#1950s fils | Explore Tumblr Posts and Blogs

brightgnosis · 1 month

Text

Guess who got an Ambulance ride last night and a Life Flight to Tulsa at 1 am this morning? Hint: It wasn't me.

Mother in Law went to the bathroom and took a tumble coming out. My Father in Law was just going to take her to her preferred hospital via car like normal until I saw that her thigh basically dimpled in two when they moved it and made them stop immediately. Told them what I saw, and my Father in Law didn't get it initially. Thankfully my Husband did (he was originally training to be an EMT for a bit, allll the way back when we first met while I was still in my Senior year of High School). He freaked out and backed me up when I told my FIL to call the Ambulance for this one and let them handle it.

Thankfully he listened and called them instead of fighting us on it. The EMTs were super sweet when they came, too. But it was a pain to get the wheely-deely into the house, and then into the living room where we'd managed to safely move her for access for them; turns out 1950's houses are definitely not built for ease of modern EMT equipment. They still managed to get her stabilized and out, though. Took her to her preferred hospital, even, for the initial check-in.

Final diag is a broken Femur (bingo, I was right and caught it before he moved her too much and turned that really fucking bad), and a broken Pelvis. All on the side where she's been getting Radiation treatment for the pain, where the Multiple Myeloma's eaten holes through her bones. She needs Orthopedic Surgery- hence the Life Flight, because no one in our area has Orthopedic available anymore.

They're both in Tulsa now and my Husband and I are watching the house. We're bone exhausted, and I've still got the Purim Party at Synagogue tomorrow that I'm supposed to be carpooling for at 6:30 am- and who knows how long my car mates will want to stay. But at this rate who knows if I'm going to be going.

ETA: Mother in Law was able to get into surgery today instead of tomorrow, and they didn't have to fly blood with her antibodies in from out of state again. She went in at 4:30, and was done and in recovery around 8:20 pm.

They put a metal rod in her leg, but didn't do anything for her Pelvis for now. They're going to see how it starts healing and go from there; the way she broke it tends not to be an operable injury, but given her age and the Cancer they want to observe to make sure. Either way, they're definitively keeping her until Tuesday as far as I know.

#Personal #2023 #Alphabet Soup #Broken Bones #Multiple Myeloma #Multigenerational Households Are Fun Until They're Not #She Called Me 'Her Ruth'#Trigger Warning

10 notes · View notes

brightlotusmoon · 4 months

Text

My husband is going through his father's things, and his mother just called me to tell me that father in law was an utter pack rat.

She described a box full of nothing but black shoelaces. And there are cards never opened with cash inside, and old Dr Seuss books, and engineering manuals from the 1950s.

I just thought, yeah, that's undiagnosed autism in the 20th century for you. His autism was its own presence and it was a strong shape, full of wisdom and sarcasm and brutal honesty.

Husband is coming home with a lot of Freemason stuff, since FIL was one of the highest degrees a Mason can be. It'll be fun to talk to my father about it, Mason to Mason.

10 notes · View notes

chansonsinternationales · 2 months

Text

6 notes · View notes

kylesvariouslistsandstuff · 1 year

Text

Thoughts: Joel Crawford Is *Not* Directing KUNG FU PANDA 4

Not too long ago, a Swiss Universal movie slate was making the rounds... KUNG FU PANDA 4 was on there, as the movie is - and has been - scheduled for release on March 8, 2024. The slate curiously listed Crawford, who directed PUSS IN BOOTS: THE LAST WISH and THE CROODS: A NEW AGE, as director.

He is not directing KUNG FU PANDA 4, per a recent interview with him and LAST WISH co-director Januel Mercado... Perhaps whoever made that slate up in Switzerland made a little mistake. It happens, we're all human.

This seemed somewhat fitting, though... Crawford took over both the CROODS and PUSS IN BOOTS sequels, and him being handed the torch for KUNG FU PANDA seemed right.

