#ulla swanson

[hitchell-mope]

Supergirl/The Producers au

Winn. Max Bialystock.

Mon El. Leo Bloom.

Kara. Ulla Swanson.

Maxwell. Franz Liebkind.

[couldpolyamorysavethem]

MAX BIALYSTOCK, LEOPOLD "LEO" BLOOM, and ULLA INGA HANSEN BENSON YANSEN TALLEN HALLEN SVADEN SWANSSON BLOOM from THE PRODUCERS

No Justification Submitted - Anonymous

[cytryndor]

okay but the plot of the producers is literally

[cressida-jayoungr]

Coeli's Picks: White, part 1

(Multiple movies listed left to right)

One Dress a Day Challenge

Anything Goes December

"I'm trying to skip the overly obvious (Marilyn Monroe in The Seven-Year Itch, Sharon Stone in Basic Instinct, Julia Roberts in Pretty Woman) but some of these might still fall into that category."

The Producers (2005) / Uma Thurman as Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson

"The very first one that leaps to mind is Uma Thurman as Ulla in the movie of the musical version of The Producers."

My Fair Lady (1964) / Audrey Hepburn as Eliza Doolittle

"Eliza Doolittle's ballgown is glorious, of course."

Midsommar (2019) / Gunnel Fred as Siv

"This is a very cool costume: Siv the village/cult leader from Midsommar. There's cool information out there on the materials and the symbolism and so on. However, I understand if you'd prefer not to read up on the movie in order to include it. It's strong stuff. " [Note: Yeah, I'm kind of a wimp about horror.]

Ready or Not (2019) / Samara Weaving as Grace Le Domas

"I know you don't particularly want to do wedding dresses (and they are kind of a copout) but one very interesting one is worn by Grace (Samara Weaving) in Ready or Not. She's in it for the whole movie, gradually shedding and repurposing elements and getting rather messy in the process. Again, I understand if you don't want to look into this, as there is gore."

Whatever Happened to Baby Jane? (1962) / Bette Davis as Baby Jane Hudson

"It's a black-and-white movie of course, but the dress is clearly white and there are some color publicity shots to confirm it."

Johnny Guitar (1954) / Joan Crawford as Vienna

"I haven't actually seen Johnny Guitar, but Joan Crawford wears a striking white dress in it."

Gone with the Wind (1939) / Vivien Leigh as Scarlett O'Hara

Live and Let Die (1973) / Jane Seymour as Solitaire

Casino Royale (2006) / Eva Green as Vesper Lynd

Star Wars Episode VI: Return of the Jedi (1983) / Caroline Blakiston as Mon Mothma

The Muppet Show / Raquel Welch and Miss Piggy as Themselves

"Here's a two-fer - Raquel Welch and Miss Piggy in matching white jacket ensembles."

[tfblovesmusic]

How the 24 Italian Songs and Arias and the Suzuki Violin School Are Similar, Pt. 2

To segue the arc of posts about the similarities between G. Schirmer's 1948 edition 24 Italian Songs and Arias (as well as Alessandro Parisotti's 1885 publication Arie Antiche and G. Schirmer's 1894 American edition Anthology of Italian Song of the 17th and 18th Centuries) and the Suzuki Violin School regarding edits to Baroque music, let's dig a lot deeper.

In the above video, harpsichordist Alice M. Chuaqui Baldwin highlights those issues inherent in the publication - especially regarding the chord progressions and voicings. Most of the dissonant ones are heavily softened.

"(Those chordal edits of late Renaissance and Baroque music) was common in 19th century editions because (Parisotti and G. Schirmer's editors) had very little exposure to and experience with Renaissance and Baroque music, since only then-recently-composed music was in fashion," Chuaqui explained, "The editors were just making guesses about what the music was supposed to sound like, and those guesses were based on Romantic music."

A notable reason, music history aside, why Parisotti and the G. Schirmer's editors softened the dissonant material, replacing some with parlor chords and modes, was because the piano ALREADY supplanted the harpsichord and chamber pipe organ as the primary accompanimental instrument in concert halls as well as upper middle class to affluent households once the latter published the Anthology of Italian Song of the 17th and 18th Centuries.

"By the middle of the 19th century, the piano is pretty much as we know it today," composer and TV presenter Howard Goodall explained in the 4th episode of 2000 music documentary, Big Bangs, "The number of notes on its keyboard had expanded to 88."

"It gained an iron frame, tougher wire strings, and a bigger range to fill big concert halls with sound, like an orchestra of one."

Coupled with the then-newfound traits the 19th century piano garnered (as well as 3-4 expression pedals to alter its timbres), the harmonic interference with the texts that therefore dilutes the intended affects of the pieces also go back to why Parisotti and the G. Schirmer editors liberally used them in the first place: they were initially arranged for 19th century domestic parlors.

