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davidstirlings · 1 year

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SAS Rogue Heroes Daemons AU

Hello, I am here to once again encourage SAS: Rogue Heroes brain rot with yet another au (help I've fallen down the rabbit hole)

David Stirling - Cuckoo (adaptable, dreaming, foolishness, insanity, insecurity)

Paddy Mayne - Tiger (strength, power, aggressiveness, leadership, courage, intelligence, passion, stealth, solitary, bringer of death and destruction)

Eoin McGonigal - Spider (patience, creativity, sensitivity, protection, wisdom)

(I can't stand spiders I'm afraid - arachnophobic - so no picture here, sorry)

Jock Lewes - Beaver (determined, visionary, defensive, inventor, fantasizer)

Eve Mansour - Serval (independence, self-reliance, and self-interest for the sake of survival)

Mike Sadler - Armadillo Girdled Lizard (adaptability, instinct, quick-witted, sensitivity)

Reg Seeking - Honey badger (strength, fierceness, aggressive, endurance, survival, territorial, possessive)

Johnny Cooper - Otter (playful, mischievous, kindness, happiness, luck, loyalty, and adaptability) (thanks to @just-barrow for this)

Bill Fraser - Spotted hyena (loyal, courageous, social but also solitary, witty, smart, hunters rather than scavengers, territorial)

Dave Kershaw - Ring-tailed Lemur (playful, kindness, happiness, social, leisure, alert) (credit to @rosescruensixxam for saying that Dave's lemur would be like King Julian - a sassy mf)

Pat Riley - Red squirrel (playful, mischievous, social, passionate, trust, hardworking, resourcefulness)

Jim Almonds - Hare (courage, prosperity, rebirth, change, vigour, aggressiveness, cleverness, love, sensitivity)

Augustin Jordan - Great horned owl (wisdom, strength, fearless, decisive, freedom, stealth, protection) (thanks to @rosescruensixxam for helping me decide)

André Zirnheld - Peregrine Falcon (fearless, authoritative, goal-oriented, freedom, intelligence, victory, power, speed) (thanks to @rosescruensixxam for helping me decide)

George Bergé - Lioness (Pride, courage, power, natural-born leaders, authority, dignity, wisdom, fiery)

Dudley Wrangel Clarke - Chameleon (adaptability, change, deception, intuition, transformation)

Dr Gamal - Hummingbird (flexibility, healing, ability, unique, joy, enjoyment of life)

Walter Essner - Doberman pinscher (alert, fearless, loyal, aggressive, impulsive, social, self-protection, misunderstood) (thanks to @wearebackbagels for helping with Essner)

Herbert Bruckner - Common European Viper (impulsive, power, shrewdness, rebirth, deception, mistrust, temptation, death and evil) (credit to @wearebackbagels for this brilliant suggestion)

General Auchinleck has a golden monkey daemon (like Marisa Coulter), and General Ritchie has a horse (don't ask me what kind, I don't know horses)

And that's about as far as I've gotten, so please, come yell ideas at me in the comments bc I'm sorta stuck for everyone else

@rosescruensixxam @wearebackbagels @elkro @just-barrow @onyxsboxes @adowbaldwin @invisiblegargoyl @bachaboska @kuro-anko @snitling @fergusfraserapologist @akatsuki-rin @queerevolutionaries @cloudyfacewithjam

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wearebackbagels · 1 year

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SAS Rogue heroes: X-Men au

For a while now @rosescruensixxam and I have been working on an X-Men au and here are part 1 out of 3 planned posts, the rest will come soon enough.

This is everyone’s powers, we TRIED to do the characters justice but at least we had fun while doing it!

DAVID STIRLING: Power bestowal and augmentation, disintegration

PADDY MAYNE: Metal claw growth, Superhuman Durability, Adaptive Reflexes, Superhuman Marksmanship, Impenetrable Skin, life force absorption (alias Mad Dog)

JOCK LEWES: Energy Manipulation, Energy Blasts, Molecular Acceleration, Superhuman Durability, (alias Oppenheimer?)

JOHNNY COOPER: Slowed down aging, superhuman reflexes, super leaping, superhuman speed, wall crawling, superhuman agility( he is basically Nightcrawler) (alias Sparrow( from “The Sparrow from Minsk”) nobody is gonna get this)

AUGUSTIN JORDAN: Life Force Absorption and conduction, blood bending, Adaptive Evolution/ Immortality, Superhuman Marksmanship, (alias Vampire/Twilight haha)

MIKE SADLER: Wolf transformation, shapeshifting, Superhuman Durability, super acute senses, razor sharp teeth (alias Coyote idk)

REGGIE SEEKINGS: Mutant tattoos includes (making tattoos come to life) tactile hypnosis, superhuman durability ( more will be added)

EVE MANSOUR: Chronoskimming, mind reading, some ice-powers cause she is cool all the time

BILL FRASER: Pyrokinesis, solar form, solar absorption, flight, wing growth/wing blades (alias Icarus( coolest name ever)

DAVID KERSHAW: Animal manipulation, animal empathy (alias Kitten?)

EOIN MCGONIGAL: Weather Control( ironic we know), lightning travel, cyclone spinning, aerokinesis, flight

GEORGES BERGÈ: Hydrokinesis (alias Wave, Riptide, Crescent( like the moon)?)

ARNDRÈ ZIRNHELD: Illusion generation, mind/physical control (alias Vision?)

PAT RILEY: X-Factor Detection, Telepathy, Force Field Generation (alias Shield?)

JIM ALMONDS: Healing factor, (alias Nurse?)

MARC HALÈVY: Self detonation, shockwaves (alias Grenade? pull the pin and throw me where the enemy is most numerous)

HERBERT BRUCKNER: Invisibility, shapeshifting, self duplication

WALTER ESSNER: Electrokinesis, technopathy( if frying phone batteries count), lightning travel?( eventually)

(alias Surge? something like that, I can imagine someone at the school calling Walter “Sparky” in a joking way not knowing about his past( part of a fic we wrote) and the guy just tranformes into that ptsd war dog meme)

I AM SO SORRY HAHAHA

THAT MEME MADE ME CHOKE ON MY FOOD LMAO, that is what im here to do, kinda

@elkro @just-barrow @onyxsboxes @adowbaldwin @invisiblegargoyl @booksoncanvas @bachaboska @kuro-anko @snitling @fergusfraserapologist @akatsuki-rin @rosescruensixxam @queerevolutionaries @cloudyfacewithjam I think that was everyone, get over here guys!

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whileiamdying · 2 years

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Karajan: a new film – and the controversy continues

Tom Service The Guardian London, UK Thu 4 Dec 2014 @ 03:00 EST

The conductor – who led the Berlin Philharmonic from 1956 to 1989 – is the subject of a new BBC documentary. But he remains an enigmatic figure, whose musical approach sounds a false note in today’s world.

📸 Visionary? Conductor Herbert von Karajan in 1976. Photograph: Bettmann/Corbis

Herbert von Karajan. He’s both an icon and an enigma in the story of 20th century music. Baton aloft, hair expertly coiffed, shot in soft-focus lighting from the left (he insisted he was photographed from what he thought was his best side), he is the familiar face of millions of records, videos, laserdiscs, and now DVDs and downloads, the person who arguably did more to turn symphonic music into a commodity in the postwar era. He is also the despotic maestro of imperialistic ambition, who wanted to conquer every available media possibility and turn them into publicity-generating – and commercially lucrative – opportunities for him and his orchestra, the Berlin Philharmonic.

But Karajan the man remains elusive: a conductor who didn’t – and possibly couldn’t – form friendships with the musicians he led for more than 30 years, whose political past (he was a member of the Nazi party) was a dark halo over his reputation throughout his life, and whose music-making itself, for all its gigantic success, has now become a legacy that most of today’s conductors openly repudiate. Karajan’s approach, they say, represents an ideology in which the superficial gloss, finish and perfection of orchestral sonority is an end in itself, a one-size-fits all solution for repertoires from Bach to Berg, from Mozart to Mahler, which ironed out the expressive edges of everything he conducted. Simon Rattle, for one, has talked about how he was “slightly repelled” by the Karajan sound when he heard it in the flesh for the first time, and he’s just one conductor who feels that Karajan – “the emperor of legato” – belongs to a musical world that has no place in today’s orchestral culture.

It’s all of those myths, cliches, and phenomena that John Bridcut’s new film – Karajan’s Magic and Myth, broadcast on BBC4 on 5 December – interrogates, in the BBC’s first commissioned film on the conductor, 25 years after his death. There are some fascinating moments: interviews with musicians from the Philharmonia in London in the early 1950s, from the Berlin Phil, fellow conductors Nikolaus Harnoncourt (who played as a cellist for Karajan in the Vienna Symphony Orchestra) and Mark Elder, and a handful of the starry soloists he worked with in the later stages of his career, Placido Domingo, Anne-Sophie Mutter, and Jessye Norman.

Most illuminating of all are the glimpses you’re given of a man and musician who didn’t conform to the one-dimensional caricature he has become for some: far from a dead-eyed perfectionist, Karajan actually ignored obvious imperfections, such as a magnificently obdurate fluffed note from the fourth trumpet in one of his recordings of Strauss’s Alpine Symphony, in favour of the overall sweep of a longer take in the studio – or possibly because it was cheaper not to patch it up.

Karajan’s undoubted vanity comes over as one of the strongest indictments of his personality: not just the whole left-side-is-my-best-side thing, but making sure that his principal flute James Galway wasn’t visible in his films, because Karajan didn’t like Galway’s facial hair. Conversely, he didn’t like baldness either in himself or his orchestral players, and he made follicly challenged musicians wear wigs for the filmed sessions – even if they were often invisible since the camera focused for the vast majority of the time on Karajan and his closed-eye conducting, and on the instruments rather than the actual players.

But the biggest issue of all, the question of how Karajan actually produced the performances he did, remains unanswered in Bridcut’s film, as it does in the other Karajan documentaries that have been made. There are the crazy facts of his contract with the Berliners – that they were to be at his beck and call around the clock whenever he was in Berlin, summonable at a moment’s notice for a recording, rehearsal, or film session – but even accounting for Karajan’s famed magnetism and charisma on the podium, it’s hard to completely understand how he was able to command such complete authority over his musicians and orchestral culture all over the world.

It’s possible that Karajan is a phenomenon that today’s musical culture just couldn’t tolerate (although the fetishisation of the conductor figure continues unabated; just think of the adulation, marketing and hype around Gustavo Dudamel, for example), but the other side of it is the sheer scale of Karajan’s achievement. In rejecting Karajan’s recordings, we risk underestimating both the sheer intensity and indelible power of the sound world he created, and the sophistication of what he was doing musically. He also made visionary use of the latest media.