THE CROODS: A NEW AGE was originally set to be directed by Chris Sanders and Kirk DeMicco, who wrote and directed the first film that came all out the way back in 2013. We're actually inching right towards its 10th anniversary, which makes me wonder... Where does the time go? And, #2, will we get some sort of CROODS 3 announcement to commemorate? Their CROODS 2 was set for various fourth-quarter 2017 release dates for a good while, until DreamWorks had their rough week in January of 2015... When they - in response to the box office performances of several movies released over the previous few years - shut down a whole studio (Pacific Data Images), rearranged their slate, and cancelled multiple in-development movies. THE CROODS 2 managed to hang on... But then... The Comcast acquisition happened a year later. Changing heads, changing administrations, projects killed in transition... THE CROODS 2, a sequel to a movie that made nearly $600m at the worldwide box office, was *surprisingly* one of those movies... It was on the grounds that, supposedly, the crew just wasn't feeling it.

This allowed Chris and Kirk to move on to other things, namely the 20th Century-released THE CALL OF THE WILD for the former (it's actually a pretty solid old school adventure movie worth checking out, even if the dog being CGI is a bit iffy for you), and Sony Animation's VIVO for the latter. (I dug VIVO as well.) THE CROODS: A NEW AGE was confirmed to be back in development in September of 2020, with Crawford taking over directing duties, making his feature directorial debut. Crawford had no involvement with the first CROODS, but was a story artist on all three KUNG FU PANDA movies, and was also a story artist on SHREK FOREVER AFTER... So he had some SHREK in his resume when being given the PUSS IN BOOTS assignment. More on that in a few...

Crawford worked off of a story from Sanders and DeMicco, though, and it seems like it was more or less the one they were developing for their 2017 CROODS 2, just with some changes here and there. There was a pencil test for the movie done by none other than James Baxter that leaked online about a few weeks before DreamWorks announced the revised CROODS sequel was back on track, and it seems like it was more or less what we got... Just a little different. The girl in the pencil test is presumably an earlier version of Dawn Betterman, she is a lot more modern-looking. It's as if the Crood family had stumbled upon a family in the 1950s. The duo were quite involved, all things considered, but just didn't direct. If anything, Crawford kind-of semi-rebooted THE CROODS... A franchise that was only one movie and a 2D-animated Netflix TV series at the time. This gave the caveman family comedy a fresh coat of paint, if you will, and it really worked out. Crawford's approach was noticeably different from Sanders and DeMicco's. Those who were onboard with Sanders/DeMicco missed that touch, those who weren't all that fond of the first film found the sequel to be a significant improvement. I personally really like both for those reasons, they both bring something of their own to this very base-level concept.

So that brings us to PUSS IN BOOTS: THE LAST WISH. Previously, that was set to be a much different film, a sequel titled PUSS IN BOOTS 2: NINE LIVES & 40 THIEVES. An Arabian Nights adventure, it was to be directed by the first PUSS IN BOOTS' director, Chris Miller. He also directed SHREK THE THIRD alongside Raman Hui. In early 2014, DreamWorks had it pegged for a holiday 2018 release, until that bad week in January happened. It got removed entirely from the release schedule, but was still in the works per Antonio Banderas in an interview months later. The Arabian Nights movie got thrown out along the way, and after the Comcast acquisition of DreamWorks, Illumination founder Chris Meledandri started to get involved with the SHREK franchise and would have a hand in determined its future. There's something kind of amusing about that, by the way. Melendandri, prior to founding Illumination in 2007, was an executive producer on the first few Blue Sky films, of course that includes ICE AGE. I was rewatching ICE AGE a little while ago, and am watching the sequels for the first time (I'm over a decade late!), and that first ICE AGE is very similar to SHREK. In that, it's a big, annoyed, cynical guy with an itch to scratch, and an annoying smaller critter being a pain in the ass for most of the journey. Even as a kid back in March 2002, sitting in the theater, I caught that right away, like "Hey, this is a lot like SHREK." There's a similar vibe in Disney Animation's BROTHER BEAR, to go off on a tangent: Big teen bear Kenai, annoying little bear cub Koda... It's also set at the end of the Ice Age. There are mammoths in it. Coincidence is such a funny thing.

