one of the most-covered and least-known celebrities of the modern era. She is a millennial icon whose songs were the soundtrack of a generation. A choreographed contradiction from her earliest burst onto pop stardom, the singer became a blank canvass for anyone carrying a paint brush. The FX docuseries The New York Times Presents “Framing Britney Spears” is an attempt to find the artist’s place in the gallery. It is also searching for Britney’s whereabouts in general. Spears was placed into a conservatorship when she was 26 years old. That was 13 years ago this month, and she has been petitioning the court to have that changed.

Britney’s conservatorship, overseen by her father Jamie Spears, has been profitable. With a net worth of over $60 million, maybe too profitable to ever get resolved. It could be a form of life imprisonment and wannabe jailers appear to come out of the woodwork regularly in Britney’s career. Spears also currently has a restraining order against Sam Lutfi, one of her former managers.

According to “Framing Britney Spears,” court documents call the singer a “high-functioning conservatee.” Britney’s fans point out their favorite star released four albums, went on three world tours, performed a sold-out five-year residency in Las Vegas, was paid $15 million to be a judge on The X Factor, and put her name on a billion-dollar perfume line. Yet, she has been deemed incapable of taking care of her finances or life, and even when she can drive.The case is being proceeded over by Los Angeles Superior Court Judge Brenda Penny.

For a pop queen in exile, Spears hasn’t been invisible. She’s been spotted at Starbucks with her boyfriend, Sam Asghari. She’s posted clips of her dancing, working out, painting, and giving impromptu fashion shows on Instagram during the coronavirus lockdown. Her posts, of course, only fuel the fire of conspiracy theorists, regardless of their apparent mood or meaning. Spears’ song titles like “Work Bitch,” “I’m a Slave 4 U,” and “”Out from Under,” could also be read as messages concerning her career.

Spears commands loyalty, and her fans love her. This is poignantly evident in Chris Crocker’s viral 2007 YouTube plea to “Leave Britney Alone.” The #FreeBritney movement rose up spontaneously after the conservatorship. The fan-produced podcast “Britney’s Gram” has dedicated itself to getting information to the public. Miley Cyrus shouted “Free Britney” during a performance. Paris Hilton and Rose McGowan have shown support. Britney’s mother Lynne Spears has been known to “like” comments with the #FreeBritney hashtag.

Samantha Stark, the director of The New York Times Presents: Framing Britney Spears, freelanced as a choreographer while making the two-step into video journalism. Writing at The New York Times for the past 8 years, she also produced and directed episodes of The Weekly. Stark spoke with Den of Geek about the difficulties of reporting on Spears’ conservatorship, and the future of journalism in a changing media climate.

Den of Geek: What drew you to Britney, of all the cases?

Samantha Stark: We started filming this before a lot of these court filings about the conservatorship started happening. The original concept was to look back at media coverage of her through this 2020-then-lens, post-MeToo and post when things like talking about mental health are more mainstream. There’s not as much stigma. Looking back at the media coverage of her from the early 2000s feels so shocking now. That was the original concept. Then while we were filming, these court filings started pouring in.

Could you have picked two better names for this case than Wallet and Judge Penny?

Right? There are a lot of similar names that run throughout it. You have Jamie Spears and Lynn Spears and Jamie Lynn Spears. You have a lot of Kevins, just like a ton of Kevins running throughout. There are a lot of Sams also in Britney’s story. There are a lot of re-occurring names. But yeah, Andrew Wallet.

What’s the first misconception “Framing Britney Spears” will clarify for the casual Britney Spears fan?

A huge misperception of her, that I had going into the project, is a lot of people think that the creation of her image and the music that she does and the way her shows are and the outfits she wears are other people’s decisions. But what I learned over and over again was how much of a say in her early career, including “Baby One More Time” at the very beginning, she had in her image and the way she was presented. How involved she was creatively in every show she did and every music video she made, particularly at the beginning of her career. I think a lot of people think she’s this puppet that was sexualized as a teenager and didn’t know it. And I think, from talking to the people who worked with her then, that that was her. She had a really big say in that.

From my unscientific survey, asking everyone I came into contact with “what’s the first thing they think of when they think of Britney Spears”: A lot of people say, “Oh, that time she shaved her head,” or “the picture where she shaved her head.” One of the reasons it’s called “Framing Britney Spears” is there seems to be these very few still-image frames in our collective subconscious, that burned into us when we remember her.

We went into it wanting to figure out how we could learn what was behind the frame, outside of the frame. I think a lot of people don’t realize all the different factors that were leading up to that point. A lot of people don’t realize that she was going through a custody battle then and how important her role as a mother was to her, or is to her still. There’s a lot of pulling back the curtain we could do.

Danny Ramos, the photographer we interviewed, was one of the only people doing video during the big paparazzi explosion. We wanted to talk to him and use his video, so you could see what was happening outside of the frame. He describes the time with the umbrella, that’s another big photo that people remember, like the head shaving. What people don’t realize is how upset she was that day because she was trying to see her kids and wasn’t able to. And how much he pushed her buttons before that happened, some deep buttons. So that’s outside of the frame.

Another one is the central mystery of our film. I think a lot of people don’t know that Britney Spears is still in a court-sanctioned conservatorship and that, for most of the 12 years, her father was the one in charge of her personal, medical, and economic decisions. He controls what happens with her money. The central mystery of our piece is something that Joe Coscarelli, one of our reporters, says in the film: “She’s living the life of a busy pop star, and yet we’re told she’s at risk constantly.” How is someone who can live the life of a busy pop star also be so at risk that she can’t make basic decisions for herself like medical-care decisions, where she lives, contracts, what to do with her money?

Britney’s lawyer, Adam Streisand, mentions a health report he wasn’t allowed to see, and was told by the judge it was justified withholding. I’ve seen a lot of reported diagnoses on the internet. Do you have any idea what that report said specifically?

Absolutely not. I think that’s important. Part of the difficulty with reporting on conservatorships, Britney’s and also any conservatorship, is that a lot of it has to do with medical records. Also, they do have court investigators that go out and interview the people involved. They have different kinds of people who submit reports about the person, and they’re protected under HIPAA and also allow the person some privacy.

Britney has signaled recently through her court filings that she doesn’t want her records to be sealed, that she wants people to be able to see them. But that’s particularly with her estate, which is different from the medical records. Who knows if she would want people to see that report also? But her conservators and lawyers in the past have decided it’s against her best interest. That’s something else interesting about conservatorships, is that other people decide what is in the person’s best interest. As Britney is performing in Vegas, other people are deciding for her what’s in her best interest all the time.

Since we don’t know anything about that report, we don’t know if Britney has a mental health diagnosis. She could not, there could be nothing actually in that realm. A lot of people like to speculate what kind of mental illness she might have, but we don’t know if she even has one. I think that’s important to remember.

Britney’s request for an outside independent party taking conservatorship seems like the most rational solution to the situation. Why is this so difficult?

That is the question. It seems as if Britney requests, “I don’t want my father in charge of being a conservator of the estate. I want this trust, Bessemer Trust, instead.” Yet her father is still in charge. That is legal. The judge made that decision. We don’t know why. A lot of questions about the conservatorship system, as a whole, have been brought up during this process. When someone is under a conservatorship, they are under a conservatorship because it’s considered that they cannot act in their own best interest. Conservatorships are mostly given to the elderly with Alzheimer’s, because a lot of people try to take advantage of people with Alzheimer’s and get them to sign over their money or their wills. And this was put in place to protect those people, which is really necessary.

It’s confusing because Britney is not. It’s a very unique situation, they always say, but we don’t know why.Jamie’s argument is that he has been doing a good job on this for the past 12 years. Her estate has grown, and that if he gets taken off and a whole new company takes over, it can harm her. Bessemer Trust does this professionally. They manage people with gigantic estates’ money all the time. So, the merits of that argument are questionable. But the judge decided that way. She’d left the door open. She didn’t decide he’s definitely staying on. She didn’t do an emergency suspension. That’s what they were asking for. They could still file to remove him.

These legal processes take a really long time, and as they’re happening, everybody’s getting paid. Britney’s estate pays the lawyers on both sides. She pays for her own lawyers, and then she pays for the lawyers arguing against her own lawyers, as well as the conservators’. That is oftentimes what happens with the conservatorship system. That’s also a place where people point to as something that could be a systemic issue in conservatorship systems: are these lawyers always acting in her best interest while also getting paid as long as the conservatorship is in place?

Is Britney a hostage, or is this a self-imposed exile?

I have no idea. We don’t know. Another really hard part of reporting this is there’s such a strong circle around Britney, seemingly controlling who she interacts with, because of the conservatorship, that we can’t talk to her. And she has not said anything publicly on her social media. Through her court documents, she said she appreciates the long “informed support” of her fans and that she “doesn’t want this battle hidden away like a family secret.”