A few examples: watch his films with Henri-Georges Clouzot, rehearsing and performing Schumann’s Fourth Symphony and Beethoven’s Fifth. Karajan and Clouzot turn the art of orchestral rehearsal and music analysis into sensual filmic experiences. Of course, Karajan is performing for the cameras, but the substance of what he is saying when he tutors the hapless student conductor is rivetingly insightful, as is his forensic, multi-dimensional explosion of the start of Schumann 4.

These are suggestions (and there are others in the surprising amount of Karajan rehearsal footage on YouTube) of an essential approach to music-making, a way of building an orchestral score and a symphonic sound world from the bottom up, so that the symphony or opera or tone poem is generated from the basics – and the bass lines – of its harmonic momentum.

Karajan seemed to feel each piece he conducted as a single sweep of musical momentum made up of interconnecting lines of melody and harmony. His closed eyes, by the way, aren’t only about a mystical communion with an internal world of the music (and an incomprehensible mode of communication for Simon Rattle, and most other conductors), but a way of recalling the score, which, it’s said, he could see in his mind’s eye, turning the pages in his imagination. He had to keep them shut, otherwise he would lose his concentration.

But it’s his physical gestures that really tell this story of what he’s doing. So often, Karajan is reaching down with his hands, moulding and kneading a kind of sonic plasma that seems to begin somewhere beneath his podium, in the bowels of the earth – or at least with the Berlin Phil’s double bass players – and emerges upwards with volcanic force. That’s why his Bruckner, his Brahms, his Sibelius, his Wagner is so thrillingly powerful, because the music seems to be made of elemental energy, not simply orchestral sonority.

Well, that’s how it seems to me when Karajan is at his best – you can hear that too, in Karajan’s essential years with the Philharmonia in the 1940s and 50s; the Beethoven cycle they made together is arguably the most exciting of all his Beethovenian surveys. And it’s worth remembering how radical Karajan’s experiments with music and film were: yes, the fixed rows of musicians seem uncomfortably like a musical-modernist version of a Riefenstahl-like sense of order and abstraction, but they are achieved with a remarkable sense of filmic possibility, and with the essential idea that classical music on film should not simply be a filmed version of concerts, but a new medium, a new kind of experience.

The best of all is a film that Karajan didn’t like, directed not by the maestro himself but by Hugo Niebeling. It’s a version of Beethoven’s Pastoral Symphony, made in 1968, in which the cinematography is as powerful an interpretation of the piece as the performance, so that you feel the storm and the stream, the architecture and the physicality of Beethoven’s music with your eyes as well as your ears. Forty-six years after it was made, it’s a film that is infinitely more radical than the vast majority of classical music films made today.

A quarter century on from his death, Karajan remains a seismic figure in classical music, and even in a film of the range of Bridcut’s, the man himself remains hard to fathom. But as a new generation of listeners discover his legacy, especially in China and Japan, where his records still sell as the acme of classical music, he’s an unavoidable presence. In the questions that his life and music-making pose, you might not like him, but you have to deal with him. The Karajan controversy continues.

Karajan’s Magic and Myth is on BBC4 at 730pm on Friday 5 December, and then on iPlayer until 4 January.

#Herbert von Karajan #Berlin Philharmonic #Jessye Norman #Gustavo Dudamel #Placido Domingo #Anne-Sophie Mutter #Henri-Georges Clouzot #Hugo Niebeling #Bruckner #Brahms #Sibelius #Wagner

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elmartillosinmetre · 1 year

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Breviario de directores

[El director rumano Sergiu Celibidache (1912-1996) es el más ampliamente tratado del libro. / D.S.]

La editorial Fórcola publica un estudio sobre la evolución de la dirección de orquesta

Dos críticos bien conocidos de la prensa musical española, Rafael Ortega Basagoiti y Enrique Pérez Adrián, habituales de la revista Scherzo desde hace décadas, acaban de publicar en la editorial madrileña Fórcola un volumen en que radiografían el oficio de director de orquesta. En quince capítulos y un epílogo, en este libro se hace repaso a una amplísima nómina de maestros, desde Weber, Berlioz y Mendelssohn a los nacidos después de 1980, mediante un somero repaso a sus carreras y sus tendencias estéticas.

Tuve la oportunidad de hablar con Rafael Ortega Basagoiti (Madrid, 1957) sobre este trabajo, del que no hay antecedentes en la bibliografía española.

–Se trata de un libro a dos, pero en él se encuentran muchas valoraciones, muchos juicios. ¿Cómo lo plantearon?

–Lo contamos en las consideraciones previas, se trataba de respetar lo que ha escrito el otro. Los capítulos están en general muy repartidos de manera casi íntegra, hay pocos en los que hayamos metido mano los dos, y además cuando lo hemos hecho cada uno se ha dedicado a una figura distinta. Por supuesto cada uno tiene su visión y no siempre coincidimos, pero asumimos los criterios del otro, porque tampoco se trataba de establecer un debate entre nosotros.

–¿Podemos ver la historia de la dirección de orquesta como un eterno Toscanini vs Furtwängler, es decir, objetivismo frente a subjetividad o se trata de una simplificación excesiva?

–Yo creo que es simplificar demasiado. Hay una parte de eso que efectivamente se mantiene en cierto modo. Pero no afecta sólo a la dirección de orquesta, sino a la interpretación musical en general: hay una parte de los intérpretes que se decanta por lo analítico y racional y otra parte que lo hace por lo intuitivo y emocional. Lo vemos sobre todo en la música anterior a Wagner: la tendencia historicista rompe con una manera de dirigir ese repertorio muy furtwängleriana y retrocede, no a lo Toscanini, pero sí a unas maneras desprovistas de la parte poswagneriana. Pero en el caso de la dirección hay otros componentes. Las orquestas han evolucionado a grupos que están mucho mejor organizados y preparados profesionalmente, los directores también, pero han tenido que cambiar sus formas. El mundo ya no es el mismo, ya no hay posibilidad de ensayos determinados, el director tiene un poder más limitado, tiene que cuidar las formas… De repente se puede encontrar con una orquesta respondona, que es cosa que hace siglo y medio era impensable. A principios del siglo XX a nadie se le ocurriría pensar en un levantamiento orquestal contra un director más o menos ilustre, aquello no cabía en la cabeza, y sin embargo hoy, si un director se pasa de la raya, sea quien sea, la orquesta se levanta y se va. Eso ha cambiado mucho. Entran otros ingredientes.

–El modelo de dirección autocrática pasó a mejor vida, sustituido por el primus inter pares, ¿podemos poner una fecha a ese cambio?

–El cambio es muy evidente, pero progresivo. Es algo que a partir de finales de los 50 va cambiando progresivamente. Pero, ¿hemos abandonado del todo los modos autocráticos? Hay un componente de apariencia. Hoy ya no tienes a un Toscanini que se dirija a gritos a los músicos o a un Celibidache que pueda llegar al desprecio más absoluto en el trato. Está ese famoso documental de Celibidache ensayando la 7ª de Bruckner con la Filarmónica de Berlín, y ese tono con que se dirige a los profesores de la orquesta hoy es imposible de ver… Hemos perdido esos exabruptos, incluidos los tacos de Toscanini, y hemos dado con maneras más sutiles. Hay quien dice que Claudio Abbado, que parecía muy amable, muy dialogante, si en un ensayo se le atravesaba un músico al salir podía decírle tranquilamente al gerente de la orquesta: "A ese no me lo vuelvas a poner…". Así que el cambio es real, porque los directores saben que no pueden ir con el martillo pilón, pero también hay un componente de apariencia. Sobreviven directores que vienen de generaciones más antiguas, que tienen determinada formación y han tenido sus más y sus menos, pero los maestros de 70 años para abajo se tienen que manejar de otra manera porque si no, no tienen ningún futuro.

[Rafael Ortega Basagoiti (Madrid, 1957) / D.S.]

–¿Es posible una democracia en una orquesta?

–Al final la dirección de orquesta, si dejamos la parte de teoría musical, es un liderazgo de grupos. El líder moderno en la orquesta, la empresa y cualquier sitio, tiene que liderar por convicción, por persuasión, pero es una persona que tiene que tomar decisiones. Tú tienes 100 músicos y cada uno tendrá su idea de cómo hacer esa música, y tú puedes convencerlo y crear cierto consenso, pero alguien tiene que tomar la decisión. Al final, por mucho que se intente vestir de alguna manera, esa decisión la tiene que tomar el director, eso es indiscutible. Cómo tomarla. Hay un punto de convicción, persuasión, carisma, pero también hay algo que choca con eso, es el tiempo que tienes, sobre todo cuando hablamos de directores invitados, porque en las orquestas modernas, y no digamos ya si hablamos de las inglesas, tú qué puedes tener, siete, ocho, diez horas de ensayo, tirando por lo muy alto, doce. En esas horas tienes que preparar un programa y llevar al huerto a las orquestas. Hay veces que no tienes tiempo de enrollarte. Tienes que tener la capacidad de convencerlos de que tu camino es el bueno, pero no tienes mucho tiempo. El director de orquesta moderno tiene que tener mucho de psicólogo…

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–¿Siguen existiendo las escuelas nacionales?

–Hay cuestiones de sonido que tienen que ver con los instrumentos: por ejemplo, los metales de las orquestas del Este no son como los de las occidentales, lo que genera diferencias de sonido. Pero estamos en un mundo global, hay muchos músicos españoles en orquestas alemanas y rusos o polacos tocando a mansalva en orquestas españolas, y eso hace que las diferencias se diluyan. No son las que eran antes.

–Hablando de dirección de orquesta, ¿cualquier tiempo pasado fue mejor?

–Uf, ese es un tema para otro libro. Habrá gente que piense que es así. Conozco muchos melómanos y críticos que piensan que es así. Otros que de ninguna manera. Y otros que pensamos que para algunas cosas, sí y para otras, no. Tengo una opinión muy personal al respecto. Para cuáles sí. Pues es verdad que en función de las presiones económicas y de las necesidades de tiempo, hemos perdido la capacidad de trabajar en profundidad un programa.