Anyways, where was I going with that? Oh yeah, ICE AGE. Similar to SHREK. Chris Meledandri was exec producer of ICE AGE, and went on to exec produce the next three Blue Sky movies (ROBOTS, ICE AGE: THE MELTDOWN, HORTON HEARS A WHO!) before setting up Illumination... Chris Meledandri, after Comcast's acquisition of DreamWorks, becomes more involved with the SHREK franchise in particular and not DreamWorks as a whole. PUSS IN BOOTS Dos was announced once again in early 2019, with Bob Persichetti attached as director. This was *hot* off of SPIDER-MAN: INTO THE SPIDER-VERSE, which he was one of three directors on. Persichetti, appropriately, was head of story on the first PUSS IN BOOTS. Seemed liked the best choice possible, but he appears to have had no part in THE LAST WISH, only a - presumably - archival recording of him voicing the "Oooh" cat, who makes a brief cameo in Mama Luna's place. I wouldn't be surprised if the film embracing a more SPIDER-VERSE-inspired stylized look and feel was his idea, coming off of that very film.

But I sense a pattern here, of sorts. Crawford breathed, with the help of his crews, a new life and zest into both THE CROODS and SHREK. It looked like he could've done that for KUNG FU PANDA 4... But, he said in that recent interview that he's not directing, and he's interested in playing around in the world of SHREK some more, which *could* imply that he is directing the fifth SHREK movie, whatever they decide to call it. He's not working on anything at the moment, that there are original ideas to pursue (his resume is currently two feature sequels, it'd be cool if he pitched a wild and fun original movie of his own, but he was also being quite vague.

KUNG FU PANDA 4 has at least one director, but for whatever reason, we don't know who that is just yet. The movie has got to be deep in production if it is coming out next spring. Sometimes with animated movies, we know who is directing. Right off the bat. But some studios, or their distributors, just say "So-and-so, coming out sometime in 2024!" That's basically all we heard about KUNG FU PANDA 4 since last year... It was a tweet that the movie was happening, an image of Po, and a release date of March 8, 2024. Keep in mind, this date sandwiches the movie in-between ELIO (a Pixar film, 3/1/2024) and SPIDER-MAN: BEYOND THE SPIDER-VERSE. (3/29/2024)

Does Jennifer Yuh Nelson, director of KUNG FU PANDA 2 and 3, return to helm the sequel? She has been supervising director on Netflix's LOVE, DEATH & ROBOTS, so I'd imagine she's been busy. Her last feature film, as director, was a live-action flick called THE DARKEST MINDS. Without googling, I think it was a Y-A movie? Hey, you wanna know something funny about Jennifer Yuh Nelson? She got her start as an assistant animator on... Various Golden Films/Jetlag animated fare. You know, those movies based on public domain stories that were cranked out in the early '90s to capitalize on the Disney adaptations? Yeah! She's credited on things like Jetlag's 1994 CINDERELLA and their 1995 ALICE IN WONDERLAND movie. She later graduated to TV shows such as SPICY CITY and SPAWN, was a storyboard artist on the film DARK CITY, and then started her DreamWorks tenure as a storyboard artist on SPIRIT: STALLION OF THE CIMARRON. Her first assignments being in Golden Films "fool the granny at the dollar store" movies goes to show... You gotta start **somewhere**!