Those were quotes from her court documents written by her lawyer, Sam Ingham, who legally is responsible for speaking for her since she’s not legally necessarily supposed to speak for herself. She could. So, that’s a mystery. Why isn’t she saying anything? Is it because there are people around her stopping her, or is it because she doesn’t want to say anything? Maybe Britney doesn’t want to talk to anyone about this. We have no idea. It makes it very frustrating to report on.

Just because you report on something doesn’t mean you agree with it. Do you think Spears speaks in code on her Instagram posts?

I don’t know. I have looked at every post since 2015 and some before that. It’s really fascinating to look at. Something about her Instagram that I love was this period of time where she was posting a lot of herself with her kids. It was just so beautiful to see her as a mom, because I know from talking to people close to her, that’s the number-one thing she’s ever wanted, to be a mom and to be seen as a mom. So those are really moving to me. Whether or not she’s speaking in code with other things, it’s so hard to tell because they’re always so surprising what she puts up there.

It seems she’s been doing it consistently, even in her songs throughout her career.

Yeah. It is interesting to listen to some of her songs now that we’ve seen all this come out in court. Even the song “Overprotected.” Listening to that now, wow. It has such a different meaning knowing that she does not want her father to be “protecting” her. A lot of her music videos and music has this bondage theme. Britney is often seen in chains or in cages. Also, a lot of themes of people taking from her, like “Gimme More.”

I think people haven’t taken that seriously, but when you look at it and you think of these as art and expression, even if she doesn’t have a song-writing credit on the songs a lot. Felicia [Culotta], her assistant and friend, who’s been with her for most of her career, said she would go into the studio and talk to the people who were writing the songs about what was happening in her life. And they would often write songs based off of what she was saying, which I guess is standard in the industry. I didn’t know. But we can draw our own conclusions to why there is such a big theme, yeah, of bondage and of people taking stuff from her.

Britney was a trendsetter musically. She explored dubstep, and she really is the face of the millennials. Do you think the #FreeBritney movement will also become a millennial icon?

Well, one of the things I find so compelling about the #FreeBritney movement is talking to Kim Kaiman, who was the marketing director at Jive Records. She was the person who met Britney when she first came in at 15, and decided how to market her, what her image was going to be. She very much expressed that she wanted it to be based off of who Britney actually was as a person. She describes her as “your friend that you kind of idolize a bit and look up to, but is the same as you, has the same hopes and dreams as you have.” And the 12, 13-year-old preteen age was who they were marketing her towards, I think she really connected with that.

Kim says she captured so well the dichotomy of what a teenage girl is. Teenage girls want to be grown women, but they’re also kids. It’s this wanting to be sexy and in control feeling that she captured that really spoke to these young people. Almost everyone in #FreeBritney who I talked to was in their late 20s or early 30s. So they were that age then. They were those kids that she was being sold to. I feel like the idea that she’s your friend really carried over, because they’re like, “This is my friend that they’re doing this to. I have to go stop it,” from what they said to me.

When they were that age, she was sold as this perfect, all-American girl. Kevin Wu, who’s one of the #FreeBritney organizers, says this in the film. He was saying finding out that she wasn’t perfect, that time where she was super vulnerable to people, and she was having public issues. I hate saying meltdown because I really don’t know what it was. But the vulnerability that she showed there really, really speaks to this group, and also, I would say, that age bracket in general.

I keep quoting people, but Felicia, it’s not in the film, said “Britney was judged and criticized for who she was. Even when she came out as a teenager, she was judged and criticized for being too sexy. A lot of people who are kind of these outsiders or people who were bullied or LGBTQ people, they were judged and criticized for who they were when they were younger, and so there’s this connection. They can relate to each other.” She said, “Britney relates to them as well.”

There’s kind of this counterculture fandom that the #FreeBritney people are like the people who were bullied when they were younger. And it is kind of millennial. We want to be more open talking about mental health. We don’t want bullying. We want diversity. I do think that it really speaks to that.

You worked extensively with the #FreeBritney movement players. In the review, I wrote you treated them like stringers. How do you rate them as journalists?

I would not say that we treated them like stringers because we did all our own reporting ourselves. We have our own journalists. Liz Day, who’s featured in the piece. Everything that they were finding out and bringing up we independently investigated and verified, absolutely. But I will say, I think they became their own investigators for themselves. There weren’t people doing investigations into it when they first started in 2019. And so, they definitely became their own investigators trying to dig up court documents. But we definitely did that ourselves.

But part of the story is that they became these investigators, so we do feature that in the story. It’s fascinating. Some lawyers are involved with #FreeBritney, and they know how to find the publicly available court documents. They would take them and put them online and highlight them. And as soon as a new court document would come out, like if Sam Ingham, Britney’s court-appointed attorney, would file something new, they would know immediately and post it online and dissect it. But we did that ourselves too.

It’s so much easier for us to do it because we have a full infrastructure set up for it. These people were spending so much time. The reason they started doing the investigating is because there wasn’t any media covering it, and they really wanted that. They wanted people to look into this. And so, they started doing it themselves, and it got a lot of attention. Then the media did look into it.

We had an investigation into her conservatorship in 2016, so we were one of the only people to be looking at it in that way. It was by the reporter who’s in the film, Joe Coscarelli. They did this “Is Britney Spears Ready to Stand on Her Own” questioning: is she ready to not be in this conservatorship? A lot of people are interested in it because of what they started digging up.

I see it similar to the hijacking of right-wing hashtags by the K-pop stans or what’s happening right now with the GameStop stock. The community is bringing the attention and journalism is keeping up with it.

The fact also that the age of a lot of these people means they’re so adept at internet culture and social media culture. They are using social media in a sophisticated way to get people to pay attention to them, for sure.

Do you think Britney had any idea how creepy the Star Search Q&A with Ed McMahon was, or was she just blindsided by the stupidity of it?

I think you can look at her face and be the judge of that. She was 10, but she handled it very well. I think it boded for the future of men asking inappropriate things to her. She just kind of like, “It depends. Boys are mean. It depends.” She kind of shook it off quite well as a ten-year-old.

And you see her in our piece later, when there are men asking her inappropriate questions, she sidesteps it in a really good way, in a really way that’s interesting to watch.

The shocking one was her being told about a mother saying that she wanted to shoot her because she was a bad influence.

The wife of a governor, by the way. That’s the kind of thing that you look at and you wonder would it happen now? I think we’ve come some way of not trying to shame people for their sexuality, but who knows?

There’ve always been persistent dark rumors about Britney, along with other celebrities who reach a certain tier. Why do you think people are so eager to demonize them?

Well, I wonder if that is still true today. I feel like it was very true during this height of the tabloid era, like 2004 to 2009. We’re not as eager to enjoy celebrities’ crashing and burning. If they’re going to rise, they have to fall, that kind of narrative. I feel like our culture is not as into that now. I think we’re less mean-spirited. And I don’t know. That’s what I was trying to figure out this entire time making this piece. Like, why? Why Britney? Why are we, as a culture, consuming all of this?

The reason that there was paparazzi around her all the time is because it sold. We consume that. It sold the magazines better than any other light “storylines.” I don’t know why. I mean, just my opinion, maybe the idea of what could be beautiful in society and perfect in society was so narrow that people were resentful of that. The majority of the US Weekly readers were women, so the majority of people buying those photographs were women. Is it because this ideal was so narrow back then that people became jealous and resentful of her? Now, I think the standard of beauty has opened up much wider, but that’s just my guess.

One of the experts says she’s never seen anyone successfully terminate a conservatorship. If Britney does succeed, will that upset the guardianship designation in the future?

Only time will tell. Who knows? I mean, if there are issues within the system that need to come to light, I think it would help them come to light.

Just because we’re Den of Geek and you’re from The New York Times, I have to ask, are you at all related to Tony Stark?

You know, I get that question a lot, and the true answer is we don’t know.

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The New York Times Presents “Framing Britney Spears” debuts Feb. 5 on FX and FX on Hulu.

The post Why The Truth About Britney Spears Is So Elusive appeared first on Den of Geek.

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sciencespies · 5 years ago

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The True History Behind Martin Scorsese's 'The Irishman'

https://sciencespies.com/history/the-true-history-behind-martin-scorseses-the-irishman/

The True History Behind Martin Scorsese's 'The Irishman'

Martin Scorsese’s The Irishman provides a decades-spanning look at one man’s relationship to organized crime, organized labor, and the truth—however slippery that concept may be. That man, Frank Sheeran, played by Robert De Niro, was a union official and mob associate whose story intersects with labor organizer Jimmy Hoffa, the Mafia, and the Kennedys. The film, Scorsese’s first to stream exclusively on Netflix, is adapted from the 2004 Sheeran biography I Heard You Paint Houses by writer Charles Brandt, in which Sheeran claims that he killed Hoffa, amongst other figures. Hoffa’s sudden disappearance in 1975 still looms large as one of America’s longest-standing unsolved mysteries.