–Lo de las dos semanas que se dejaban a algunos directores para un programa es casi imposible hoy, claro…

–Eso es muy difícil. El último caso que he visto fue poco antes de la pandemia y fue excepcional. Semyon Bychkov vino a dirigir la ONE, que hacía una obra que no sé si en España se ha hecho íntegra alguna vez, Mi patria de Smetana. Pidió dos semanas, y se las dieron. El resultado fue una maravilla. Pero la realidad es que esto hace 40 o 50 años era habitual. Con Celibidache o Giulini era normal. Erich Kleiber pidió 120 ensayos para el estreno de Wozzeck en 1925. Esto hoy no puede ser. En el otro extremo están pasando cosas. En Bayreuth por ejemplo estaba previsto que Valery Gergiev dirigiera el Tannhäuser. Pero Gergiev se ha metido en tal dinámica de óperas y conciertos que lo cortaron porque no tragaban con un señor que estuviera presente en un ensayo de cada tres. La realidad es que hoy se ha dejado de trabajar con el tiempo y la profundidad de antes. Si hoy te dan tres días de ensayo ya vas que ardes; eso si no es una orquesta inglesa, que a lo mejor tienes día y medio. En esto cualquier tiempo pasado fue mejor. Sin duda. La precariedad de tiempos de ensayo se nota mucho.

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–Los músicos están mejor preparados...

–Sí, eso es verdad, pero por muy bien preparados que estén… En los conciertos con solista, por ejemplo, tienen un ensayo y el general, y eso se nota. Y por eso Sokolov, que es un señor muy riguroso, ha dejado de trabajar con orquesta, porque vio que las orquestas trabajaban con tanta premura que no había forma de conseguir el nivel al que él aspira. Los músicos y los directores están mejor preparados, sí, pero hay límites, sobre todo para las obras poco habituales. A lo mejor sacas una interpretación correcta, pero nada más. No te puedes tirar 20 minutos ensayando el trémolo inicial de la 7ª de Bruckner, como Celibidache en el concierto al que me refería antes.

–El mundo de los directores es un mundo donde abunda (o abundaba al menos) el divismo. ¿Es necesario un ego enorme para brillar como director o los que son muy humildes también pueden destacar en el oficio?

–El ego es un componente de cualquier artista. Cuando uno se sube a un escenario o está muy seguro de sí mismo o te tiemblan hasta las costillas. El ego es inevitable y hasta necesario. Y es que los directores además de enfrentarse al público tienen delante a una orquesta. Si no vas seguro con lo que haces te pueden comer. Sobre todo si la orquesta es de las gordas. Recuerdo uno de los muchos documentales que hay sobre Leonard Bernstein, en que contaba cómo fue la primera vez que se enfrentó a la Filarmónica de Viena. Y para entonces él era ya un director muy establecido, y sin embargo confesaba que le temblaban las canillas. Porque la Filarmónica de Viena era la Filarmónica de Viena. Y él explica que empezó a hablarles y se dio cuenta de que se estaba empezando a poner nervioso y estaba hablando demasiado. Y entonces se puso a ensayar y ya fue bien, pero también tuvieron sus momentos tensos, porque no le gustaba cómo tocaban a Mahler… Así que una parte de ego es imprescindible, pero donde está el secreto es en gobernar el ego de forma que la orquesta te perciba como alguien seguro pero no prepotente. Hay que poner límites a ese ego. Tú sabes lo que quieres hacer pero no puedes ir levantando la nariz por encima de la orquesta. Y eso ha cambiado. Hace 50 años daba exactamente igual que levantases la nariz, pero hoy no lo puedes hacer. Y eso es posible. Yo he conocido directores que pueden ser duros en el podio, pero luego en el trato son gente muy normal y pueden ser perfectamente humildes. Por ejemplo, Harnoncourt. Era un señor de una energía, una pasión y una seguridad contagiosas, pero luego hablabas con él y era un tipo encantador, y los músicos lo adoraban.

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–¿Un gran director es capaz de rescatar a una orquesta mediocre?

–Lo que no puede hacer es milagros. ¿Es capaz de reconstruir y con el tiempo llevar a una orquesta mediocre a otro nivel? Sí. Un buen trabajador de orquestas, un buen discriminador de lo que necesita un conjunto, puede hacerlo. Por ejemplo, el señor George Szell, que ha sido muy machacado porque tenía un carácter de mil pares de narices, pues llega a Cleveland y le da la vuelta por completo. Con el tiempo y la libertad para hacerlo, un buen director puede transformar una orquesta discreta en una de primer nivel. Ahora bien, de la noche a la mañana, vengo como invitado a una orquesta discreta y la hago de primer nivel, mira, no, eso no. Sí puede ocurrir que una orquesta medianamente decente, aunque no grande, se eleve a un gran nivel por un director invitado muy bueno. En una semana la transforma no en algo excepcional, pero sí en algo mucho mejor. Eso lo hemos vivido en España con gente como Celibidache o Lorin Maazel. Yo a Maazel lo vi una vez con la Orquesta de la RTVE y aquello fue apoteósico. ¿La hizo excepcional? No, pero la transformó en algo mucho mejor de a lo que estábamos acostumbrados.

–¿Están bien dirigidas las orquestas españolas?

–Sólo conozco de cerca las madrileñas, del resto no me atrevo a hablar. La Nacional y la de RTVE están en muy buenas manos, que son las de David Afkham y Pablo González. La Sinfónica ha estado en situación rara, después de López Cobos. Creo que fue Mortier quien decidió que no hubiera un titular y eso fue un error. Y en la de la Comunidad de Madrid, Víctor Pablo hizo una labor excelente y ahora está la polaca Marzena Diakun, a la que todavía no conozco lo suficiente como para opinar.

Un compositor, un director

Propongo a Rafael Ortega Basagoiti un juego: el nombre del director idóneo para cada compositor sugerido... Este es el resultado: Mozart. Nikolaus Harnoncourt. Beethoven. El último Claudio Abbado. Mahler. Leonard Bernstein. Bach. Nikolaus Harnoncourt o Philippe Herreweghe. Shostakóvich. Kurt Sanderling. Brahms. Ahí está muy alto en mi lista el mismo Sanderling y también Claudio Abbado, pero luego está Carlo Maria Giulini, que es muy especial. Chaikovski. Eugene Mravinski, aunque también me ha sorprendido Semyon Bychkov en su ciclo con la Filarmónica Checa. Haydn. Harnoncourt otra vez. Wagner. Hans Knappertsbuch entre los antiguos; Christian Thielemann, hoy. Haendel. John Eliot Gardiner. Falla. Ataúlfo Argenta.

[Diario de Sevilla. 11-12-2022]

Música, maestro: De Mahler a Dudamel. Rafael Ortega Basagoiti y Enrique Pérez Adrián. Madrid: Fórcola, 2022. 425 páginas. 34,50 euros.

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eppysboys · 8 months

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Tim Bruckner, creator of the artwork on Ringo Starr’s landmark 1973 album Ringo, interview with The Beatles Bible in Febuary 2015:

Did you work closely with Ringo on the cover concept, or were you given free rein? What was your design brief?

They already had the images of Ringo leaning against the giant letters, à la Elvis. In the original pictures, Ringo’s shirt is blue. They had it retouched to make it red. There was no concept at the time. I put together 10 concept sketches and they picked the one with him on stage with a balcony full of people. There are 26 portraits in the balcony. The rest are people I invented.

I was working on the design at the R or R offices at night. When I needed inspiration, I’d take a walk through the London streets and come back to work inspired. I didn’t meet Ringo until I went to England so I don’t know what his involvement was beforehand.

Ringo’s cover sidekick, the cherub, happened after I got home. Having met the man and spent some time with him, I understood how important humor was to him and his circle of friends. The cherub just seemed like an natural extension of that part of his character, funny and a little mischievous. Was the cover an intended homage to Sgt Pepper, with the faces in the background?

I’d never intended it to be connected to Sgt Pepper at all. The only directive I got was their desire to have the musicians who played on the album represented on the cover in some way. Klaus Voormann, who did the art for Revolver, had designed and completed a piece line art for Ringo’s cover. Ringo decided against using it.

It was never used. As far as I know I have the only copy, although I assume Klaus has the original.

The motto “Duit on mon dei” (‘do it on Monday’) appears at the top of the Ringo sleeve, and was also a Harry Nilsson album title. Was it Ringo’s stipulation to have it on his record sleeve, and was it a regular in-joke at the time?

This was Harry’s invention. He wanted to make it a joke on a Latin motto. I think the only reason it got on the cover was they thought it was funny and asked that I include it. Did you know any of the Beatles prior to 1973? Did you consider yourselves friends, or was it more of a professional relationship?

I’d not met any of the Beatles prior to working on Ringo’s album cover. Over the course of a couple of years, I got to know Harry and Ringo pretty well. More so Harry. He’d commissioned a couple of pieces of art from me. He lived in an apartment on the corner of La Cienega and Sunset, and I visited him there a number of times.

During that time, I lived in El Segundo, a beach community outside of Los Angeles. There was a silent movie theater down the block from me and Harry and his current girlfriend came over. We had a few drinks and all walked down the block to see Lon Chaney in The Phantom of the Opera, with the hand colored section. It was the first time either one of us had seen it. He was an intelligent, caring, funny and talented man with a penchant for things that were not good for him.

I was friendly with Ringo but I wouldn’t say we were friends. I was lucky enough to have been invited to his house while I was in England, where I met George Harrison, and his lovely wife Pattie. I’d met John Lennon a number of times while he was producing Harry’s Pussy Cats album. He was always kind and patient with me. I have two significant memories of John.

I was supposed to come to the Malibu house to give Harry and Ringo updates on Harry and Ringo’s Night Out. I was eager and anxious and got to the house mid morning. I didn’t know at the time that morning, for the house residents started after noon. I was sitting in at the kitchen table, waiting.

One of the house staff offered me breakfast. A bowl of cereal. I poured out a bowl full of Kellogg’s Corn Flakes and was just about to pour the milk when John came in, sat down, smiled, looked at me, the bowl of cereal and said, “Ah, sitting on a cornflake.” Perfect.

One late afternoon, I think it was a Sunday, I was sitting on the couch. John came in and sat on the chair opposite me. I don’t remember what started the conversation, but he made a point to tell me that women were people too. They thought, felt, reasoned, reacted, created, explored, angered, were saddened, equal to that of any man. Often more so.

I was young and not very evolved. He must have seen something in me that prompted his observation. But that was one of those light bulb moments. I thought about what my attitude had been to the women in my life and realized it needed adjusting. His words altered my relationships profoundly for the better.

One of the things I learned during that time was how transitory your relationships are, especially with famous people. I saw it over and over, people who were near the inner circle desperately trying to hold onto their place in the mistaken belief that fame rubs off. It doesn’t, at least not in those days. The famous have their own friends, their own lives and their own sense of who they are and what they need to get done. If you can contribute to any part of it, you’re lucky and it can be hugely fun. The key is to recognize when it’s time to move on. And move on.