KUNG FU PANDA 3's co-director, Alessandro Carloni, could be a candidate. Already heavily involved with the first two films, and several other DreamWorks hits, was director of the ill-fated ME AND MY SHADOW... He'd be great, but what's he up to now? Directing THE FOURTEENTH GOLDFISH for Skydance Animation, apparently. He was supposed to direct their debut film LUCK, but John Lasseter apparently - true to form - kicked him off the movie; or changed it up so much that Carloni decided to walk away from it. But yeah, that's apparently what he's up to, so I think that rules out KUNG FU PANDA 4 for him...

Maybe, on the off chance, the directors of the first movie came back. Or at least one of them. Mark Osborne, John Stevenson... Osborne previously worked on THE LITTLE PRINCE. He was - as far as I know - directing ESCAPE FROM HAT for Netflix. Previously a Blue Sky project, it entered production in 2018. Not a peep since... Was this a casualty of Netflix's ongoing animation purge? Stevenson recently worked on a short called MIDDLE WATCH, and is helming a picture called THE ANT AND THE AARDVARK, for - apparently - a 2024 release. So he's out of the question.

Who else could it be? One look at KUNG FU PANDA 3's story credits could give one a rough idea. I see that a lot of the time in animation, folks who were involved with films on the story artist/storyboarding level get graduated to director for the sequels. Barring Crawford, it could be any of these people...

Or someone whom we would not expect whatsoever... I wonder why they're quiet on this... And also that RUBY GILLMAN: TEENAGE KRAKEN movie that's supposed to open 3 1/2 months from now... And whatnot. DreamWorks is like super-secretive with what's coming, these days, to the point where you don't officially hear a thing until... Maybe 3-4 months before the movie in question releases! I like that, though. Kinda. It's like guessing games. It reminds me of the early 2000s when you only knew what maybe the next 1-2 Pixar movies were when a new one was around the corner.

All I know is, I was quite shocked when KUNG FU PANDA 4 was announced a while ago. I know that the third movie collected over $540 million at the worldwide box office, and that in the world of American feature animation, it's never really over. SHREK 5 is coming, TOY STORY 5 is coming, FROZEN III is coming, ZOOTOPIA 2 is coming, there's a third LEGO MOVIE in the works despite the 2nd mainline movie flopping at the box office. It never ends, and if it ends in a way where a sequel absolutely *can't* be made without some serious retconning? Like HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD? Oh, easy, do a streaming series set in the modern day that's well past Toothless' passing... Or do a goddamn live-action remake then. Anyways, yeah, these things don't end, but with the way KUNG FU PANDA 3 wrapped things up... I didn't know where it could go from there, though that new series - THE DRAGON KNIGHT - exists. I haven't watched it, I don't have Peacock. Is it any good?

I love the KUNG FU PANDA movies, personally. The first one is particularly resonant for me, because I see a lot of my autistic self and my life in Po himself, and the second film always makes me an emotional mess. I wrote extensively about that elsewhere. I was initially kind of ho-hum on KUNG FU PANDA 3, but the more the first two clicked with me, the more I found a lot to love in the third movie, even if it is a little uneven to me... But a fourth one? I love this world, the characters, the kinetic action that came with each movie, and everything else. If DreamWorks' artists really push the stylization we saw in the third film and beyond, we could be in for a real treat. Bring it on, I say!

Who do you think could direct KUNG FU PANDA 4?

#kung fu panda #kung fu panda 4 #puss in boots #shrek #dreamworks #unorganized thoughts

31 notes · View notes

jpbjazz · 1 month

Text

LÉGENDES DU JAZZ

SLAM STEWART, LE CONTREBASSISTE CHANTANT

“In the 40s, he was the most recorded jazz bass player of all time."