Sheeran’s stories are seductive—he was friends with Hoffa (Al Pacino), and he was an associate of Russell Bufalino (Joe Pesci), a mob figure who indeed had ties to both Hoffa and other high-level mafia families. And while many Hoffa scholars think Sheeran’s claims are bogus, and that Scorsese—and Robert De Niro, who has wanted to adapt the book for years—got the story wrong, the film’s portrait of how organized crime became interwoven with the labor movement and the highest levels of government in the 20th century carries many elements of truth.

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As a guide to that era, here’s a primer that can either provide you with some key background information before sitting down to watch The Irishman or to fill in the gaps after viewing. The movie, which leaves theaters next week and will be available on Netflix starting Wednesday, November 27, runs more than three hours, so you have a lot of historical ground to cover.

Who was Jimmy Hoffa and was he really the most famous man in America?

James Hoffa, mostly known by the media as Jimmy, was a labor organizer even in his early career—at 14, he dropped out of school to work full time, and as a teenager he organized fellow grocery store workers to challenge unfair treatment by managers and to advocate for higher wages. He joined the International Brotherhood of the Teamsters in 1932 when he was still a teen, and by 1957 was elected president of the union, which at that point represented nearly one million truck drivers and warehouse workers. At one point in The Irishman, a voiceover from De Niro’s Sheeran asserts that Hoffa, in the 1950s and ’60s, was more famous than Elvis or the Beatles. That’s not an exaggeration—in a time when nearly one-third of American workers belonged to a union, Hoffa was the movement’s most famous face and de facto voice. On July 30, 1975, Hoffa set out for a lunch meeting at a local restaurant, and when he hadn’t returned home by the next morning, his wife Josephine called police. No trace of Hoffa was seen after that day, and he was declared legally dead in 1982. While some thought he was murdered by mafia associates, others thought it might be rivals within the Teamsters, and another line of inquiry attempted to discover whether or not Hoffa, afraid for his life, vanished of his own accord.

James R. Hoffa at the Teamster’s Union Convention

(Photo by Robert W. Kelley/The LIFE Picture Collection via Getty Images)

What did the Teamsters have to do with the Mafia?

In the mid-20th century, the Teamsters’ pension fund grew in size as membershipswelled. Many mafia families used this fund as a piggy bank, taking out off-the-books loans they’d use to fund the construction of casinos in Las Vegas (the mechanics of this story are detailed in Casino, another Scorsese film). “The problem with the loans to the Mob-controlled projects”, explained the National Museum of Organized Crime & Law Enforcement in a 2015 blog post, “was that many of them were not repaid promptly (or at all), and the corrupting influence facilitated ‘the skim’—the tax-free diversion of casino cash, delivered in suitcases to Midwestern mobsters.” Some of this cash made its way back to Hoffa and other union officials. At lower levels, mob enforcers would ensure unions won prime building, trucking, and transport contracts, keeping the flow of money steady. They would also pitch-in to help fix elections, either within the union itself or in city governments, ensuring key positions were held by union-friendly (and mob-friendly) candidates.

Who, then, was Frank Sheeran?

Many historians of the FBI, labor unions, and organized crime cast aspersions on Frank Sheeran’s stories that he killed Hoffa, or that he killed infamous “Crazy Joe Gallo” in Manhattan’s Little Italy in 1972. Writer and mafia historian Bill Tonelli, writing in Slate, exhaustively argues that Sheeran’s claims are mere fantasy: “Not a single person I spoke with who knew Sheeran from Philly—and I interviewed cops and criminals and prosecutors and reporters—could remember even a suspicion that he had ever killed anyone.”

But some of what Frank Sheeran says to Brandt in I Heard You Paint Houses is true—he was a close associate of mafia boss Russell Bufalino, and through Bufalino he did come to be well-acquainted with Jimmy Hoffa.

An Irish-Catholic WWII veteran, Sheeran, a truck driver by trade, began doing small jobs for Bufalino and the even higher-up Angelo Bruno (Harvey Keitel). As a non-Italian, he wasn’t eligible for full-fledged membership in the Cosa Nostra, but he was considered a trusted associate and friend by Bufalino. In I Heard You Paint Houses, Sheeran, who died in 2003, alleges that through Bufalino he became Hoffa’s right-hand man, tasked with protecting him on trips and even performing assassinations as necessary.

Russell Bufalino, of Kingston, Pennsylvania appears before the legislative watch dog committee during hearings in the Capitol on the Apalachin, New York, crime congress.

(Getty Images)

What role did Bufalino play in the Mafia hierarchy? Why was he important to the Hoffa story?

Born in Sicily in 1902, Russell Bufalino immigrated to the United States as a child. His family settled in Buffalo, New York, and after moving as a young adult to Northeastern Pennsylvania, Bufalino, by the mid-1960s, was the country’s most important mafia figure not based in a major city. His crew controlled Rust Belt communities like Wilkes-Barre and Scranton, Pennsylvania, and desolate stretches of highway that were useful to the mob because of both coal mining and long-haul trucking. Bufalino’s cousin, Bill (Ray Romano), meanwhile was Jimmy Hoffa’s personal attorney.

While never as notorious or prominent in the news as peers like Carlo Gambino or Joe Bonano, Bufalino was nonetheless a central figure in mid-century organized crime, and in the early 1970s was reportedly the interim head of the notorious Genovese family. As early as 1964, Bufalino was on law enforcement’s radar—a Senate subcommittee on organized crime called him “one of the most ruthless and powerful leaders of the Mafia in the United States.” In 1978 he was sentenced to four years in federal prison on an extortion charge, and was later sent back for an additional decade after a hitman he hired became a government informant. By all accounts, Bufalino and Sheeran remained close until the former’s release from prison in 1989, with Sheeran, convicted in the late 1970s of labor racketeering, continuing to act as Bufalino’s bodyguard and caretaker behind bars.

How did the Kennedys get involved in this story?

John F. Kennedy’s relationship with the mafia is probably second only to his relationship with Marilyn Monroe in terms of public fascination. While little direct evidence connects Kennedy patriarch Joseph P. Kennedy, Sr. to the bootlegging industry of the Prohibition age, he was a shrewd Wall Street investor and, later, Hollywood power player—he made several films in the 1920s with star Gloria Swanson (who also happened to be his mistress). At various points Kennedy served as the chairman of the Securities and Exchange Commission and the U.S. Ambassador to the United Kingdom, and he used this political capital to help the careers of his sons. In The Dark Side of Camelot, journalist Seymour Hersh alleges that Kennedy also leveraged his influence with the Chicago mafia to secure JFK’s victory over Richard Nixon in the presidential election of 1960. Scorsese’s film presents these connections as fact, even bringing up the persistent—but still unsubstantiated—suggestion that JFK’s assassination was a mafia hit.

Robert Kennedy speaks with labor leader Jimmy Hoffa. Kennedy was chief counsel for the Senate Rackets Committee and investigated Hoffa’s ties to organized crime.

(Getty Images)

Where did Hoffa come into conflict with the Kennedy administration?

As soon as JFK installed his brother Robert as attorney general in 1961, Jimmy Hoffa shot to the top of the younger Kennedy’s personal Most Wanted list. A one-man anti-mob crusader, Kennedy and his team, Ronald L. Goldfarb outlines in 2002’s Perfect Villains, Imperfect Heroes, accused Hoffa of being little better than a mafia boss himself. He was charged at various points with bribery, fraud, and, most crucially, misuse of the pension fund, all while he tried to expand the Teamsters by bringing airline workers into the union.

According to Kennedy, Hoffa used the fund to make loans to organized crime figures across the country. More than political adversaries, the two men seemed to genuinely dislike each other. After a dinner with Hoffa, Kennedy reflected on the other man’s character: “On my way home I thought of how often Hoffa had said he was tough; that he destroyed employers, hated policemen, and broke those who stood in his way…When a grown man sat for an evening and talked continuously about his toughness, I could only conclude that he was a bully hiding behind a facade.” Kennedy, in this instance, prevailed—Hoffa was finally convicted of both fraud and bribery in 1964, and sentenced to 13 years in federal prison, though he got out in five thanks to a commutation by President Richard Nixon.

Facing the Senate Labor Rackets Committee for the fourth consecutive day, teamster boss James R. Hoffa testified today that he does not recall talking with racketeer Johnny Dio about the founding of seven phony teamster locals in New York. Council Robert Kennedy and Senator John F. Kennedy are seen in the background.