Keep in mind that the 24 Italian Songs and Arias is a highlights book of pieces from the parent G. Schirmer 1894 publication, Anthology of Italian Song of the 17th and 18th Centuries.

"Parisotti's Arie Antiche (first published in 1885) and the G. Schirmer's American publication of it, Anthology of Italian Song of the 17th and 18th Centuries, were indeed intended for domestic, amateur musicians," Copilot explained, "During the late 19th century, it was common for households to have a piano, and music-making was a popular form of entertainment in parlors and drawing rooms."

"These collections were initially designed to be accessible to amateur pianists and singers, providing them with a repertoire that was both enjoyable and manageable. The pieces were often simplified and edited to suit the technical abilities of non-professional musicians, making them ideal for home performances."

Here's a good analogy (coming from this jazz dance history fan, too) regarding the difference between the OG manuscript/urtext editions of - say - Giulio Caccini's "Amarilli, mia bella" and the one arranged in the 24 Italian Songs and Arias. In a high school/college/community theater production of The Producers, Ulla Swanson most likely would wear a midriff-covering white dress, tan tights, and tan heeled character shoes in the number "When You've Got It, Flaunt It."

In a multigenre dance competition interpretation of the aforementioned showtune, however, a super-lithe dancer (or group of them) would often wear an often-differently-colored bra top and briefs over bare legs with Pedinis, flat jazz shoes, rhythmic gymnastics shoes (anachronistically called "turners"), or no shoes at all. The choreography in the latter, as the above GIF illustrates, is more gymnastic and contortionistic.

I for one believe that seasoned musical theater experts in the audiences of those dance comps - be them actresses at university productions of musicals or pit orchestra trumpeters - would most likely and highly prefer the rendition of "When You've Got It, Flaunt It" with the hen wearing a midriff-covering white dress, tan tights, and tan heeled character shoes over an uber-lithe dancer doing what I rightfully call a "glorified rhythmic gymnastics freehand routine on Marley" to the said showtune in an often-differently-colored bra top and briefs over bare legs with flat jazz booties.

Sarah Freiburg wrote in Strings Magazine, "A performer’s edition can also wander far from the source."

"Recently, a student brought in a newly purchased edition of JS Bach's cello suites, and I had to inform her that the bowings were totally fabricated from the very first measure of the first suite, having nothing to do with any of the manuscripts or early editions. They have their own tortured history, as Bach’s autograph manuscript is missing—and there have been over 100 editions since 1824."

Note, too, that Dr. Shinichi Suzuki and his editors altered figured basses in the piano accompaniments of the arrangements of baroque pieces for the Suzuki Violin School. Keep in mind, as well, that they arranged them for the original intent of fostering classical music appreciation in student violinists, especially and specifically youth ones.

The Suzuki Method was developed decades before the HIP component of the early music movement in Japan alone fully took off in 1983, when an unrelated Suzuki - Masaaki - returned from Holland, himself a pupil of practitioner Ton Koopman. It wasn't until another 7 years later when he founded Asia's first major HIP ensemble, Bach Collegium Japan.

Regarding the heavily-edited Baroque pieces of the Suzuki Violin School, Maasaki's son, Masato, even quipped to The Guardian in 2024, "I don’t think (Dr. Shinichi) aimed to produce a mechanical child, but sometimes you know that this method was taken in the wrong direction.”

Going back to the trouble with the 24 Italian Songs and Arias, the liberal use of parlor chords that replaced much of the dissonant material interfered with the text. "Persuasive, emotionally-moving declaration of the text was called rhetoric, which was a subject that was taught in schools during the Baroque period and was an idea that Baroque composers and musicians were absolutely obsessed with," Chuaqui explained.

Claudio Monteverdi, the composer behind the Lamento d'Arianna, simply put it: text first, rhythm second, melody third.

Sadly, Parisotti and the G. Schirmer editors swapped the order to befit the then-increased dynamic and timbral capabilities the piano had already garnered back in their days, Romantic Era sensibilities, and the domestic amateur singer demographic.

The reordering of what Monteverdi pointed out led them to load each work of their respective publications Arie Antiche and G. Schirmer's 1894 American edition Anthology of Italian Song of the 17th and 18th Centuries.

"The Suzuki Violin School and the 24 Italian Songs and Arias sometimes present tempi and rhythmic interpretations that do not fully align with the stylistic norms of the Baroque era," Poe expanded further on the similarities, "The use of strict, metronomic rhythms may not capture the natural fluctuations and expressive timing common in Baroque performances."