One of the saddest things I witnessed was a person who had been part of the celebrity society but was not as relevant as they once were and the desperation they went through just to stay where they were. When you hear a celebrity see a person coming and they say, “Oh, it’s her/him,” as if the Grim Reaper just stepped into the room, it’s kind of a heartbreak. But you can’t say anything. Partly, because they don’t believe you. They see it as a way to move them aside and move yourself in.

#Tim Bruckner #Ringo Starr #Klaus Voormann #John Lennon #Art #Klaus' art #quotes #Ringo #John #Klaus #Harry Nisson #'he made a point to tell me that women were people too' Oh I'd expect nothing less #everything is Ringo #' The cherub just seemed like an natural extension of that part of his character'#'I think the only reason it got on the cover was they thought it was funny and asked that I include it.' that's the way 😌

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newyorkthegoldenage · 1 year

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Arthur Kaufmann began his triptych "Arts and Science Finding Refuge in the USA" in 1939. After several decades' interruption, he finished it in 1964. Ironically, the painting now hangs in the Städtisches Museum Mülheim an der Ruhr, in Germany.

The group portrait shows 38 writers, artists, scientists, composers, and other creative people who found refuge from Hitler in the United States. The painting shows the writers Günther Anders, Ferdinand Bruckner, Bruno Frank, Oskar Maria Graf, Erika Mann, Heinrich Mann, Klaus Mann, Thomas Mann, Ludwig Renn, Ernst Toller, Berthold Viertel, and Arnold Zweig; the artists Benedikt Fred Dolbin, Josef Floch, George Grosz, Hans Jelinek, and Arthur Kaufmann; the composers Arnold Schönberg, Ernst Toch, and Kurt Weill; the musician Emanuel Feuermann and the conductor Otto Klemperer; the directors Fritz Lang, Erwin Piscator, and Max Reinhardt; the actor Luise Rainer; the philosopher Ernst Bloch; the psychologists Elisabeth Musset-Kaufmann, William Stern, and Max Wertheimer; the dancer Lotte Goslar; the architect and art historian Paul Zucker; the art dealer Curt Valentin; the physicist Albert Einstein; the theologian Paul Tillich; the physician Ulrich Friedemann; and the neurologist Kurt Goldstein.

Source: Stedelijk Studies

#vintage New York #old New York #1930s #Arthur Kaufmann #painting #triptych #group portrait #refugees #Germans #German refugees #Hitler #exiles from Hitler #Nazi Germany #refugees from Hitler #creative people

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creepypastabookclub · 8 months

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CREEPYPASTA BOOK CLUB EPISODE 32: BORRASCA https://open.spotify.com/episode/5ryAgxnKu4YE1zOpxc9FBW Jonah and Wednesday welcome this week’s guest, Tempest, to the club room! Can the three solve the mystery of Borrasca’s popularity?

This week’s community spotlight: Sundrop: Stories of Shifting Sands is an e-zine depicting strange and fearsome imaginations of the desert by artists of color. Five comics in total, this anthology delivers both the awe of the land and the chill of its night. Find it here: https://ko-fi.com/s/600fe084c0 !

If you have a small horror or web fiction project you want in the spotlight, email us! Send your name, pronouns and project to [email protected].

Music Credits: https://patriciataxxon.bandcamp.com/

The Story: https://www.reddit.com/r/nosleep/comments/3e2zje/borrasca/

Our Tumblr: https://creepypastabookclub.tumblr.com/

Our Twitter: https://twitter.com/CreepypastaBC

Featuring Hosts:

Jonah (he/they) (https://withswords.tumblr.com/)

Wednesday (they/them) (https://wormsday.tumblr.com/)

Guest host:

Tempest (any pronoun)

Works Cited: ASEAN’s Black Market Babies, Athira Nortajuddin; https://theaseanpost.com/article/aseans-black-market-babies

On the word “ Borasco”; https://www.oed.com/dictionary/borasco_n?tl=true Keep Sweet: Pray and Obey; Dretzin, Rachel; McNally, Grace; Zweifach, Justin; et al; ;https://www.imdb.com/title/tt20560404/ Kimberlite; https://www.gia.edu/gems-gemology/summer-2019-kimberlites-earths-diamond-delivery-system Polaris Project, on human trafficking; https://polarisproject.org/

Southern Gothic Literature; Thomas Ærvold Bjerre; https://oxfordre.com/literature/display/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-304 Whump; https://tvtropes.org/pmwiki/pmwiki.php/Main/HurtComfortFic

Further Reading: Aja, Alexandre; Craven, Wes; Levasseur, Grégory; et al; The Hills have Eyes; https://www.imdb.com/title/tt0454841/

Anderson, Joel; Lake Mungo; https://www.imdb.com/title/tt0816556/

Ashman, Howard; Menken, Alan; Little Shop of Horrors; https://www.ibdb.com/broadway-production/little-shop-of-horrors-13538 Auerbach, Dathan; Penpal; https://www.reddit.com/r/NosleepIndex/comments/25mqnk/penpal_u1000vultures/ Barton, Joe; Bruckner, David; Nevil, Adam; Ritual; https://www.imdb.com/title/tt5638642

Baxley, Craig R.; King, Stephen; et al; Storm of a Century; https://www.imdb.com/title/tt0135659/

Beaird, John; Mihalka, George; Miller, Stephen A.; et all; My Bloody Valentine; https://www.imdb.com/title/tt0082782/ Boorman, John; Dickey, James, Deliverance https://www.imdb.com/title/tt0068473/

Byles, Will; Fessenden, Larry; Samuels, Pete; Reznick, Graham; Villiers, Justin; Until dawn https://www.imdb.com/title/tt2742544/ Forbes, Bryan; Goldman, William; Levin, Ira; et all; Stepford Wives; https://www.imdb.com/title/tt0073747/

Gaiman, Neil; American Gods; https://www.goodreads.com/book/show/30165203-american-gods Green, Cliff; Lindsay, Joan; Weir, Peter; Picnic at Hanging Rock https://www.imdb.com/title/tt0073540/

Hardy, Robin; Pinner, David; Shaffer, Anthony; Wicker man https://www.imdb.com/title/tt0070917/

Howard, Abby; Scarlet Hollow; https://abbyhoward.itch.io/scarlet-hollow

Henkel, Kim; Hooper, Tobe; Texas Chainsaw Massacre https://www.imdb.com/title/tt0072271/ Jackson, Shirley; Lottery; https://www.sparknotes.com/short-stories/the-lottery/summary/ Kawase, Toshifumi; Ryukishi07; et all When the Cicadas Cry https://www.imdb.com/title/tt0845738/

Petty, J.T.; et al; Outlast 2 https://www.imdb.com/title/tt4733294/ Poison jr; on gas leak; https://twitter.com/poisonjr/status/1494811675622580227?lang=en gas leak

Russel, Ken; Stoker, Bram; Lair of the White Worm; https://www.imdb.com/title/tt0095488/

Questions? Comments? Email us at: [email protected]

#borrasca #creepypasta #podcast #creepypasta book club #season 03 #episode 32

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lookwhathappenedtomack · 1 year

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Ladies, gentlemen, and interesting people, welcome to...

The Mackolades are my personal annual film awards, awarded to my favorite (for the most part) movies, performances, and people from all the movies I watched for the first time in 2022, regardless of release year. This is more or less a companion series to Brendan’s Pink Bettes, as most of our movie watching is together. You can see the first and second Mackolades here on my tumblr, now let’s get started on the third!

FAVORITE DRAMA

WINNER: tick, tick...BOOM! (2021) dir. Lin-Manuel Miranda

FINALISTS:

Avatar: The Way of Water (2022) dir. James Cameron

Dramarama (2020) dir. Jonathan Wysocki

Everything Everywhere All At Once (2022) dir. Daniel Scheinert & Daniel Kwan

TÁR (2022) dir. Todd Field

NOMINEES:

The Batman (2022) dir. Matt Reeves

The Godfather (1972) dir. Francis Ford Coppola

Klaus (2019) dir. Sergio Pablos

Pride & Prejudice (2005) dir. Joe Wright

The Talented Mr. Ripley (1999) dir. Anthony Minghella

Three Thousand Years of Longing (2022) dir. George Miller

GREAT year for the Favorite Drama category! I knew from the first few minutes of tick, tick...BOOM! that it was winning, but two of the finalists (Dramarama and Everything Everywhere All At Once) gave it a real run for its money. And then TÁR was just impeccable in every way (CATE!!!!!!). Special shoutout to The Godfather for actually living up to the hype and The Batman for being a genuinely good superhero movie. Highly recommend Dramarama in particular to any of my theatre friends that see this.

FAVORITE HORROR

WINNER: The Menu (2022) dir. Mark Mylod

FINALISTS:

All About Evil (2010) dir. Joshua Grannell (aka Peaches Christ)

Nope (2022) dir. Jordan Peele

Pearl (2022) dir. Ti West

Scream (2022) dir. Matt Bettinelli-Olpin & Tyler Gillett

NOMINEES:

Arachnophobia (1990) dir. Frank Marshall

Barbarian (2022) dir. Zach Cregger

Fresh (2022) dir. Mimi Cave

Hellraiser (2022) dir. David Bruckner

What Keeps You Alive (2018) dir. Colin Minihan

X (2022) dir. Ti West

GREAT year for horror, too! The Menu is such a fun ride, almost more of a dark comedy than horror. I had a lot more actual scares this year than in 2021, particularly in Nope, Scream, Arachnophobia, and Barbarian.

FAVORITE COMEDY

WINNER: Barb & Star Go To Vista Del Mar (2021) dir. Josh Greenbaum

FINALISTS:

Do Revenge (2022) dir. Jennifer Kaytin Robinson

Glass Onion (2022) dir. Rian Johnson

Hello, My Name Is Doris (2015) dir. Michael Showalter

Kissing Jessica Stein (2001) dir. Charles Herman-Wurmfeld

NOMINEES:

Burn After Reading (2008) dir. Ethan Coen & Joel Coen

Fire Island (2022) dir. Andrew Ahn

Little Miss Sunshine (2006) dir. Jonathan Dayton & Valerie Faris

Mrs. Harris Goes To Paris (2022) dir. Anthony Fabian

My Big Fat Greek Wedding (2002) dir. Joel Zwick

See How They Run (2022) dir. Tom George

Hey guess what. It was a great year for comedy, too. Barb & Star is destined to join Romy & Michele and the Tragedy Girls as a pair of gal pals that live in my head for the rest of my life. They’ve had this win sewn up since I first saw the movie in August, but there was still plenty of competition. Do Revenge is probably my unofficial runner up - those twists and turn and goops and gags and outfits!