(Getty Images)

After his release from prison, Hoffa, still beloved by many in the Teamsters, attempted to take back his former position as head of the union. This is where most people believe he went wrong; many in the mafia believed Hoffa’s lust for power made him an unreliable associate. The initial investigations into his disappearance made it clear that Hoffa’s work was tied to the mystery: “Mr. Hoffa owes his fate, whatever it may be”, wrote the New York Times in 1975, “to his increasingly persistent efforts to restore his lapsed influence over the 2.2‐million member union that he built, almost single handedly, into one of the most potent economic and political forces in America.”

So if not Sheeran, who actually killed Jimmy Hoffa?

While not considered by contemporary law enforcement to be a primary suspect in Hoffa’s disappearance, Sheeran’s name did appear on the FBI’s initial list of suspects, but his relationship with Hoffa—and with Bufalino—means that he can’t be ruled out of having some connection to the crime, even if he didn’t pull the trigger himself.

In Hoffa lore, another name comes up regularly—Chuckie O’Brien, another of Hoffa’s longtime friends and aides. In 2004, the FBI matched Hoffa’s DNA to a hairbrush found in O’Brien’s car, though O’Brien’s stepson, lawyer Jack Goldsmith, vehemently denies O’Brien’s involvement. Most law enforcement sources agree that whoever actually killed Hoffa, the particulars Scorsese presents in The Irishman aren’t far off—Hoffa was killed after a meeting in a Detroit house, and his remains were either buried or cremated shortly thereafter.

More recently, in 2017, James Buccellato, a criminology professor at Northern Arizona University, reflected on some of the outlying ideas: “The craziest theory that I’ve ever heard was that he was actually, this was a while back, but that he was actually still alive and that he as being kept somewhere alive by the Mafia; sort of an ‘Elvis is still alive’ kind of theory.”

For his part, when pressed in an interview with Entertainment Weekly, Scorsese suggested that the truth of Hoffa’s disappearance is perhaps the least compelling part of the story: “What would happen if we knew exactly how the JFK assassination was worked out? What does it do? It gives us a couple of good articles, a couple of movies and people talking about [it] at dinner parties. The point is, it’s not about the facts. It’s the world [the characters are] in, the way they behave. It’s about [a character] stuck in a certain situation. You’re obligated to behave a certain way and you realize you may have made a mistake.”

#History

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nevadaautospa2 · 8 months ago

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Beating the Heat: A Guide to Car Detailing in Las Vegas

Las Vegas is a city known for its glitz, glam, and endless sunshine. But that sunshine, while great for poolside lounging, can be brutal on your car's paint and interior. Dust storms, scorching temperatures, and even the occasional desert downpour can wreak havoc on a vehicle's appearance. This is where car detailing las vegas comes to the rescue.

What is Car Detailing?

Car detailing goes beyond a simple car wash. It's a multi-step process designed to restore your car's interior and exterior to a pristine condition. A good detailer will address everything from surface dirt and grime to deeper imperfections like swirl marks and oxidation. Here's a breakdown of the typical detailing process:

Exterior Detail:

Wash: A thorough wash removes loose dirt, dust, and debris. This may involve a high-pressure rinse, hand washing with specialized car wash soap, and wheel cleaning.

Decontamination: Claying removes embedded contaminants like iron deposits and road tar that a regular wash can't handle.

Paint Correction (Optional): This multi-stage process involves polishing the paint to remove minor scratches, swirl marks, and oxidation, restoring the paint's clarity and shine.

Waxing or Coating: A protective layer of wax or ceramic coating is applied to the paint to shield it from future environmental damage and enhance gloss.

Interior Detail:

Vacuuming: A thorough vacuuming removes dirt, dust, and crumbs from carpets, upholstery, and crevices.

Cleaning: Surfaces like the dashboard, door panels, and center console are cleaned with specialized products to remove dust, grime, and stains. Leather seats may receive additional conditioning treatments.

Window Cleaning: Professional window cleaning removes streaks, smudges, and film, ensuring clear visibility.

Benefits of Car Detailing in Las Vegas

A professional car detail offers numerous benefits for Las Vegas car owners:

Enhanced Appearance: A detailed car looks significantly cleaner, shinier, and more attractive.

Protection from the Elements: Las Vegas' harsh sun can damage the paint and interior over time. Detailing with wax or ceramic coating protects the paint from UV rays, while interior cleaning prevents sun damage to the dashboard and upholstery.

Increased Value: A well-maintained car with a clean and protected interior and exterior retains a higher resale value.

Improved Driving Experience: A clean and organized interior creates a more pleasant and comfortable driving environment.

Choosing a Car Detailing Service in Las Vegas

With a plethora of car detailing options in Las Vegas, here are some factors to consider when making your choice:

Services Offered: Detailing services vary in scope. Some offer basic packages focusing on washing and vacuuming, while others provide comprehensive details with paint correction and interior shampooing. Choose a service that meets your specific needs and budget.

Experience and Reputation: Opt for a company with experienced detailers who use high-quality products and techniques. Look for positive customer reviews and recommendations.

Mobile vs. Shop Detailing: Mobile detailers come to your location, while shop detailing requires dropping your car off. Consider your convenience and the extent of the detailing service needed.

Pricing: Get quotes from several detailers and compare their pricing structures. Prices can vary depending on the size and type of vehicle, the services included, and the level of detail desired.

Maintaining Your Shine

Following a professional detail, regular car washes and occasional interior cleaning will help maintain your car's polished look. Consider using high-quality car wash products and parking in shaded areas whenever possible to minimize sun damage.

By investing in car detailing in Las Vegas, you can keep your car looking its best and protected from the city's unique climate. A sparkling car not only enhances your driving experience but also becomes a source of pride, reflecting the vibrant personality of Las Vegas itself.

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avalostint · 3 years ago

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All you need to know about Las Vegas car wrap services

Car wraps services in Las Vegas are gaining a lot of traction in recent years. Car wraps are a versatile product that can be used for a variety of purposes. This is one of the main reasons why they are so popular, as you can use them for advertising, branding or even just personalizing your car.

Understanding car wrap service

A car wrap is a process of vinyl wrapping the whole car body using one or two layers of vinyl film. It is a thin vinyl film that is applied to the exterior of your vehicle. The film is bonded to the outer layer of your car and can be printed with your desired design. The film does a great job of protecting your vehicle, and it will not affect your car's paint.

For a lot of people, their car is an important possession. Not only does it give them the freedom to drive wherever they want, but it also symbolizes who they are. It's a reflection of their personality and status in the community.

It's vital to protect your skin from pollutants and harsh UV rays that make driving frustrating. There are also countless other threats, such as scratches and dents, to protect against. That's why it's important to invest in car wrapping. A professional graphic designer can design the perfect wrap to fit your individual needs and it will protect your precious vehicle from everything that the road throws at it.

Promoting business and its services on the road

A car wrap is also a cost-effective way to promote your business and its services on the road. A car wrap is a great way to remind people of your brand when they're out and about and can be a great way to reach people who live in rural areas or who don't frequently visit your business's physical location. The car wrap is a great opportunity to express your brand uniquely and memorably. It's a huge advantage over vinyl banners, posters and stickers because it doesn't just stop there.

How long does a car wrap last

With the proper care and maintenance, a car wrap can last a few years. To ensure that it lasts as long as possible, don't park the car in direct sunlight and make sure to keep it clean. It's important to keep your car in good condition, not only for aesthetic purposes but because it will last longer.

Types of popular car wraps services in Las Vegas

When considering car wrap service in Las Vegas, you first have to establish what the wrap is made from. This can include vinyl, cloth, or paper. Most wraps are made from vinyl and it is the most popular option for this. The vinyl is easy to remove, which is why most people go for this option. Vinyl looks best on objects that have curves, making it ideal for cars. Other options are cloth and paper. Both of these are much easier to damage, but they do look amazing. The cloth is extremely scratch resistant, making it ideal for commercial vehicles. In some cases, you can re-use the cloth over and over again. The paper option tends to have a glossy finish, similar to images on the internet. This can be a hit or miss, depending on the design.

There are plenty of reasons why adding a car wrap can be smart and convenient. A car wrap is an excellent way to have a vehicle stand out from the rest of the crowd.

Car wraps are designed to transform vehicle appearance. The films are bespoke and can be produced in a wide range of colors and designs. From an advertising perspective, a good car wrap service in Las Vegas can not only make your cars more visible in a busy traffic environment but also attracts new consumers. Car wraps are a great way to refresh your image and your brand.