"In the 24 Italian Songs and Arias, the accompaniment provided for the vocal lines may oversimplify the complex continuo realization typical of Baroque basso continuo practices. Similarly, the Suzuki Violin School arrangements may not always capture the harmonic richness and improvisational nature of the Baroque continuo."

"The 24 Italian Songs and Arias, while focused on Italian Baroque and Classical-era vocal repertoire, may not always adhere to the precise linguistic and diction requirements of the Italian Baroque style. In the Suzuki Violin School, the translations or adaptations of Baroque pieces may not fully capture the original poetic and linguistic nuances."

But just because Parisotti, G. Schirmer, Dr. Suzuki, and his organization Suzuki Method International heavily altered the figured basses and chord voicings and progressions in piano parts of their arrangements of Baroque and early Classical music to respectively better suit amateur violinists, vocalists, and their accompanimental pianists neither mean that they should lob the 24 Italian Songs and Arias and/nor all 10 books of the Suzuki Violin School in the basura.

Part 3 details on what they CAN do about it and expand their knowledge of classical music history - and appreciate early music and HIP practice.

To refresh your ears, my fellow early music/HIP-loving nerds whose lugs are jaded with the piano-voice arrangements of Baroque music in the videos embedded in the post, here's countertenor Michael Chance's 1985 rendition of "Più d'una tigre altero" from George Frideric Handel's Tamerlano, with him backed by the BRILLIANT HIP rockstars English Baroque Soloists under Sir John Eliot Gardiner.

[filmes-online-facil]

Assistir Filme Os Produtores Online fácil

Assistir Filme Os Produtores Online Fácil é só aqui: https://filmesonlinefacil.com/filme/os-produtores/

Os Produtores - Filmes Online Fácil

Max Bialystock (Nathan Lane) é um produtor teatral astuto, que tem Leo Bloom (Matthew Broderick) como contador. Um dia Leo surge com o plano perfeito para conseguir muito dinheiro: arrecadar muito mais do que o necessário para produzir um show para a Broadway, que seja de antemão um fracasso garantido. A ideia é que, por ser um fracasso, nenhum investidor espera receber algo, o que permitiria que Max e Leo embolsassem a diferença. A dupla segue o plano, iniciando a busca pela pior peça teatral já escrita. A escolhida é o musical "Primavera para Hitler", escrito por Franz Liebkind (Will Ferrell). Logo que começam a produção, contratam Ulla Inga Hansen-Bensen-Yanson-Tallen-Hallen-Svaden-Swanson (Uma Thurman) como secretária que terá um papel no espetáculo. Mas, para a surpresa de Max e Leo, a peça se torna um estrondoso sucesso. Baseado na mesma história já filmada, Primavera Para Hitler (1967).

[villainlovesong]

My dear Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson 💙

also posted on twitter

below is just some rambling about the producers bc it’s one of my fav musicals now

I LOVE the producers sosososo much.. I only last month watched the movie, and then every recording of the stage version I could find. I became a bit obsessed hehe. A very kind person sent me some of recordings… It made me the happiest person!!!

It’s so great like every single song I love , the performances are amazing and I love every character specially Ulla and Carmen, I might have to draw him soon too.. Rn I’m working on an Ulla and Leo drawing tho

I made my mom watch with me and she loved it, I’m planning to watch with my grandpa too but I’m not sure he’ll like, I hope he does.

Also!! One of the recordings I saw had Angie Schworer as Ulla!! You have no idea how excited I was!! I had no idea!! I love her so much as Angie in the Prom, she was amazing as Ulla as well.

Like most musicals it doesn’t have a big fandom.. thinking about it not many musicals have fandoms that are both large and not dead sjskks

[laughincryintumblinmumblin]

I SWEAR TO GOD EVERY SONG IN THE PRODUCERS (MUSICAL) IS A FUCKING MASTERPIECE

[just-my-two-pennies]

Honestly, Max Bialystock and Leo Bloom have more chemistry than Leo Bloom and Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson (Bloom).

[vegalume]

Me re-doing my daughter’s room was like a cross between that episode of SpongeBob Squarepants ‘Wet Painters’ where SpongeBob and Patrick try to paint Mr. Krabs’ room without taking any of his shit off the walls, and ‘The Producer’s’ where Ulla just paints right over everything.

[hyzenthlayroseart]

Uma Thurman as Ulla Inga Hansen Benson Yonsen Tallen Hallen Svaden Swanson from The Producers

[hitchell-mope]

Descendants/The Producers au

Carlos. Max Bialystock.

Ben. Leo Bloom.

Mal. Ulla Swanson.

Chad. Franz Liebkind.