- Roger Luther

Initialement utilisée comme complément du tuba (ou sousaphone) et confinée à un rôle essentiellement rythmique, la contrebasse est progressivement devenue un instrument de jazz à part entière grâce à des pionniers comme Bill Johnson, Steve Brown et Wellman Braud dans les années 1920, Jimmy Blanton à la fin des années 1930, et Oscar Pettiford et Paul Chambers dans les années 1940 et 1950. Avec l’introduction de l’enregistrement électronique dans les années 1930, la contrebasse avait éventuellement supplanté le tuba. Lorsque la contrebasse avait commencé à sortir de l’ombre dans les années 1920, les contrebassistes jouaient rarement des solos. Une des seules exceptions à cett égard était Duke Ellington, qui avait écrit des solos pour Wellman Braud, notamment dans le cadre de la pièce de 1928 “The Blues With a Feelin’”.

Parmi les contrebassistes qui n’avaient jamais vraiment reçu la reconnaissance qu’ils méritaient, on remarquait Slam Stewart et Major Holley. Ironiquement, les deux musiciens partageaient plusieurs choses en commun, y compris le fait d’être des virtuoses de l’archet et de s’être accompagnés au chant tout en jouant de la contrebasse.

Les carrières de Stewart et Holley avaient d’ailleurs suivi des trajectoires passablement identiques. Même si les deux musiciens avaient joué avec sensiblement les mêmes formations et avaient accompagné Art Tatum et Benny Goodman, ils ne s’étaient pas rencontrés avant 1961 et n’avaient pas enregistré ensemble avant 1977. Leur album Shut Yo’ Mouth comprenait notamment une parodie de “Close Your Eyes”. Nous reviendrons éventuellement sur le cas de Holley, mais concentrons-nous d’abord sur la vie de Stewart.

Né le 21 septembre 1914 à Englewood, au New Jersey, Leroy Eliot "Slam" Stewart était le fils d’un majerdome. Stewart avait commencé à jouer de la contrebasse durant ses études au Dwight Morrow High School. Par la suite, Stewart avait étudié durant un an au conservatoire de Boston. Dans le cadre de ses études au conservatoire, Stewart avait entendu Ray Perry chanter tout en jouant du violon, ce qui lui avait donné l’idée de faire de même à la contrebasse. Tout en jouant de la contrebasse, Stewart avait commencé à chanter un octave plus haut, ce qui avait permis de créer un son assez particulier. Selon son ami et collègue Al Hamme, Stewart n’avait jamais terminé ses études au conservatoire parce Benny Goodman l’avait entendu jouer et l’avait aussitôt engagé avec son orchestre.

DÉBUTS DE CARRIÈRE

Dès son arrivée à New York en 1935, Stewart avait commencé à introduire sa technique avec les groupes avec lesquels il se produisait. C’est aussi à cette époque que Stewart s’était mérité le surnom de Slam. Il expliquait: ''At times, I slapped the bass when I played. It had the same sound as a slam. They gave me the name Slam, and I've been stuck with it ever since. But I'm very used to it and prefer it to Leroy.''

En 1937, Stewart avait formé le duo Slim and Slam avec le guitariste et chanteur Slim Gaillard. Le groupe avait remporté un grand succès dans les clubs de l’ouest de la 52e rue, mieux connue sous le nom de ''Swing Street.'' Lorsque Gaillard avait été mobilisé par l’armée en 1941, Stewart s’était joint au trio d’Art Tatum avant de former son propre trio avec le pianiste Erroll Garner, qui en était alors à ses débuts. Stewart avait joué par la suite avec le sextet et le big band de Benny Goodman.

Le plus grand succès du duo avait été la pièce "Flat Foot Floogie (with a Floy Floy)" en 1938. La chanson était devenue si populaire que Benny Goodman l’avait reprise sur son émission de radio ''The Camel Caravan.'' L’enregistrement de la chanson avait même été inséré dans une capsule temporelle lors de l’Exposition internationale de New York en 1939. L’enregistrement de Philip Sousa 'Washington Post March'' faisait également partie de la capsule.