#Las Vegas Car Wraps

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aion-rsa · 4 years ago

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Director Mike Figgis Talks Trading Licks with Ronnie Wood

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Before becoming a filmmaker, Leaving Las Vegas director Mike Figgis was a musician and performer in the experimental group called The People Show. Before that, he played trumpet and guitar in the experimental jazz ensemble The People Band, whose first record was produced by Rolling Stone drummer Charlie Watts. He is also the founding patron of an online community of independent filmmakers called Shooting People. You can say Figgis is a People person, which makes him the perfect director to capture Ronnie Wood in the documentary Somebody Up There Likes Me.

One of rock and roll’s most iconic guitarists, Wood is good with people. He plays well with others. He is the Stone who’s never alone. Before he began weaving guitar licks with Keith Richards in the Rolling Stones, Wood helped shape the British rock sound in bands like The Birds and the Creation. He was the bass player to the guitar maestro in The Jeff Beck Group, which featured the distinctive voice of Rod Stewart at the front. They put out two albums, 1968’s Truth and 1969’s Beck-Ola, before splintering just as they were to appear at Woodstock. Wood and Stewart inherited the Small Faces from Steve Marriott and dropped the album First Step in 1970. They realized they were too tall for the diminutive moniker and renamed the band The Faces. They released the albums Long Player and A Nod Is as Good as a Wink…to a Blind Horse in 1971, and Ooh La La (1973), before splitting up in 1975.

Wood guested on albums by David Bowie, Bob Dylan, Aretha Franklin, Eric Clapton, the Band, Donovan, B.B. King, and on Stewart’s solo albums. He spent so much time flavoring other performers’ works, he didn’t put out a solo album of his own until 1974 which he aptly titled I’ve Got My Own Album to Do. Wood also went solo for 1981’s 1234 and collaborated with Bo Diddley on Live at the Ritz in 1988, Wood’s seventh solo album, I Feel Like Playing (2010), featured guest spots from ex-Faces bandmate Ian McLagan, as well as The Red Hot Chili Peppers’ Flea, Guns N’ Roses’ Slash, Billy Gibbons, Bobby Womack, and Jim Keltner.

Somebody Up There Likes Me isn’t structured like most music documentaries. It is primarily a conversation, and it veers from much of Wood’s vast output. The hard-partying musician beat lung cancer and candidly blames his excessive indulgences. He saw bandmates, contemporaries and friends, like Brian Jones, Jimi Hendrix, Janis Joplin, and John Bonham push past the lethal limits of chemical reactions. Wood himself remembers telling Keith Moon to take pills, not bottles of them. Richards remarks in the documentary how the two Rolling Stones guitarists share strong constitutions. Wood began recording with the Rolling Stones when they were halfway through their 1976 album, Black and Blue, and has been steady even up to their recent pandemic live stream.

The documentary also captures Wood’s visual artistry. He was an artist before he was a musician. His drawings were featured on BBC TV’s Sketch Club when he was a child, and he studied at the Ealing Art College. Wood did the cover artwork to Eric Clapton’s 1988 box set Crossroads. The two-time Rock and Roll Hall of Fame inductee continues to capture visions like Mick Jagger’s dancing in a Picasso style, as well as the shots in Somebody Up There Likes Me of him capturing the grace of a ballerina on canvas.

Born in northern England, director Mike Figgis was raised on jazz and Jean-Luc Godard movies. The inventor of the “fig rig” knows when to experiment, such as he did in Timecode (2000) and Hotel (2001), how to get drama out of romance, as he did with One Night Stand, starring Wesley Snipes and Nastassja Kinski, and The Loss of Sexual Innocence. He is adept at crime dramas, directing the “Cold Cuts” episode of The Sopranos in 2004 and Internal Affairs, which starred Richard Gere. He also mines deep emotional schisms in films like Mr. North and Leaving Las Vegas (1995) for which he was nominated for Best Directing and Best Screenplay Oscars. Figgis spoke with Den of Geek about cinematic jams and studio sessions with Ronnie Wood.

Den of Geek: Over the course of the film, you produced a song using nothing but your backings and an orchestra of Ronnie Woods. How was he to produce?

Mike Figgis: He was a delight, actually. We did most of the interviews and everything where he was painting, he was in his own space for that. Then the dialog, he’s very very witty and so on. But at the end of the day, the man’s a musician. Quite later on in the process I said, “Let’s go into a studio and do something.” I think the minute we got into a studio it was different. For both of us because I’m a musician too. It’s just a different kind of reality and the language becomes much simpler between musicians and understanding the equipment, the whole vibe.

Originally Mark Ronson was going to do a soundtrack for us which would have been fantastic and then he just got very, very busy because we got late. I presented him with a kind of template of how maybe could make a nice soundtrack, which is basically what we did anyway. So we did it without Mark and Ronnie was very comfortable with that.

He very much left it to me. He added a lot, obviously. He said, “I’d like to do this as well,” and so on. So, we had a pretty full couple of days in studio time. But he was great to produce.

There are a lot of musicians working on this besides you and Ronnie. Rosey Chan did the score for a painting scene.

Rosey’s my wife by the way. She’s a phenomenal concert pianist and composer and musician in her own right. She’s releasing an album now. She’s an amazing pianist, I just needed something to take us into a different zone, so I asked her to compose some piano pieces for that. Then I did some score myself. Just when he’s talking about drugs. I put a little bit of a weird score on that one.

So is this film more of a cinematic jam that you just edited in the mixing room?

Yeah, I think so. I think that’s a good way of putting it, actually.

Ronnie also worked with Bob Dylan, Prince, David Bowie, Aretha Franklin. Did you allow the interviews to determine what parts of his career you were going to include?

I actually wanted to avoid anybody else. I said, “Let’s just make it about him painting and us talking.” I wanted to make it as simple as possible. That didn’t happen because as soon as you sort of uncover one little stone, you kind of say “Oh, well obviously we should interview the Rolling Stones.” Then he started thinking, “Well, Rod’s around, we can use Rod.” When I discovered about Damien Hirst, “Actually that would be an interesting, unexpected one. That would be good, yeah.” So yeah.

It was kind of organic, really. It was all sort of scheduled based in a sense that, “When are you available?” And, “When am I available? When are these people available?” So, getting the Stones was actually the trickiest thing. You had to go to Berlin and get them between gigs when they were watching the World Cup. In between World Cups actually. Very specific.

I know you’re in the People Band which had an album produced by Charlie Watts. So, were you in the same periphery of the Stones as Ronnie Wood back then?

No, the connection with Charlie was very interesting because the People Band was a free music ensemble. I mean really experimental. Really way out. The drummer was this phenomenal percussionist, still is, called Terry Day. Terry Day went to art college with Charlie’s wife and he knew Charlie because they were both drummers, so they got on really, really well. Charlie Watts has always been a huge jazz fan. Through Terry, it was one of those moments where Charlie says, “You know, we can record you. We got a mobile studio. We can either send the mobile to you wherever you’re playing.” I’m talking about in those days, in ’68 or whenever it was, the idea of a mobile multi-track was pretty amazing. “Or you can come to Olympic Studios,” which was where they recorded Beggars Banquet and everything. It was an amazing studio. And, “We’ll just give you the studio and the engineer, and you guys do what you want.” That’s how that came about and it was really lovely.

Over the years, once in a while I would see Charlie and just catch up, talk about drumming, really. And jazz. So it was really nice interviewing for this one again.

When you were asking Rod Stewart about Peter Grant, he sort of cut back and he became the young man that was bullied.

He did, didn’t he? When he said, “I’m protecting my hands and my face.”

The gangster aspect of that mid ’60’s period, especially with Peter Grant, how did that affect the musicians and the working? Do you think it actually in some ways was good for it?

Well, you know that comes about from a very strange coincidence which was sort of touched on in the film. But, quite a few years back, Malcolm McLaren was wanting to produce a film. A feature film about Led Zeppelin and as a result of that, he and I went and interviewed Peter Grant which is where that footage comes from. I did a huge amount of research into Led Zeppelin and Peter Grant at the time, and spoke to and interviewed a lot of the people who were involved with their success. I didn’t interview Johnny Bindon, but he was a key figure. Johnny Bindon was a kind of very violent criminal. In London. Very good looking. He became an actor for a while. Had amazing sexual legends built around him involving royalty and all kinds of things, and was part of a kind of fashionable gangster scene. The craze and all the rest of it. The London gangster scene.

Sort of became fashionable because people went to all their clubs, and hung out with them, and David Bailey photographed them and all that. So there was a kind of a zeitgeist about gangsterism. There’s an incredibly good book written about it called Jumping Jack Flash which came out two years ago. Bindon became one of the agents for Led Zeppelin and famously beat up somebody so badly on one of their tours that was hospitalized. He was a very mean individual.

The whole association with Led Zeppelin was very much gangsterish because of Peter Grant and his associates who had those stories and so on. So that was a kind of one aspect, and also a lot of the management were fairly crooked in London at that time. There’s a bit of a gay mafia and all the rest of it, so part of the folklore of that period of British rock and roll is very gangsterish, and very much part of the story.