[craigfernandez]

Miss Judith Lee Sauls (AKA Lee Meredith), Ulla Dance?

[joethetoonfanandoutcast]

My Top 15 Favorite Universal Couples (currently)

Made in February, these are my (current) top 15 favorite Universal Pictures pairings (or at least ones enough to fit the slots):

15. Frankenstein's Monster and his bride

14. Leo and Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson Bloom (The Producers (2005))

13. Sophie Sheridan and Sky Rymand (Mamma Mia)

12. Marty McFly and Jennifer Parker (Back to the Future)

11. Doc Emmet Brown and Clara Clayton (Back to the Future)

10. Beethoven and Missy (Beethoven)

9. Clay and Ruby Calloway (Sing 2)

8. Scarlett and Herb Overkill (Minions)

7. Herman and Miss Crawly (Sing: Love at First Sight)

6. Felonious Gru and Lucy Wilde-Gru (Despicable Me)

5. Meena and Alfonso (Sing; I still don't like to parade them around though)

4. Norman and Rosita (Sing)

3. Johnny and Ash (Sing; though I'm not keeping my fingers crossed for it)

2. Fievel Mousekewitz and Cholena (An American Tail: The Treasure of Manhattan Island)

Honorable mentions:

Woody and Winnie Woodpecker

George and Lorraine McFly (Back to the Future)

Tony Toponi and Bridget (An American Tail; I also ship Bridget with a same-age-as-her Fievel in an AU) Tiger and Miss Kitty (An American Tail: Fievel Goes West) Littlefoot and Ali (The Land Before Time IV: Journey Through the Mists) Grandpa Longneck and Grandma Longneck (The Land Before Time) Brom and Littlefoot's Mother (The Land Before Time) Balto and Jenna (Balto) Rex and Elsa (We're Back!: A Dinosaur's Story) Farmer Arthur and Esme Cordelia Hoggett (Babe) Bob and Zootie (Babe: Pig in the City) Ted Shackelford aka the Man in the Yellow Hat and Maggie Dunglap (Curious George) Donna Sheridan and Sam Carmichael (Mamma Mia!) Bruce Banner/The Incredible Hulk and Betty Ross (The Incredible Hulk) Ted Wiggins and Audrey (Dr. Seuss's the Lorax) The Grinch and Martha May Whovier (Dr. Seuss's How the Grinch Stole Christmas (2000)) Eggs Trubshaw and Winnie Portley Rind (The Boxtrolls) Monkey and Beetle (Kubo and the Two Strings) Mike and Nancy (Sing) Fred and Wilma Flintstone (The Flintstones (live-action)) Barney and Betty Rubble (The Flintstones (live-action)) George and Jane Jetson (Jetsons the Movie) Judy Jetson and Apollo Blue (Jetsons the Movie) Dudley Do-Right and Nell Fenwick (Dudley Do-Right (live-action))

Boris Badenov and Natasha Femme-Fatale (The Adventures of Rocky and Bullwinkle (2000))

Porsha Crystal and either Ryan (Sing 2; yeah, no interaction whatsoever, but it sounds like a cute idea, what with my love of male cat-female dog couples) or Nooshy

and though destined to be sunk,

Buster Moon and Suki Lane (Sing 2)

[missviolethunter]

25, 26, 29 for ask game <3

25. What is a weird, hyper-specific detail you know about one of your characters that is completely irrelevant to the story?

In my story Every Little Thing, the original character Rita Bloom is the granddaughter of Leo Bloom and Ulla Swanson from The Producers. I like to add silly and irrelevant musical theatre Easter eggs everywhere because I'm weird like that.

26. How do you get into your character’s head? How do you get out? Do you ever regret going in there in the first place?

I try to watch (and rewatch) the source material with a critical eye, and also from the point of view of a writer. Unfortunately this gives way to a lot of moments when I think "I would have written this part better", but this happens to a lot of people in every fandom... and at least my remedy is to write fanfiction about it and not rant online or attack the creators.

I've never had issues from getting out of a character's head, because I'm usually seeing things from the point of view of a storyteller and not a character. The only time I wrote a story in first person it was because a song inspired me, and it's never happened again.

29. Where do you draw your inspiration? What do you do when the inspiration well runs dry?

Inspiration isn't usually my problem... My major issues are lack of time and energy to write. If I'm running out of ideas I usually go to the source, or come to tumblr, or try to read something completely different to clear my mind because many times the lack of inspiration comes from being stressed about what to write. I just wait for that cosmic particles of inspiration to hit me on the head.

Thanks a lot for the questions, Nonny! ❤️

Weird questions for writers - ask me stuff!

[letstalkaboutentertainment]

The Producers (2005)