FAVORITE SERIES

WINNER: Before Trilogy (3/3)

FINALISTS:

The Godfather (3/3)

Hell House, LLC (2/3)

Wong Kar-wai’s Love Trilogy (3/3)

X/Pearl/Maxxxine (2/3)

God, what can I say that hasn’t already been said about Richard Linklater’s Before trilogy? It’s just two people talking, but it’s perfect!

THE THANKS! I HATE IT! AWARD

WINNER: Whiplash (2014) dir. Damien Chazelle

FINALIST: Fall (2022) dir. Scott Mann

This new category is for movies that are good, but I hate them anyway! And there’s no movie that quite fits that bill like Whiplash. What an incredible work that I never wanna see again. Or dwell on for long here.

BIGGEST SURPRISE

WINNER: Halloween Ends (2022) dir. David Gordon Green

FINALISTS:

Brothers (2009) dir. Jim Sheridan

The Invitation (2022) dir. Jessica M. Thompson

Nerve (2016) dir. Henry Joost & Ariel Schulman

Uncle Peckerhead (2020) dir. Matthew John Lawrence

NOMINEES:

Fall (2022) dir. Scott Mann

Hatching (2022) dir. Hanna Bergholm

Hello, My Name Is Doris (2015) dir. Michael Showalter

Kissing Jessica Stein (2001) dir. Charles Herman-Wurmfeld

The Lost City (2022) dir. Adam Nee & Aaron Nee

Valentine (2001) dir. Jamie Blanks

After Halloween Kills won Biggest Letdown at last year’s Mackolades, I went into Halloween Ends with rock bottom expectations, but was pleasantly surprised! From the opening scene it showed it was completely different from any Halloween movie that came before it, and I was mostly delighted by what followed. It’s far from the best Halloween, and has some major problems, but it’s leagues ahead of Kills, and that alone win it Biggest Surprise for me.

BIGGEST LETDOWN

WINNER: Doctor Strange In The Multiverse Of Madness (2022) dir. Sam Raimi

I’ve engaged in a fair bit of MCU hate over the last few years, but I’ve held onto the belief that I’d probably enjoy them if I gave them a chance and just didn’t think too hard about it. Well... I guess I was wrong. I really thought I’d like this, the trailers looked interesting and Sam Raimi has a pretty good track record with me. But yeah... Martin Scorsese was right, these are just flashy theme park rides. Absolutely zero substance worth engaging with. What a disappointment, for me and for general culture. Anyway, somehow this was the only movie I watched in 2022 that I went into with expectations that were significantly let down, and I figured I’d give it its own multiverse of mediocrity with the myriad of posters available.

FAVORITE LEAD ACTRESS PERFORMANCE

WINNER: Cate Blanchett, TÁR (2022)

FINALISTS:

Mia Goth, Pearl (2022)

Janelle Monae, Glass Onion (2022)

Keke Palmer, Nope (2022)

Michelle Yeoh, Everything Everywhere All At Once (2022)

NOMINEES:

Jessica Chastain, The Eyes of Tammy Faye (2021)

Sally Field, Hello, My Name Is Doris (2015)

Natasha Lyonne, All About Evil (2010)

Lesley Manville, Mrs. Harris Goes To Paris (2022)

Thandiwe Newton, God’s Country (2022)

Anya Taylor-Joy, The Menu (2022)

Okay I have to bullet point this one so I can talk about all the finalists.

Cate is THE performance of the year for me. Her take on Lydia Tár is nothing short of amazing - even from the opening scene, with that TED Talk-like scene where she just talks about music for a few minutes, had Brendan and me grabbing each other and whispering in the (otherwise empty) theater about how breathtaking her performance was. I can’t believe I’m giving her lead actress two years in a row (out of three total!) but she really does deserve it.

Brendan and I loved Mia Goth in 2020′s Emma, but she reached new heights in X and, in particular, Pearl. The monologue! The face journey! The everything else! She’s now on the We’ll See Anything She’s In list, and I can’t wait for MaXXXine.

Janelle! I don’t have as much to say for her, but damn she picks projects well! Incredible lady and fantastic performance(s) in Glass Onion.

Keke - #ReleaseTheSpinCut! What a joy.

Okay I adore Michelle Yeoh and if Cate doesn’t win the Oscar I hope it’s hers. Truly wonderful and deserves everything good that’s coming her way right now.

FAVORITE SUPPORTING ACTRESS PERFORMANCE

WINNER: Hong Chau, The Menu (2022)

FINALISTS:

Jamie Clayton, Hellraiser (2022)

Courtney Cox, Scream (2022)

Stephanie Hsu, Everything Everywhere All At Once (2022)

Brittany Snow, X (2022)

NOMINEES:

Margaret Cho, Fire Island (2022)

Tovah Feldshuh, Kissing Jessica Stein (2001)

Vanessa Hudgens, tick, tick...BOOM! (2021)

Andrea Martin, My Big Fat Greek Wedding (2002)

Alia Shawkat, Being The Ricardos (2021)

Tandi Wright, Pearl (2022)

Hong Chau is another 2022 addition to the We’ll See Anything She’s In list, and she got an Oscar nom for the other one! Yay! But this is about my favorites, not objectivity, and I prefer her in The Menu. What a treat! I don’t have much to say about the finalists and nominees that wouldn’t require this becoming far too long, so I’m just gonna move on.

FAVORITE ACTOR PERFORMANCE

WINNER: Paul Dano, Little Miss Sunshine (2006)

FINALISTS:

Marlon Brando, The Godfather (1972)

Austin Butler, Elvis (2022)

Alton Brown, Elvis (2022)

Ke Huy Quan, Everything Everywhere All At Once (2022)

NOMINEES:

Rohan Campbell, Halloween Ends (2022)

Ralph Fiennes, The Menu (2022)

Andrew Garfield, tick, tick...BOOM! (2021)

Robin de Jesús, tick, tick...BOOM! (2021)

Haley Joel Osment, Sassy Pants (2012)

Conrad Ricamora, Fire Island (2022)

I started watching Little Miss Sunshine for Toni, but I remember it for Paul, particularly the sequence pictured above. Special shoutout to Alton Brown for stealing the show for a scene or two of Elvis (a difficult task when Austin Butler’s Elvis is present!)

THE TONI “SHE HAS THE RANGE” COLLETTE AWARD FOR MULTI-GENRE EXCELLENCE

WINNER: Jim Carrey, Eternal Sunshine of the Spotless Mind (2004)/Sonic The Hedgehog (2020)

FINALISTS:

Jamie Dornan, Barb & Star Go To Vista Del Mar (2021)/Belfast (2021)

Idris Elba, The Dark Tower (2017)/Sonic The Hedgehog 2 (2022)/Three Thousand Years of Longing (2022)

Jenna Ortega, The Fallout (2021)/Scream (2022)

Tilda Swinton, Burn After Reading (2008)/Constantine (2005)/Three Thousand Years of Longing (2022)

I mean, Jim Carrey was basically born to play Dr. Robotnik, and when you contrast that with Eternal Sunshine, well, that’s basically what this category is for!

THE CARLY RAE JEPSEN “SHE MAKES MY BLOOD FEEL CARBONATED” AWARD

WINNER: Elaine Stritch, Original Cast Album: Company (1970)

During the Ladies Who Lunch sequence of the Company documentary, I must’ve turned to Brendan at least three times to say “I love being gay” - Elaine’s an icon and a queen and I hate I didn’t get into theatre soon enough to appreciate her while she was alive. (NOTE: If I’d started this category a year earlier, Carol Channing certainly would’ve gotten it for the documentary Larger Than Life, and it felt wrong to not mention that here)

HOTTEST DADDY

WINNER: Russell Crowe, The Nice Guys (2016)

FINALISTS:

George Clooney, Solaris (2002)

Guillermo Diaz, Bros (2022)

Thomas Forbes-Madison, The Lost City (2022)

David Harbour, Violent Night (2022)

NOMINEES:

Daniel Craig, Glass Onion (2022)

Idris Elba, Three Thousand Years of Longing (2022)

Ethan Hawke, The Black Phone (2022)

Martin Henderson, X (2022)

Peter Sarsgaard, The Batman (2022)

Bradley Whitford, tick, tick...BOOM! (2021)

Someone ask me what kind of guys I like. I dare you. I downloaded six entire movies to get enough usable shots of these men - definitely the most work I did for any single category.

Anyway, that’s the 2022 Mackolades! 65 movies honored (or dishonored) from an eligibility pool of 205. Now you know what I love - any recommendations of what to watch in 2023?

#mackolades

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giovanna-dark · 11 months

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Perché salire? La risposta più incisiva a questa domanda è stata data dall'inglese George Mallory, a cui fu chiesto perché volesse scalare l'Everest: "Perché è lì!" [...] Si arrampica per sfuggire alla vita orizzontale, alle pianure piatte, perché altri hanno arrampicato prima di noi, per imitazione e passione condivisa. [...] Cosa impariamo di nuovo in alta montagna? La sua vulnerabilità e la sua forza. Se amo la montagna è perché solo lei, più del mare o della campagna, mi dà la sensazione di avere un corpo.

Pascal Bruckner, La montagna come amica. Piccolo trattato di elevazione, Guanda 2023

#montagna #everest #pascalbruckner #forza #corpo #alpinismo #george mallory

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thebusylilbee · 2 years

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" Lorsque les Etats-Unis décidèrent d’envahir l’Irak, en 2003, sur la foi d’un mensonge d’État (les armes de destruction massive inexistantes qu’était censé posséder Saddam Hussein), le camp atlantiste se rassembla comme un seul homme autour du président américain George W. Bush. Tony Blair et José Maria Aznar, alors Premiers ministres du Royaume-Uni et d’Espagne, y allèrent de leurs encouragements. D’autres montèrent dans l’armada en se faisant plus ou moins discrets. Un seul chef d’État occidental osa dire « Non » avec courage, fermeté et détermination : Jacques Chirac.

Gaullisme ?

Fidèle en cela à la geste gaulliste, le président de la République de l’époque sut percevoir les dangers inhérents à une invasion qui allait anéantir un pays et déstabiliser une région déjà transformée en baril de poudre. Nul n’oubliera le discours mémorable alors prononcé à l’ONU par Dominique de Villepin, ministre des Affaires étrangères, salué par des applaudissements, fait unique dans cette enceinte.