Dans les années 1940, Stewart avait joué avec de grands noms du jazz comme Lester Young, Fats Waller, Coleman Hawkins, Erroll Garner, Art Tatum, Johnny Guarnieri, Red Norvo, Don Byas, Benny Goodman et Beryl Booker. Stewart avait participé à une des sessions les plus célèbres de sa carrière en accompagnant Dizzy Gillespie et Charlie Parker en 1945. Dans le cadre de ces sessions, Stewart avait participé à l’enregistrement de classiques du bebop comme "Groovin' High" et "Dizzy Atmosphere". Toujours en 1945, Stewart avait enregistré le standard “After You’ve Gone” avec le sextet de Benny Goodman. Il avait aussi enregistré la même année le classique “I Got Rhythm” avec le saxophoniste Don Byas.

Malgré tous ses accomplissements, Stewart s’était surtout fait connaître pour avoir chanté tout en s’accompagnant à l’archet à la contrebasse. Même si certains critiques avaient qualifié le procédé de ‘’gimmick’’, Stewart, qui avait toujours été très en demande comme contrebassiste plutôt traditionnel, l’avait toujours utilisé à des fins musicales plutôt que pour attirer l’attention. Cette technique était particulièrement mise en évidence sur la pièce ''Slam Slam Blues'', qui avait été enregistrée au milieu des années 1940 avec un groupe tout-étoile composé de Red Norvo, Teddy Wilson, Charlie Parker et Dizzy Gillespie.

DERNIÈRES ANNÉES

Également enseignant, Stewart avait été professeur à la Binghamton University de New York et à l’Université Yale. Stewart s’était installé à Binghamton en 1969. À l’époque, le Roberson Center avait décidé d’organiser un concert de jazz. Une des employées du centre, Claire Wood, connaissait Stewart et lui avait demandé de participer au concert. L’historien Roger Luther expliquait: “When he got here, he just fell in love with the area and also fell in love with the woman who invited him.’’ Stewart avait d’ailleurs épousé Claire quelque temps plus tard. La résidence du couple au 80, Chesnut Street, était éventuellement devenue le site de plusieurs jam sessions ainsi qu’un centre de regroupement de plusieurs musiciens locaux. Stewart avait d’ailleurs commémoré cette période de sa carrière dans le cadre de la pièce "80 Chestnut Street" qui faisait partie de son dernier album en carrière. L’album servait à amasser des fonds pour le Binghamton Sertoma Club. C’est le saxophoniste Al Hamme, qui avait rencontré Stuart dans les années 1970, qui avait produit l’album. Hamme avait toujours considéré Stewart comme un ‘’gentleman.’’ Hamme avait d’ailleurs enseigné avec Stewart à la Binghamton University. Hamme qui avait produit l’album.

Stewart est décédé d’une crise cardiaque à Binghamton le 10 décembre 1987. Il était âgé de soixante-treize ans. Stewart avait continué d’enregistrer et de se produire en concert jusqu’à sa mort. Hamme devait participer à une session d’enregistrement le lendemain de sa mort, mais la session n’avait jamais eu lieu. Hamme expliquait: “There were some places that he just didn’t get it correctly and we said, ‘it’s alright, we’ll do it in the next session,’ but we never got to the next session." Les amis de Stewart avaient éventuellement terminé l’album pour lui rendre hommage. On peut également voir Stewart jouer sur vidéo dans le cadre de l’Internationale Jazzwoche (International Jazz Week) de Burghausen, en Allemagne, en 1990, et dans une session de 1974 dans laquelle il interprétait la pièce ‘’Angel Eyes.’’

Stewart laissait dans le deuil son épouse Claire Wood ainsi que deux enfants.

Considéré comme un grand innovateur et voire même comme une véritable légende, Stewart était également très apprécié de ses collègues musiciens. Lors de son séjour à Binghamton, le saxophoniste Al Hamme avait été le directeur du Harpur Jazz Ensemble et du programme de jazz de l’université dont il était également le fondateur. Stewart s’était joint à la faculté afin de transmettre ses connaissances aux nouvelles générations de musiciens.