Whenever I think about gangsters and British rock I think of the movie Performance. When you’re filming conversations in the moment, are you saying in your head “this is filmic?”

Not consciously, no. I accept it as being part of the fabric, actually. I try to make everything filmic anyway, so I’m always trying to get as far away from any kind of documentary feel. I like things to have a live element to it.

I loved Peter Grant’s Gene Vincent story. In the Beatles Anthology, George Harrison tells a similar one. What did Gene Vincent mean to young British rock and roller’s that everyone’s got a story about them?

Oh, because he was there, he was around. A little bit like the stories about everyone remembers Big Bill Broonzy and everyone remembers Sister Rosetta Thorpe. Main reason for that is they were a part of a very small group of musicians who were allowed to visit the UK during the Musician’s Union ban on touring. We were basically deprived of a lot of American musicians after the war, and the only reason Broonzy got in and Sister Rosetta Thorpe, was folk musicians were allowed in as opposed to, say, Louis Armstrong.

They all came in as folk singers even though they weren’t. I mean Broonzy was a fully-fledged Chicago blues musician and so was Sister Rosetta Thorpe. But everybody knows that. Anybody that was anybody around at that time would know those names. And Gene Vincent has become a kind of UK legend.

Do you see Ronnie as a very varied painter?

I wanted to capture a certain aspect of his art which was the line drawing. When we first started talking, I looked at all his art books. He does huge canvases with a lot of color, featuring the Rolling Stones, et cetera, et cetera. I was less interested in those. Those sell for a lot of money apparently and people really like them.

But when I saw his line drawing, his very quick drawings. Line drawing is very, very important. Sketching is very important in the same way that when you hear a very basic demo from a musician, there’s a certain truth about that. Then you can produce it and over produce it, and you can make it super sophisticated. I was interested in the bit that leads up to the way that he started producing. I wanted to set up situations where I would just see his line drawing. His ability to control lines, that was amazing.

Then physically watching him do that is fascinating. I love filming people playing their musical instruments. There’s a certain truth about that, they get into their thing. And watching him draw I thought was fascinating. His concentration, absolute. Even in the interview with Damian Hirst. He’s so focused on what he’s doing that he doesn’t really pay much attention to Damian Hirst. Sort of answers the question. He doesn’t pick up on any of the jokes. Because he’s really focused on what he’s doing.

Watching his live stuff, Wood is a different person. While he’s playing guitar, you see him and Keith joking around.

I think that has something to do with the eye. Because I think it’s about blues guitar. You can see the finger memory is really, really strong so I mean in that early footage he’s smoking at the same time, right? He’s smoking, joking around, getting to the microphone, late usually, for the backup vocals. And moving around and having a great time. He doesn’t have to look at the guitar to do that. However, if you are drawing something, either you make that contact with your eye, so creating the triangle between the subject, the canvas, and your eye. And you’re quite right. Radically different body language, and that’s interesting. There are two physical sides of him demonstrated on film, which you don’t really have to explain. There it is.

Is Somebody Up There Like Me a flip side to Leaving Las Vegas?

Maybe. You know, people have had a life, have had experience and come through darkness and coming to light and so on. For me, it just becomes 10 times more interesting than people who’ve just had a nice life and behaved well. Look a little puzzled that they’re not sort of 70 or something because it’s all been quite peaceful, you know? So there’s a kind of turbulence there which I think he says quite well when he says, “I see a fork in a road I take it.”

Like he says, “I would do it with my eyes more open now if I did it again.” I kind of admired that. It’s not like me. I’m much more protective. But I also loved the way he talked about the drugs. He talked about, “I would never get to the point of losing control because I always knew.” Because he’s very ambitious. “I always knew where I had to be next and I never wanted to be at the place where I couldn’t control where I wanted to be.” I’m sure there were a few exceptions to that, but in general, that was quite truthful.

You’re known as a very experimental filmmaker and I was wondering how you keep coming up with different ways to look through the camera?

I got sort of bored with 35mm and started going back to 16mm and then when video got more interesting, looking at video. Then as video got smaller and XLR happened, that radically changed the possibilities. Then as the world changes, like with at the beginning of this conversation we talked about the coronavirus effect. And how the Timecode principle, how that then ties in with what is possible in terms of filmmaking, really.

When you were making Timecode, did you know that you were predicting pandemic filmmaking?

No, although looking back I can think where it’d be really useful now.

The Rolling Stones streamed their performance early in the pandemic, is this the future of entertainment and is it an imposition?

I think in a way it is. Obviously at some point we will get coronavirus under some kind of control. But there are dire predictions about what’s coming next in terms of the unleashing of the demons that come through global warming, et cetera, et cetera.

On the one hand, maybe these variations of these conditions will continue well into the future. But I think even if it was just coronavirus, I’m talking about making films with various people right now, it’s almost like unless you actually acknowledge the world as it is today and has been for the last six months, any film that you make is going to have an air of unreality about it because this is quite definitely a global reality now. The way we’re communicating now and so forth.

I’m doing a masterclass in London at the film school next week and I’m going to be talking just about that to young filmmakers. The best ways to go about making films now.

As a jazz musician, what did you make of Jagger’s classification of jazz from back then?

It was pretty accurate, actually. I’d done the blues documentary with Martin Scorsese, the history of the British Blues, Red, White, and Blues. So, I covered that period and I was fascinated by that unique British period anyway, which is why in a way Marty and I got on so well too was because unlike America, the post war British music scene was heavily into traditional jazz and then bebop. Then folk music, and skiffle, and all those things. They all combined. If you talk to anybody, Eric Clapton, anybody, they’ll all make the same references. Big Bill Broonzy and Sister Rosetta Tharpe, and then Woody Guthrie, and so kind of everybody was listening to all those influences and people were coming out of traditional jazz and then making quite dynamic decisions about this, that, and the other.

But the Trad boom was, the commercial aspect of the British jazz movement was very commercial, and immediately commercialized. There are some great musicians, but not the hippest genre in the world, so Jagger’s commented quite rightly if you want to be a young, sexy, happening musician, you’re not going to base your style on your grandfather’s taste and the rest of it. It was a kind of nice point of view. I loved it when he said, “I like the MJQ because of the way they looked and the way they played. I’m not sure I was crazy about the music or something like that.”

And I loved that he said, “We can be like that or we can be something different.” I love that moment in the film where you actually suddenly see the Stones kind of go, “Yep.” That’s pretty different from those two choices. That was, you’re creating a new genre there. And I have to say, my respect for the Rolling Stones went very, very high in making this documentary. I always like the Stones. I preferred more basically a blues band and I was listening to a lot more complicated pop musicians and jazz musicians.

I read that you’re doing a K-drama about the #MeToo movement. Would that be in the K-pop industry?

Yeah, I became interested in Korean film of course like most filmmakers. And then on an impulse, two and a half years ago, I bought a ticket to Seoul and I went and stayed there for three or four weeks, and just went around meeting people and just trying to get a handle on their film scene, initially. Then, I kind of got hooked on K-dramas as well and started to meet the actors. That’s turned into a project that’s been in development for about a year now. It’s going really, really well, but coming up with this series of scenarios. Sort of loosely around the #MeToo movement, really but just to do with the Korean social pop entertainment scene. And that’s what that was there.

I didn’t know that the Stones had originally thought about asking Ron Wood to replace Brian Jones. As a musician, you said they stuck to their guns. Do you think that would have been more true had they skipped over Mick Taylor and gone straight to Ronnie Wood?

It was interesting because that period, because obviously Jagger comes from a very much blues background. But by that time he was a megastar and the Stones were very much “Mick Jagger and the Rolling Stones.” He was making movies, he was hanging out at the clubs, he was the hip guy. So obviously his horizons were expanding and he said that having Mick Taylor in the band really expanded his horizons as a songwriter because the voicings that Mick Taylor used. Mick did incredibly lyrical runs as the guitarist. Not a straight down the line blues player by any stretch of the imagination. A great blues player, but that’s not all he did.

So, I can imagine at that period, it would have been totally understandable if they’d continued to go in a different direction. I think what happened when Mick Taylor walked out, there was a kind of obvious cause of action to go to Ronnie. That probably then put Keith in a more comfortable zone in terms of the two-guitar thing because I would imagine that with Mick Taylor in the band, Keith’s role must have been definitely not so much the two-guitar thing because they are functioning at different levels. Probably in a way, back to a kind of grassroots level by bringing Ronnie back in.

Also, he looks like them. They were like brothers at that point. There’s a kind of a, suddenly a cohesiveness to the band as a band in a different way. Mick had a wider range in terms of songwriting and performance. A different way to go, but I think he was more than happy to go back into the kind of grassroots journey that they’d been on.