Vu avec le recul du temps et de l’expérience, on pourrait avoir le sentiment qu’une telle prise de position allait de soi. Il n’en est rien. Au contraire, c’est à cette époque qu’est né un nouveau sport que l’on pourrait appeler le « french bashing » de l’intérieur, par référence à ce dénigrement antifrançais qui avait alors fleuri des deux côtés de l’Atlantique.

En 2003, nombreux ont été ceux qui ont pris la réaction élyséenne avec des pincettes. La liberté de ton dont ils aiment se réclamer a les limites de l’atlantisme flamboyant. Critiquer la Russie, que l’on n’oublie jamais d’assimiler à son passé soviétique, oui. Décrire la Chine comme le futur impérialisme dominant, pas de problème. Mais dénoncer l’Amérique, fût-elle néoconservatrice et empêtrée dans les conséquences guerrières des théories fumeuses sur le « choc des civilisations », cela vaut illico presto l’accusation d’«anti-américanisme primaire », pour reprendre une formule chère à Bernard-Henri Lévy. [...]

Dans la famille politique de Jacques Chirac, l’embarras fut de mise. A preuve, la gêne exprimée par Nicolas Sarkozy. Du jour où il devint à son tour président, relayé par ses séides intellectuels, il fit tout ce qui était en son pouvoir pour se démarquer, persuadé que son prédécesseur avait commis le pire des crimes : s’affranchir de l’Amérique. A croire que le simple fait de critiquer les États-Unis revenait d’office à être un suppôt de Ben Laden et un coresponsable des attentats du 11-Septembre. Un peu comme si l’on avait accusé de francophobie les penseurs américains, ou britanniques, ayant pris fait et cause contre la guerre d’Algérie.

Atlantisme

Ce raisonnement absurde visait à faire oublier que Nicolas Sarkozy était entouré d’une camarilla de petits soldats qui ont cru à la fable des prétendues « armes de destruction massive » de Saddam Hussein, à l’image d’un Bernard Kouchner, ou d’un André Glusksmann (le père de Raphaël), à une époque où Barack Obama, lui, n’y croyait pas.

Pour ces gens-là, Jacques Chirac avait donc tout faux en 2003. André Glucksmann, Pascal Bruckner et le réalisateur Roman Goupil avaient publié une tribune commune dans Le Monde où ils écrivaient : « Que Saddam parte, de gré ou de force ! Les Irakiens, Kurdes, chiites mais aussi bien sunnites respireront plus librement et les peuples de la région en seront soulagés ». De son côté, BHL était un peu plus hésitant, avant de dire lors d’une intervention aux Etats-Unis : « J'étais opposé à l’administration Bush quand elle a décidé d’entrer en guerre contre l’Irak. Mais aujourd’hui, nous y sommes, nous devons désormais finir le travail ». Des personnages susnommés, seul Pascal Bruckner fera son mea culpa.

Pour nos amis atlantistes, il était évident que la France s’était « mise hors jeu », qu’elle s’était« ridiculisée ». Tony Blair, en revanche, était salué comme un « véritable chef d’État ». A de rares exceptions, la plupart des partis politiques français critiqueront le choix de Jacques Chirac, certains n‘hésitant pas à dénoncer un « nationalisme des imbéciles ».

Grâce à Wikileaks, on apprendra ensuite que des dirigeants du Parti socialiste s’étaient rendus à l’ambassade américaine à Paris pour exprimer leurs désaccords avec la position officielle de la France. Le 29 mai 2006, Pierre Moscovici, chargé à l'époque des relations internationales du PS, promit qu'un gouvernement socialiste se montrerait plus proaméricain que celui de Dominique de Villepin. Quelques jours plus tard, le 8 juin, Hollande, premier secrétaire du PS, regrettait devant l'ambassadeur des États-Unis que Chirac ait fait de « l'obstruction gratuite » face au président américain. Quand il s’agit de sombrer dans l’atlantisme, certains sont imbattables. "

ptdr le Parti Socialiste ???? Putain de vendus heureusement qu'ils ont crevé ceux là

#le post que j'ai reblogué m'a donné envie de me rafraîchir la mémoire sur les événements de 2003 mais je ne savais pas ça du PS #l'explosion de la gauche et droite traditionnelles c'était une très bonne chose vraiment #upthebaguette #bee tries to talk #france #usa #jacques chirac #françois hollande

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wearebackbagels · 1 month

Text

Spies/assasins au

(The cathegories are loosely based on the one used in Traveller combined with some categories from DnD, here is the link if you want to have the explanations for each category https://en.wikipedia.org/wiki/Attribute_(role-playing_games) it could be good for some of these tbf)

( The scale used for rating is like the pH-scale, to get out of the 1-10 shit, which means 7 is neutral, anything higher than 7 is above the norm, anything less is lower than the norm, all ratings start out on 7 and can deviate from that. )

#001 [ Zirnheld, Andre ] Sniper- ’elite’, trained combat assassin.

Mentionable skills/specialities incl: wetjobs, infiltration, impeccable aim.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____7 ____

Dexterity x/14 [^] ____8____

Endurance x/14[^]____7____

Intelligence x/14 [^]____8____

Wisdom/experience x/14 [^]____9_/_7____

Education x/14 [^]____7____

Charisma/social standing x/14 [^]____7_/_7____

Notes: (good at keeping it silent and fast).

#003 [ Sadler, Mike ] Field ag, wheel artist, weapons/explosives specialist.

Mentionable skills/specialities incl: photographic memory, good orientetion ability, can drive any vehicle there is.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____7____

Endurance x/14 [^]_____6____

Dexterity x/14 [^]___9___

Intelligence x/14 [^] ___11___

Wisdom/experience x/14 [^] ___10_/_11___

Education x/14 [^]____-____

Charisma/ social standing x/14 [^]___7_/ _9____

Notes: (agent does not have a drivings licence).

[ Berge, Georges ] Cobbler, interrogator.

Mentionable skills/specialities incl: -

(Following ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months):

Strength x/14 [^]____{8}____

Dexterity x/14 [^]____{7}____

Endurance x/14 [^]____{7}___

Intelligence x/14 [^]____8____

Wisdom/experience x/14 [^]____-_/_-____

Education x/14 [^]____10____

Charisma/ social standing x/14 [^] ____10_/_12____

Notes: -

[ Mansour, Eve ] Intelligence officer, case officer, grifter, field agent {former}

Mentionable skills/specialities incl: persuation, recruition of agents.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____{6}____

Endurance x/14 [^]____{6}____

Dexterity x/14 [^]____{8}_____

Intelligence x/14 [^]____13____

Wisdom/ experience x/14 [^]____12_/_11____

Education x/14 [^]____10____

Charisma/social standing x/14 [^]____12_/_10____

Notes: (always assume agent is one step ahead of you)

[ Stirling, David ] Case officer, agent handler, interrogator, field agent {former}

Mentionable skills/specialities incl:

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____{7}____

Endurance x/14 [^]____{8}____

Dexterity x/14 [^]____{6}____

Intelligence x/14 [^]____9____

Wisdom/ experience x/14 [^]____9_/_10____

Education x/14 [^]____5____

Charisma/ social standing x/14 [^]____13_/_11____

Notes: (not good at interrogation)

#006 [ Essner, Walter ] Field ag, raven and infiltrator.

Mentionalbe skills/specialities incl: multilingualism, honeypots.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____4____

Endurance x/14 [^]____5___

Dexterity x/14 [^]____9____

Intelligence x/14 [^] _____9____

Wisdom/ experience x/14 [^]____8_/_12____

Education x/14 [^]____-____

Charisma/social standing x/14 [^]____4_/_5___

Notes: (can talk dirty in 4 different languages)

#002 [ Riley, Patrick “Pat” ] Field ag, undercover agent and disguise coordinator {occasional}

Mentionable skills/specialities incl: kidnapping, break ins, sewing.

(Results from recrution) (ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____10____

Endurance x/14 [^]____10____

Dexterity x/14 [^]____7____

Intelligence x/14 [^]____7____

Wisdom/ experience x/14 [^]____7_/_9____

Education x/14 [^]____7____

Charisma/ social standing x/14 [^]____7_/_10____

Notes: (won’t bail you out)

[ Jordan, Augustin ] Cryptologist, handler, interrogator and field agent/assassin {former}

Mentionable skills/specialities incl: decryption, encryption.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____{7}____

Endurance x/14 [^]____{6}____

Dexterity x/14 [^]____{8}____

Intelligence x/14 [^]____10____

Wisdom/experience x/14 [^]____8_/_8____

Education x/14 [^]____8____

Charisma/social standing x/14 [^]____13_/_12____

Notes: (keep agent away from weaponary at all times) (caution: agent uses unorthodox methods of interrogation)

[ Lewes, Jock ] Scientific intelligence providor, weapons coordinator, inventor of arms.

Mentionable skills/specialities incl: explosives, very creative ways of solving problems.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____{5}____

Endurance x/14 [^]____{8}____

Dexterity x/14 [^]____{4}_____

Intelligence x/14 [^]____14____

Wisdom/experience x/14 [^]____7_/_{7}____

Education x/14 [^]____12____

Charisma/social standing x/14 [^]____9_/_12____

Notes: the following can not be stressed enough: agent is not allowed access to ANY chemical compounds whatsoever. (If agent offers medical attention, refuse, agent is not a trained medic and does not know the difference between a broken arm and a dislocated shoulder)

007 [ Mayne, Robert “Paddy”] Field ag, hard man, sniper,

Mentionable skills/specialities incl: bang-and burn operations, assassinations, could kill you with a butterknife, works well under pressure, creative.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____11____

Endurance x/14 [^]____10____

Dexterity x/14 [^]____9____

Intelligence x/14 [^]____10____

Wisdom/experience x/14 [^]____~9_/_10____

Education x/14 [^]____-____

Charisma/social standing x/14 [^]____7_/_~12____

Notes. Difficult to work with ( is fucking crazy)

008 [ Seekings, Reginald ] Field ag, special operations agent.

Mentionable skills/specialities incl: hand to hand combat, wetjobs, break ins, good with people.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____13____

Endurance x/14 [^]____12____

Dexterity x/14 [^]____9____

Intelligence x/14 [^]____7____

Wisdom/experience x/14 [^]____6_/_9____

Education x/14 [^]____6___

Charisma/social standing x/14 [^]____~6_/_10____

Notes: (WILL throw hands if deemed necessary, which agent often does)

[ Fraser, William “Bill” ] Tech operations officer, surveillance specialist.