En 1984, l’université avait décerné à Stewart un diplôme à titre honorifique. C’est d’ailleurs Hamme qui lui avait remis son diplôme. Décrivant Stewart comme un homme de peu de mots, Hamme avait déclaré: “He didn’t talk about it much, but I picked up hints every once in a while from his friends that he was a son of a butler for a wealthy family down there." Hamme, qui avait accompagné Stewart lors de ses dernières tournées, avait ajouté que le contrebassiste était particulièrement populaire en France. Hamme avait précisé: "They treated him really well there. Me, not so much. They don't really like Americans, but they loved Slam."

Malgré toutes ses réalisations, Stewart était très peu connu. Comme l’expliquait l’historien de Broome County, Roger Luther: “A lot of people in this area don’t realize how famous he was." Luther avait ajouté: “In the 40s, he was the most recorded jazz bass player of all time."

Au cours de sa carrière, Stewart avait participé à plusieurs tournées mondiales. Il avait également été engagé comme ambassadeur de bonne volonté dans le cadre de plusieurs tournées organisées par le département d’État. Même s’il est courant de nos jours pour les contrebassistes de jazz de jouer à l’archet, aucun n’avait jamais réussi à surpasser la virtuosité de Stewart et Holley. Parmi les contrebassistes que Stewart et Holley avaient influencés, on remarquait Christian McBride, Edgar Meyer, Michael Moore, Rufus Reid, Ari Roland, Miroslav Vitous, Red Mitchell, Dave Holland, George Mraz et Niels Henning Orsted Pedersen. Le contrebassiste et compositeur Steve Provizer écrivait: ‘’Jazz has thrived and will continue to because it is capable of communicating the full range of human emotion. Time to give Slam Stewart and Major Holley the credit they deserve.’’

SOURCES:

‘‘One of the Greats: Famous Jazz Musician Slam Stewart Called Bingmanton Home.’’ Fox 40 WICZ TV, 9 février 2021.

PALMER, Robert. ‘’Slam Stewart, 73, a Jazz Bassist Known for Singing With His Solos.’’ New York Times, 11 décembre 1987.

PROVIZER, Steve. ‘’Slam Stewart and Major Holley: Jazz Bass Masters of the Bow.’’ The Syncopated Times, 29 mai 2020.

‘’Slam Stewart.’’ Wikipedia, 2024.

#jazz

2 notes · View notes

audiofictionuk · 8 months

Text

New Fiction Podcasts - 6th September

Villain Mutants New Audio Drama! Villain Mutants is a science fiction audio drama series about a bunch of criminal mutants being captured and brainwashed by HEAL. They were named a number when recruited. The mutants were used as weapons to frighten any human criminals that dares to not follow the law. The first 10 criminal mutants have escaped and are in hiding. https://villainmutants.weebly.com/ https://anchor.fm/s/e39ebbd0/podcast/rss

400 Words A Horror New Audio Drama! 400 Words A Horror is a bi-weekly anthology horror-themed podcast by audio drama enthusiasts who want to get into the audio drama world as creators. We are a group of people who wants to do audio dramas but have no idea how. The showrunner Gem decided to make this podcast to learn the 'how'. Why 400 Words a Horror? The idea came to me while practicing with the Pratchett method called ‘400 words a day.’ My friends and I are here to have fun, spook up a little, experience, experiment, and learn the hardships of audio drama creation. So this space is a learning experience for my friends and I. Any feedback -as long as it is feedback- is more than appreciated. You can leave feedback through our socials. If you want to stay anonymous, our Tumblr ask box awaits you. https://shows.acast.com/400-words-a-horror https://feeds.acast.com/public/shows/400-words-a-horror

The Theater of the Midnight Sun New Audio Drama! Fun and thought-provoking audio dramas of sci-fi, fantasy, mystery, & comedy - with dynamic soundscapes full of music & special effects. https://TheateroftheMidnightSun.podbean.com https://feed.podbean.com/TheateroftheMidnightSun/feed.xml