It’s very interesting how one musician can radically alter the destiny of the band, the longest lasting band in rock and roll history basically now.

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Ronnie Wood: Somebody Up There Likes Me will be available as a Virtual Cinema release at www.ronniewoodmovie.com starting Sept. 18 running through October. It will be released on DVD, Blu-ray and deluxe hardback book release on October 9.

The post Director Mike Figgis Talks Trading Licks with Ronnie Wood appeared first on Den of Geek.

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papermoonloveslucy · 7 years ago

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LUCY’S PUNCTURED ROMANCE

S4;E22 ~ February 7, 1972

Directed by Coby Ruskin ~ Written by Fred S. Fox and Seaman Jacobs

Synopsis

Lucy takes an interest in a new man (Robert Cummings), but the milkman tips off Kim that he may be a womanizing alcoholic. To protect her mother, Kim and Harry scheme to make him think the family is crazy, hoping he'll run for the hills.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Lucie Arnaz (Kim Carter)

Guest Cast

Robert Cummings (Bob Collins) was born in 1910 in Joplin, Missouri. His godfather was the aviation pioneer Wilbur Wright, so naturally he got his pilot’s license and studied aeronautical engineering. After the stock market crash of 1929, he gave flying up to study drama in New York City, making his Broadway debut in 1931. In 1934 he moved to Hollywood and started making films. During World War II he was a captain in the Air Force Reserves. His television career kicked off in 1952, winning an Emmy for his role in the series “My Hero.” Starting in 1955, Cummings starred on a successful NBC sitcom, "The Bob Cummings Show” (aka “Love That Bob”), in which he played Bob Collins (the same character name he uses in this episode of “Here's Lucy”), an ex–World War II pilot who became a successful photographer. The show ended in July 1959, just a few months prior to filming “The Ricardos Go To Japan” the penultimate episode of “The Lucy-Desi Comedy Hour.” Cummings returned to “Here's Lucy” for an episode in season 5. Cummings was married five times and fathered seven children. He died in 1990 at the age of 80.

Bob Collins graduated from Carnegie Tech and is a field representative for a cosmetics company. He enjoys dancing.

Mary Jane Croft (Mary Jane Lewis) played Betty Ramsey during season six of “I Love Lucy. ” She also played Cynthia Harcourt in “Lucy is Envious” (ILL S3;E23) and Evelyn Bigsby in “Return Home from Europe” (ILL S5;E26). She played Audrey Simmons on “The Lucy Show” but when Lucy Carmichael moved to California, she played Mary Jane Lewis, the actor’s married name and the same one she uses on all 31 of her episodes of “Here’s Lucy. Her final acting credit was playing Midge Bowser on “Lucy Calls the President” (1977). She died in 1999 at the age of 83.

Billy Sands (Mr. Larson, the Milkman) returns to the role of Lucy's Milkman from “Lucy's Lucky Day” (S4;E15). Sands began his professional acting career in 1946 when he appeared on Broadway with Spencer Tracy in Robert Sherwood’s Rugged Path, but he eventually became a television character actor who appeared regularly as Dino Papparelli on “The Phil Silvers Show” and as ‘Tinker’ Bell on “McHale’s Navy.” He will make one more appearance on “Here’s Lucy” (but not as the milkman).

Larry J. Blake (Fire Chief, left) first appeared as a Native American Medicine Man in “Lucy the Rain Goddess” (TLS S4;E15). He was an ex-vaudevillian making the sixth of his eight “Here’s Lucy” appearances.

Orwin C. Harvey (Fireman, center) was an actor and stuntman who played one of the singing and dancing teamsters in “Lucy Helps Ken Berry” (TLS S6;E21). This is one of his six appearances on “Here’s Lucy.”

Sid Gould (Fireman, right) made more than 45 appearances on “The Lucy Show,” and nearly as many on “Here’s Lucy.” Gould (born Sydney Greenfader) was Lucille Ball’s cousin by marriage to Gary Morton.

The script for this episode was dated October 6, 1971. It was filmed on October 28, 1971.

The title may have been inspired by the Charlie Chaplin silent film “Tillie’s Punctured Romance” (1914), remade in 1928 with W.C. Fields. It may have also inspired “Fester’s Punctured Romance,” a 1964 episode of “The Addams Family.”

In his book I Had A Ball: My Friendship with Lucille Ball, Michael Z. Stern recounts when he attended the filming of this episode in 1972.

The date this episode was originally aired, film director Walter Lang died at age 75. He had directed Lucille Ball (who was uncredited) in two films in 1935: Carnival and Hooray for Love. In 1957 Lang was nominated for an Oscar for directing The King and I.

As the episode opens, Mary Jane is sitting on the living room sofa reading the November 1968 issue of Better Homes and Gardens magazine. In “Redecorating the Mertzes' Apartment” (ILL S3;E8), Lucy Ricardo says she got the idea to hold a painting party from reading Better Homes and Gardens. The magazine got plenty of airtime because the writers felt bad after making a ‘Better Homes and Garbage’ joke in “Men Are Messy” (ILL S1;E8).

In the Carter living room, the large gold-framed mirror on the landing has temporarily been replaced by an ornate cuckoo clock in order to make the final gag pay off. If the clock looks familiar, it was formerly in a home of “The Munsters” (1964-66) at 1313 Mockingbird Lane. The raven has been replaced by a cardinal, but it is otherwise identical. Both “Here’s Lucy” and “The Munsters” were filmed at Universal Studios. [Thanks to Lucy fan Bill Graff for spotting this!] In 1957, the same clock was seen on “Those Whiting Girls” - a Desilu production.

Also, just for this episode, the French doors in the living room can only be opened by banging on the wall above the fireplace mantle.

Lucille Ball’s ‘showgirl style’ entrance down the stairs gets a round of applause from the studio audience. Mary Jane admires her new outfit. Lucy and Bob (her new boyfriend) ‘met cute’ in the supermarket when she dropped her knockwurst and he dropped his sauerkraut.

The studio audience is very enthusiastic, also bursting into spontaneous applause for Bob’s entrance, Mary Jane’s exit, and the end of scene 1.

MILKMAN: “Cross my heart and hope to die. May my sweet cream curdle if I tell a lie.”

Mr. Larson the milkman reports that the Wilsons down the street are splitting up. Larson says his wife calls him her “homogenized Walter Winchell.” Walter Winchell (1897-1972) was a journalist and radio host who was the narrator of “The Untouchables.” His voice was heard (uncredited) in the 1949 Lucille Ball film Sorrowful Jones and “Lucy the Gun Moll” (TLS S4;E25). His name was in the lyrics of the Desi Arnaz song “We're Having A Baby” sung on “Lucy is Enceinte” (ILL S2;E10). Winchell died just two weeks after this episode first aired.

Mr. Larson awkwardly used the ‘modern lingo’ with Kim:

Pad (apartment)

Swinger (wolf)

Splitsville (break up)

Kim calls Bob a “Cut-Rate Casanova”. Giacomo Girolamo Casanova (1725-1798) was an Italian adventurer and memoirist who’s name became synonymous with a man who seduces multiple women. Coincidentally, in "The Gossip” (ILL S1;E24), the milkman was labeled a “cottage cheese Casanova”!

In order to convince Bob Collins that the Carters are crazy, Kim and Harry do the following:

Convince Lucy that Collins is partially deaf, reads lips and has a hearing aid in his cuff links.

Pretend that Lucy has been married six times by prominently placing her wedding gown in the hall closet.

Having Kim make inappropriate advances on Collins while sitting on his lap.

Spiking Collins' hors d'oeuvres with a concoction of Tabasco sauce, cayenne pepper, hot mustard and chili pepper.

“Lucy is just a deaf alcoholic who's been married six times!”

Even after they confess their deceit, things get even crazier when Mary Jane shows up dressed as a chicken, Lucy banging on the wall to open the doors sets off the phonograph and the cuckoo clock, and Lucy burns the roast causing the fire department to smash the front door glass.

A flustered Mary Jane makes it clear to Bob that she is unmarried by stressing that she is MISS Lewis. Miss Lewis was also the name of a single lady who lived at 623 East 68th Street, played by Bea Benadaret in “Lucy Plays Cupid” (ILL S1;E15).

Lucy says that Bob Collins tangos better than Rudolph Valentino. The dance was responsible for the longest laugh in “I Love Lucy” history in “Lucy Does the Tango” (ILL S6;E20). Heartthrob actor of the silent era Rudolph Valentino was also mentioned in that episode. Valentino was one of Mrs. McGillicuddy's favorite screen stars and was mentioned in “The Hedda Hopper Story” (ILL S4;E20) and “The Homecoming” (ILL S5;E6).