Specialities incl: jailbreak, ciphers.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____{5}____

Endurance x/14 [^]____{4}____

Dexterity x/14 [^]____{5}____

Intelligence x/14 [^]____12____

Wisdom/experience x/14 [^]____-_/_-____

Education x/14 [^]____-____

Charisma/social standing x/14 [^]____6_/_8____

Notes: (agent most likely has your IP-address as you read this, change all passwords on all platforms you use as soon as possible)

004 [ Bruckner, Herbert ] Field ag, mole, infiltrator, double agent.

Mentionable skills/specialities incl: impersonation, manipulation, clandestine operations.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____8____

Endurance x/14 [^]____7____

Dexterity x/14 [^]____7____

Intelligence x/14 [^]____12____

Wisdom/experience x/14 [^]____10_/_11____

Education x/14 [^]____-____

Charisma/social standing x/14 [^]____4_/_4____

Notes: (untrustworthy) (keep any unnecessary information away from agent)

[ Kershaw, David “Dave”] Surveillance and data analyst.

Mentionable skills/specialities incl: code breaking, ciphers.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____6____

Endurance x/14 [^]____7____

Dexterity x/14 [^]____6____

Intelligence x/14 [^]_____8_____

Wisdom/experience x/14 [^]_____-_/_7____

Education x/14 [^]____6____

Charisma/ social standing x/14 [^]____7_/_7____

Notes: (smokes good pot)( works well with agent Fraser)

005 [ Cooper, John “Johnny” ] Field ag, raven, plant, undercover agent.

Mentionable skills/specialities: Infiltration, honeypots {occasional}, undercover jobs.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____6____

Endurance x/14 [^]____6____

Dexterity x/14 [^]____7____

Intelligence x/14 [^]____9____

Wisdom/experience x/14 [^]____8_/_10____

Education x/14 [^]____10____

Charisma/social standing x/14 [^]____4_/_10____

Notes: (can sharm his way into the pants of anyone)

[ McGonigal, Eoin] Handler, instructor and trainer of recruits, field agent {former}

Mentionable skills/specialities incl: lvl 8 aim, good with people.

(Ratings are based on results from tests made during recrution aswell as observations made within the last six(6)+ months)

Strength x/14 [^]____7____

Endurance x/14 [^]____7____

Dexterity x/14 [^]____8____

Intelligence x/14 [^]____10____

Wisdom/experience x/14 [^]____12_/_12____

Education x/14 [^]____11____

Charisma/social standing x/14 [^]____7_/_13____

Notes:-

Actors and media.

Tom Hygreck --- Veni Vidi Vici (2017)

Tom Glynn-Carney --- Stilts (2019)

Virgile Bramly --- Kill Skills (2016)

Sofia Boutella --- Hotel Artemis (2018)

Connor Swindells --- VS (2018)

Paul Boche ---()

Jacob Ifan --- Bang (2017 -)

César Domboy --- The Walk (2015)

Alfie Allen --- John Wick (2014)

Jack O’Connell --- ‘71 (2014)

Theo Barklem-Biggs --- (?)

Stuart Campbell --- Clique (2018)

Moritz Jahn ---()

Bobby Schoefield --- Locked Down (2021)

Jacob McCarthy --- The Last Summer (2019)

Dónal Finn ---()

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homeahoy · 1 year

Text

What happens at Dave’s

High School AU

Warnings: Smut, Drinking, Swearing.

Dave was having a party, to be more accurate Dave was getting a party. He really shouldn’t have mentioned to David that his parents were away from Thursday until Monday night. It was his own fault really he should never have told David Stirling everyone knew never to tell David anything. David had heard those words and immediately started telling everyone Dave was having a house party. Dave being Dave and not wanting to rain on everyone's parade had just gone along with it. He was now beginning to regret his choice. He knew his friends, he knew the damage they could do. It didn’t matter how much the responsible ones tried to reign in the louder ones it still ended one way, in utter chaos. By the time Saturday night rolled round he was beginning to regret it even more.

The whole crew had descended on his house, even some of the french exchange students outside of the three they normally hung out with came. For some reason Reg and Johnny had brought the weird german kid and even more annoying friend, wait was he his friend? They seemed to speak to each other but it may have been because they were the only German students at the school. Jock had brought some girl called Mirren who went to the local all girls school and looked like she was about to die when she walked through the door and saw Reg pinning Johnny against the wall and kissing him. The rest had arrived individually or in groups depending if someone had decided to drive. They had carried in boxes or bags full of alcohol, someone smart no doubt Bill had brought plastic cups. The kind that could be thrown away.

It had taken about an hour before things had started to get rowdy. Eve and David had disappeared. The door to Dave's bedroom was wedged shut so no-one could get in. It was a foregone conclusion that they were having sex in there. Eve pinned under David as the fucked in the cramped space of the bottom bunk of the set of bunk beds that Dave still had adorned with the colour’s of this favourite football team. Eve hadn’t been all that kind on the idea but the mix of teenage need and the smell of David’s aftershave had been too much, and he had looked really good. David himself needed no encouragement whatsoever; it was a wonder that he didn’t walk around with a permanent hardon. They had disappeared into the room and in a flurry using a folder up magazine to wedge the door shut before pulling at each other’s clothes and then going at it. Appearing an hour or two later and joining back in with everyone.

Dave himself was occupied in the kitchen going shot for shot with Pat, Jim, Paddy and Augustin, while Andre, Eoin and Georges cheered them on. What they were using as shot was a mixture of everything that had been brought into the house. The contest was abruptly cut short by Pat, who was famous for not being able to hold his alcohol, began to gag and had to run to the toilet to be sick. Appearing a few moments later and going at it again, to raucous cheers. Finally he staggered away and passed out in the bath in the upstairs bathroom. The rest had kept going. Paddy and Eoin finally give up and start to make out against the fridge. The rest kept drinking, disappearing every now and again to either pee, smoke or chat with someone, somewhere else in the house.

The downstairs bathroom is occupied but the strange trio of Johnny, Reg and Walter who are going at it like rabbits with each other. Reg and Johnny making up for the time they didn’t get to play with Walter in the bathroom with Mike The noise was luckily drowned out by the music that was being blared at top volume from the living room. Bruckner, who had no idea what was going on in the bathroom due to the music, was banging on the bathroom door to be let in because he needed a piss. The three young men inside were trying not to laugh, which would have made what they were doing more awkward. It was while all three emerged to a confused looking Bruckner who had pushed past them to get in. Walter vanished into the kitchen to get a drink, it would be found out later that he was a weepy drunk and was found hours later sitting in the garden crying. Reg and Johnny had taken up Dave’s bed and were going at it again. This time the door isn’t wedged shut and more than one person walks in. Bill twice while trying to find Mike. Making the comment that he had seen more of Reg’s arse than his own.

Jock, Mirran, Bill and Mike in the living room. Bill and Mike are trying not to take the piss out of Jock’s attempts at flirting with Mirran who for some reason seems into it. Much to Mike and Bill’s shock. They try to make small talk but it is painful, eventually Jock and Mirran disappear off into the night, No-one really knows what they get up to and Jock will never tell them. Bill and Mike decide to get pissed with the french exchange students until Mike get’s the bright idea to climb the tree in the front garden. He doesn’t tell anyone which leads to Bill hunting throughout the house from him. Giving up eventually to get pissed with Dave. Mike however scales the tree, climbs back down, gets more drunk before trying to pet the neighbours cat and passing out in the garden hedge.

The Morning comes with a few surprises. Bill is passed out on the top bunk of Dave’s bunk beds, having slept through Johnny and Reg going at it again on the bottom bunk before passing out. Dave himself is passed out on the kitchen floor covered in a living rug that Jim draped over him before going home. Pat is still passed out in the bath with a cock drawn on his cheek, the handy work of JIm before he left. Walter has had to call his Mum after waking up on the stairs, head resting on Bruckner’s shoulder. They both depart together although they don’t say a word the entire ride home. Eve has gone home leaving David behind as she didn’t want sick in her car. David is currently spooning a cushion on the living room floor. Andre and Augusting wake up spooning each other on the couch and vow to never breathe a word of it to anyone. Paddy and Eoin have taken up the bed in the spare room which is for guests. Georges called a cab around four in the morning and went home.

Awake they all stumble into the kitchen and begin to try and wake up. No-one knows where Mike is until he stumbles in looking like half a hedge is in his hair. Pat is still sleeping in the bath as everyone tries to clean the house to help Dave out. Only Bill is the only one really helping while the others just scavenge what’s left of the drink for next time and pour out cups into the sink. Bill has to turn on the shower to get Pat to wake up. The smell of sick coming off him making Bill throw up himself. Returning to the kitchen after chugging mouthwash he suggests a Mcdonalds breakfast. Mike agree’s and drags him off at once before everyone else can answer. The rest pile into Augustin and Reg’s cars. They lose Bill’s car which they are pretty sure is being driven by Mike due to how recklessly it’s being driven and go to KFC instead.

This ends in chaos with Reg and Johnny nearly getting them thrown out for going at it in the toilet’s again. Paddy and Eoin calling a cab and leaving. Andre, Augustin, Pat and Dave leave David in KFC because he is being annoying and text Eve to go get him. He ends up having to make his own way home by bus. Reg and Johnny have left in Reg’s car to go back to Regs. Bill and Mike, having no clue where the rest have gone, get their McDonalds and drive out to the lookout point over the town to eat it and promptly end up shagging in the back of the volvo after a few flirty comments and the realisation that they like each other more than friends. No-one finds out until someone comments about all the leaves on the backseat a few weeks later.

Dave believes he had gotten away with having the party until his Mum finds the polaroid's Reg took of Johnny in her wedding dress.

#sas high school au #sas au #drabble #fanfiction

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foxingpeculiar · 1 year

Text

Since the only movie I'm watching tonight is 200 Cigarettes, I've got my list of movies I watched for the first time this year. It's a little low (158 instead of the usual +/- 200) but... well, it's been a year.

Property is No Longer a Theft (1973, Ello Petri)

Zola (2021, Janicza Bravo)

The Eyes of Tammy Faye (2021, Michael Showalter)

A Face in the Crowd (1957, Elia Kazan)

Paranormal Activity: Next of Kin (2021, William Eubank)

Paranormal Activity: The Ghost Dimension (2015, Gregory Plotkin)

Paranormal Activity: The Marked Ones (2014, Christopher Landon)

Paranormal Activity 4 (2012, Ariel Schulman & Henry Joost)

The Nun (2018, Corin Hardy)

Hell-Bound Train (1930, Eloyce & James Gist)

Family Plot (1976, Alfred Hitchcock)

The Witch of King’s Cross (2020, Sonia Bible)

Teknolust (2002, Lynn Hershman Leeson)

Giant (1956, George Stevens)

Castle in the Sky (1986, Hayao Miyazaki)

Messiah of Evil (1973, Willard Huyck & Gloria Katz)

House (1986, Steve Miner)

The Taking of Deborah Logan (2014, Adam Robitel)

A Woman is a Woman (1961, Jean-Luc Godard)

Woodlands Dark and Days Bewitched: A History of Folk Horror (2021, Kier-La Janisse)

The Tragedy of MacBeth (2021, Joel Coen)

The French Dispatch of the Liberty, Kansas Evening Sun (2021, Wes Anderson)

Last Night in Soho (2021, Edgar Wright)

Thelma (2017, Joachim Trier)

The Man Who Knew Too Much (1956, Alfred Hitchcock)

Pig (2021, Michael Sarnoski)

In the Earth (2021, Ben Wheatley)

Truman and Tennessee: An Intimate Conversation (2021, Lisa Immordino Vreeland)

9 (2009, Shane Acker)

Chimes at Midnight (1966, Orson Welles)

WeWork, or the Making and Breaking of a $47 Billion Unicorn (2021, Jed Rothstein)

Enemies of the State (2020, Sonia Kennebeck)

A Glitch in the Matrix (2021, Rodney Ascher)

Citizenfour (2014, Laura Poitras)

The Cremator (1969, Juraj Herz)

Angst (1983, Gerard Kargl)

Death on the Nile (1978, John Guillerman)

The Power of the Dog (2021, Jane Campion)

Nightmare Alley (2021, Guillermo Del Toro)

Mirror (1974, Andrei Tarkovsky)

House of Gucci (2021, Ridley Scott)

Free Guy (2021, Shawn Levy)

A Letter to Three Wives (1949, Joseph L Mankiewicz)

Say Amen Somebody (1982, George T Nierenberg)

Poison Ivy (1992, Katt Shea)

The Umbrellas of Cherbourg (1964, Jacques Demy)

Zatoichi (2003, Takeshi Kitano)

Pale Flower (1964, Masahiro Shinoda)

Nobody (2021, Ilya Naishuller)

A Time to Kill (1996, Joel Schumacher)

Murder by Numbers (2002, Barbet Schroeder)

Antlers (2021, Scott Cooper)

Drive My Car (2021, Ryusuke Hamaguchi)

Ready Player One (2018, Steven Spielberg)

Superman II (1980, Richard Lester)

West Side Story (2021, Steven Spielberg)

Licorice Pizza (2021, Paul Thomas Anderson)

The Batman (2022, Matt Reeves)

You Can’t Kill Meme (2021, Hayley Garrigus)

Being the Ricardos (2021, Aaron Sorkin)

Summer of Soul (2021, Ahmir “Questlove” Thompson)

Talk to Me (2007, Kasi Lemmons)

The Night House (2021, David Bruckner)

Here Comes the Devil (2012, Adrián Garcia Bogliano)

Resident Evil: Afterlife (2010, Paul W.S. Anderson)

The Ritual (2017, David Bruckner)

The Bye Bye Man (2017, Stacy Title)

Creep (2014, Patrick Brice)

From Within (2008, Phedon Papamichael)

X (2022, Ti West)

Moonfall (2022, Roland Emmerich)

Dead Man (1995, Jim Jarmusch)

The Purge (2013, James DeMonaco)

Skin: A History of Nudity in the Movies (2020, Danny Wolf)

Caligula (1979, Tinto Brass, Bob Guccione & Giancarlo Lui)

Merrily We Go to Hell (1932, Dorothy Arzner)

The Alchemist Cookbook (2016, Joel Potrykus)

Spoor (2017, Agnieszka Holland)

Cliffhanger (1993, Renny Harlin)

Runaway Jury (2003, Gary Fleder)

A Scanner Darkly (2006, Richard Linklater)

Samurai I: Musashi Miyamoto (1954, Hiroshi Inagaki)

Samurai II: Duel at Ichijoji Temple (1955, Hiroshi Inagaki)

Samurai III: Duel at Ganryu Island (1956, Hiroshi Inagaki)

Mikey and Nicky (1976, Elaine May)

Chip ‘n Dale: Rescue Rangers (2022, Akiva Schaffer)

Everything Everywhere All at Once (2022, Daniel Kwan & Daniel Scheinert)

Men (2022, Alex Garland)

Old (2021, M. Night Shyamalan)

Saint Maud (2019, Rose Glass)

Bernie (2011, Richard Linklater)

Pineapple Express (2008, David Gordon Green)

Voyeur (2021, Myles Kane & Josh Koury)

Girls Just Want to Have Fun (1985, Alan Metter)

Conspiracy Theory (1997, Richard Donner)

Experiment in Terror (1962, Blake Edwards)

The Nightingale (2018, Jennifer Kent)

Leave Her to Heaven (1945, John M. Stahl)

Black Widow (1954, Nunnally Johnson)

The Bob’s Burgers Movie (2022, Loren Bouchard & Bernard Derriman)

Incantation (2022, Kevin Ko)

All Dogs Go to Heaven (1989, Don Bluth)

Nope (2022, Jordan Peele)

House of Bamboo (1956, Samuel Fuller)

Jurassic World: Dominion (2022, Colin Trevorrow)

The Black Phone (2022, Scott Derrickson)

The Presidio (1988, Peter Hyams)

Barbarian (2022, Zach Creeger)

Elvis (2022, Baz Luhrmann)

Vengeance (2022, BJ Novak)

Crimes of the Future (2022, David Cronenberg)

Don’t Worry Darling (2022, Olivia Wilde)

Band of Outsiders (1964, Jean-Luc Godard)

The Slumber Party Massacre (1982, Amy Holden Jones)

Bodies Bodies Bodies (2022, Halina Reijn)

Dead and Buried (1981, Gary Sherman)

Blonde (2022, Andrew Dominik)

Phantasm II (1988, Don Coscarelli)

Hellraiser (2022, David Bruckner)

The Keep (1983, Michael Mann)

Next of Kin (1982, Tony Williams)

The Funhouse (1981, Tobe Hooper)

Dream Demon (1988, Harley Cokeliss)

The Hidden (1987, Jack Sholder)

Prince of Darkness (1987, John Carpenter)

White of the Eye (1987, Donald Cammell)

Halloween (2018, David Gordon Green)

Halloween Kills (2021, David Gordon Green)

Halloween Ends (2022, David Gordon Green)

Terror Train (1980, Roger Spottiswoode)

The House by the Cemetery (1981, Lucino Fulci)

Strange Behavior (1981, Michael Laughlin)

Road Games (1981, Richard Franklin)

Final Destination (2000, James Wong)

Daughters of Darkness (1971, Harry Kümel)

Matango (1963, Ishiro Honda)

Thirst (2009, Park Chan-Wook)

Wolfen (1981, Michael Wadleigh)

The Town That Dreaded Sundown (2014, Alfonso Gomez-Rejon)

Hud (1963, Martin Ritt)

The Dark Corner (1946, Henry Hathaway)

Encino Man (1992, Les Mayfield)

The Good Nurse (2022, Tobias Lindholm)

Son in Law (1993, Steve Rash)

Madame X: An Absolute Ruler (1978, Ulrike Ottinger)

Henri-Georges Cluzot’s “Inferno” (2009, Serge Bromberg & Ruxandra Medrea)

The Blue Dahlia (1946, George Marshall)

Pearl (2022, Ti West)

Amsterdam (2022, David O. Russell)

Memories of Murder (2003, Bong Joon-ho)

Glass Onion: A Knives Out Mystery (2022, Rian Johnson)

The Banshees of Inisherin (2022, Martin McDonagh)

Song of the Thin Man (1947, Edward Buzzell)

Shadow of the Thin Man (1941, W.S. Van Dyke)

RRR (2022, S.S. Rajamouli)

Another Thin Man (1939, W.S. Van Dyke)

Saaho (2019, Sujeeth)

Triangle of Sadness (2022, Ruben Östlund)

#personal #movies

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elgremiomaestro · 7 months

Text

Abuela

Un niño de 11 años llamado George Bruckner está en casa con su madre, Ruth, cuando los dos descubren que el hermano de George, Buddy, de 14 años, se ha roto una pierna jugando béisbol. La madre de George debe ir a la ciudad, a una hora de distancia, para visitar a Buddy en el hospital, pero alguien debe quedarse en casa para ver a su propia madre, una mujer enorme, anciana, postrada en cama. George se ofrece a regañadientes.

Cuando George se acerca a la cocina después de que su madre se va, comienza a pensar en su "Abuela" y recuerda la primera vez que ella vino a la casa. Tenía seis años y la anciana le exigió que fuera a ella para que ella pudiera "darle un abrazo". George estaba aterrorizado por la idea y lloró sin cesar. Su madre finalmente pacificó a Abuela, prometiéndole que la abrazaría "a tiempo".

George de repente oye un sonido de raspado en las sábanas; él imagina las largas y desiguales uñas de la abuela rozándose contra su cama. Él entra a verla y observa a la mujer obesa , blanca y casi sin forma por unos momentos. De repente, recuerda otros recuerdos: su abuela pronunciando palabras extrañas una noche y sus familiares muriendo a la mañana siguiente. George se da cuenta abruptamente de que su abuela es una bruja , que obtuvo poderes oscuros al leer los tomos prohibidos.

Cuando George se da cuenta de esto, se da cuenta de que su abuela ha muerto. Aunque aterrorizado, sostiene un espejo delante de su nariz, asegurándose. Una vez que está convencido, se prepara para hacer una llamada telefónica al médico, solo para descubrir que el teléfono está muerto. George opta por esperar a que su madre regrese a casa y piensa en los elogios que obtendrá por manejar la situación con tanta calma, hasta que se dé cuenta de que no cubrió el rostro de su abuela. Se imagina a su hermano atormentándolo sin cesar por esta falta de acción "cobarde".

Determinado, George entra en la habitación de la mujer muerta y coloca una sábana sobre su cara flácida. Mientras lo hace, su mano repentinamente envuelve su muñeca y la sostiene por unos momentos. George huye de la habitación, hiriéndose la nariz en el proceso. Mientras intenta racionalizar el movimiento, oye gemir desde la habitación contigua, como si el cadáver intentara levantarse de la cama. Luego oye que su abuela lo llama: "Ven aquí, Georgie ... Abuela quiere darte un abrazo ".

#literatura #Cuentos #Abuela #stephen king

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