This is the first time that Lucy has had a boyfriend since Tony Rivera (Cesar Romero) in “A Date for Lucy” (S1;E19). Lucille Ball had no plans for Lucy Carter (or Lucy Carmichael) to have a serious relationship.

Robert Cummings played himself in a 1959 episode of “The Lucy-Desi Comedy Hour” set in Japan.

A cuckoo clock played an integral role in “The Kleptomaniac” (ILL S1;E27). Lucy hid the clock under her coat - but the ‘cuckoo’ nearly gave her away!

A milkman (Bobby Jellison) was the conveyor of "The Gossip” (ILL S1;E24) about the marriage of the Ricardo’s neighbors Grace and Bill Foster.

Trying to make her mother out to be undesirable, Kim says that Lucy has always married men who’s last name begins with ‘C’ so she doesn’t have to change the monogram on her luggage! Is this a reference to “The Lucy Show”’s widow, Mrs. Carmichael? Other folks named Collins in the Lucy-verse include:

Kitty Collins - Lucille Ball’s character in the 1936 film Follow The Fleet

Sylvia Collins - an unseen character on “I Love Lucy”

Dr. Collins - Mr. Mooney’s eye doctor on “The Lucy Show”

Mr. Collins - Manager of Stacey’s Department Store on “The Lucy Show”

Eddie Collins - Viv’s boyfriend on “The Lucy Show”

Pat Collins - the ‘hip’ hypnotist on “The Lucy Show”

FAST FORWARD

Lucy would finally become Lucy Collins in a 1975 special titled “Lucy Gets Lucky” co-starring Dean Martin and set in Las Vegas.

Character Consistency! Two episodes earlier Kim moved out of the house into a garage apartment nearby. But in this episode she is apparently still living at home.

Fur Blur! When Lucy comes from the closet after retrieving her stole, the camera momentarily goes out of focus.

Props! On the bookshelves behind Lucy's head, a small ceramic vase has been tipped over by some books. This was probably caused when the finale with Lucy banging on the wall and the picture frames falling was rehearsed before filming.

No Stove Is A Floating Island! In the kitchen, the counter top island has been awkwardly moved out of the way to make room for Lucy’s tango and give better sight lines of the refrigerator. This island also holds the cook top range, so it would be technically impossible for it to be un-grounded by electric wires or a gas hookup!

Cap Redact! The first letter of the name of the milkman’s dairy (mostly illegible) is covered with white tape. This was likely done to avoid any legal action by a company with the same name.

Let Yourself Out? When Kim marches into the living room to have a heart-to-heart talk with her mother about Bob, she leaves the milkman alone in the kitchen!

Wardrobe! Kim’s picnic table skirt does not have pockets, so there is a conspicuous pouch sewn to her waist in a slightly different pattern in order to hold the small bottle of spices she intends to use to spice up Bob’s hors d'oeuvres.

Plot Loops! Mr. Larson thinks Bob Collins is a wolf because girls are seen coming and going from his home and he orders five quarts of orange juice daily. He reasons some people mix orange juice with liquor for wild parties. At the end of the episode, the girls are explained by his being a cosmetics distributor but the orange juice surplus is never explained. He may not be a wolf, but he might be a lush!

“Lucy’s Punctured Romance” rates 3 Paper Hearts out of 5

In this episode, the roles of mother and daughter are reversed, giving Lucie Arnaz a larger and more commanding role. This fits in with plans for her to launch a spin-off series after the end of season 4. Lots of sight gags in this episode. The living room runs amok in a very visual (but not very character-driven) finale. Mary Jane in a chicken suit.

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shineshop · 5 years ago

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nancy-astorga · 8 years ago

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A new Netflix documentary about the Gawker vs. Hulk Hogan trial will change how you see the case

Any documentary filmmaker would like to delve into the trial between Hulk Hogan and Gawker: a high-profile case filled with sex, betrayal, and outlandish courtroom testimony.

But director Brian Knappenberger also saw something more troubling beneath the surface. The case was also a fight against the freedom of the press. Regardless of what you may think of Gawker’s content, ruling against the site in this case could open the floodgates for silencing other media whenever it runs a negative story on a person with influence.

It was a scary thought to Knappenberger. And then it became a reality.

Currently on Netflix, Knappenberger’s latest documentary, “Nobody Speak: Hulk Hogan, Gawker, and Trials of a Free Press,” is a fascinating look at the story behind the Hogan win against Gawker for posting a sex tape of the former pro wrestler. The $140.1 million verdict in favor of Hogan led to Gawker closing its doors and its publisher Nick Denton going into personal bankruptcy.

But two months after the verdict, it was revealed that Silicon Valley billionaire Peter Thiel was responsible for financing Hogan’s case against Gawker. It was also revealed that the major motivation for Thiel to do that was less because he was sympathetic to what Hogan was going through and more that he wanted Denton and Gawker to feel his wrath after the site ran a story in 2007 outing him as being gay.

“This notion of a nine-year grudge and this epic tale of revenge was so spectacular,” Knappenberger told Business Insider at this year’s Sundance Film Festival. “That’s when I really started work on the movie.”

Knappenberger — who previously made the movies “The Internet’s Own Boy: The Story of Aaron Swartz,” on internet activist Aaron Swartz, and “We Are Legion,” about the hacker group Anonymous — got in touch with Denton and Gawker editor-in-chief (who also posted the Hogan sex tape video) A.J. Daulerio to be in the film as well as Hogan’s lawyer David R. Houston.

They all took some convincing to come on camera and talk for the movie, according to Knappenberger, but at the end of the day they agreed because they all wanted to tell their sides of the story.

“The Gawker guys were angry,” he said. “They wanted to talk, and David Houston wanted to tell his story.”

There was also a time that Knappenberger thought he would get Hogan to participate, but ultimately Hogan declined.

“They didn’t want him to say something that would hurt the settlement,” Knappenberger said of Hogan. “But even if we got him now I would add him in the film.”

In many ways, “Nobody Speak” portrays Hogan in a sympathetic manner, basically as the pawn in Thiel’s mission to destroy Gawker (Knappenberger said he also tried to get Thiel to be in the movie, but Thiel declined Knappenberger’s numerous requests). And the movie shows how other people with money and influence can and do silence the media.

Knappenberger also showcases what happened to the Las Vegas Review-Journal at the end of 2015. The paper’s staff was suddenly told that the paper had been sold, though they were never told who the new publisher was. A group of reporters found that the son-in-law of Las Vegas casino titan Sheldon Adelson was a major player in the purchase of the paper. According to the movie, Adelson had a vendetta with the paper’s columnist John L. Smith, who wrote unflattering things about him in a 2005 book. Smith was even ordered after the paper was bought that he was never to write about Adelson in any of his pieces.

For Knappenberger, there’s no other way to look at it: The suppression of the media by billionaires is happening. But it was the election of Donald Trump as president that influenced the movie the most.

“It went from cautionary to holy f—,” Knappenberger said. “Things that seemed lighter before now seemed serious.”

Knappenberger said the making of “Nobody Speak” was a fast process that constantly changed, but it’s the ending that has become the most nerve-wracking, as he’s gone through numerous versions to paint a most up-to-date picture of Trump’s dislike toward the media.

“What we’ve seen is disturbing,” he said of Trump. “Calling reports scum, calling them vile, slime, it’s just a regular feature in his speeches. The blacklisting of the press… This is a clear intimidation of the press. I think all of that is scary.”

Knappenberger said he doesn’t see the press lying down and playing dead, but he hopes the new administration will be a wake-up call to the media to be on their game.

“The press should be adversarial, should be confrontational, should be questioning those in power, that’s the role of the press,” he said.

And that’s why Knappenberger believes the loss of Gawker is such a huge blow for journalism. As one former Gawker editor says in the movie, “If you’re not pissing off a billionaire, what’s the point?”

“Yeah, they insulted people, but why is there not a place for that in this media environment?” Knappenberger said. “This is free speech. We protect hate speech. We protect a lot that one side or the other doesn’t like. Thiel’s response that Gawker is a ‘singular, sociopathic bully’ is absurd. That is only true if you live in a world without Facebook or Twitter.”

When speaking to Knappenberger before the movie’s world premiere at Sundance, the director wasn’t too nervous about Thiel or Adelson’s representatives showing up with legal papers. “We’re ready for it,” he said (none were ever given). But he added, the bigger issue is getting people to understand that the loss of the free press is “the most important thing facing our country.”

“Lots of other films at Sundance have legitimate causes and important things and I wouldn’t say this is more important than those causes,” he said, “it’s just that you can’t do anything about those causes unless you have this first. Free speech, First Amendment rights. Without that, there’s no democracy.”

SEE ALSO: Al Gore has a triumphant new documentary about climate change and Trump that you need to see

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