Can't Relax New Audio Drama! Over stressed? Overworked? The Peace and Mind app will put an end to that. Forever. On the weekend before their ACTs, Anya and her friends download a new mobile relaxation app to take the edge off, unaware that it secretly plants murderous subliminal messages into the brains of its listeners. When people start dying, Anya must figure out who planted the corrupted malware on their phones and how to stop it before she becomes a killer herself. https://glistenplus.com/scripted/cant-relax/ https://feeds.megaphone.fm/cantrelax

The Devil's Antlers New Audio RPG! A Homebrewed TTRPG Actual Play Cryptid Campaign, with voice acting, sound FX, and original music. Set in the mid 1950s, this story follows four citizens around Pembine and Marinette, Wisconsin, as they begin to unveil some strange occurrences in the area. https://www.timetodierpg.com/ https://feeds.transistor.fm/the-devils-antlers

La traversée du siècle New Audio Drama! Victoire, Albertine et Thérèse : ces prénoms vous semblent-ils familiers? Suivez l’odyssée de ces trois femmes fascinantes et incroyablement résilientes dans l’œuvre de l’un des plus grands écrivains québécois : Michel Tremblay. Portée par 18 interprètes, cette saga familiale nous fait vivre les grands bouleversements qu’a connus la société québécoise au cours du XXe siècle. Plongez dans l’univers de trois générations, où la place des femmes se fortifie au fil du temps. La traversée du siècle est un projet monumental, la plus grande fiction sonore originale jamais réalisée au Québec, avec six saisons et plus de neuf heures de contenu original. Tout le texte est de Michel Tremblay, dans une adaptation et une dramaturgie d'Alice Ronfard, à partir d'une idée d'André Brassard. Ce projet hors-norme est une production du Théâtre Espace Libre, en production déléguée par Zoé Gagnon-Paquin. https://espacelibre.qc.ca/balados/la-traversee-du-siecle https://feeds.podcastics.com/podcastics/podcasts/rss/6123_4583f3239eb223783366204080342b0d.rss

Lantern Cove New Audio RPG! An actual-play RPG podcast in which 6 high school students are the only ones who can face down murder, eldritch magic, and the coming end of the world. https://www.www.lanterncovepodcast.com https://feeds.buzzsprout.com/2194093.rss

EDWINA BERGMAN: RADIO VENTRILOQUIST New Audio Drama! In this fiction comedy-mystery, a young 1920s radio ventriloquist finds herself hosting a radio variety hour and cohosting a podcast in 2023. While attempting to figure out a way back home, she receives a tempting offer from a reality TV producer. https://podcasters.spotify.com/pod/show/jonmeyersscripts https://anchor.fm/s/e8270ec8/podcast/rss

Part-Time Thrills New Audio Drama! Welcome to Part-Time Thrills! Where tall tales are told in short stories rooted in horror and comedy! Time to clock in for a thrill! https://podcasters.spotify.com/pod/show/part-timethrills https://anchor.fm/s/e7dd02ec/podcast/rss

WitherBurn After School News New Audio Drama! An anonymous teenage girl starts a gossip radio show to report on the events of her small southern town. In her quest to uncover the latest scoop, she becomes entangled in the midst of a mystery. https://www.witherburnnews.com/ https://anchor.fm/s/e7e701e8/podcast/rss

Sur la route : Podcasts pour enfants / histoires en voiture pour enfants / En voiture New Audio Book! Retrouvez les plus belles histoires pour faire voyager vos enfants de tous âges en voiture. Des histoires pour chaque âges qui vont passionner vos enfants. Podcast et histoire pour enfants. https://podcasts.360.audion.fm/QzJsUCNoGsXLHDad4TWjR https://feeds.360.audion.fm/QzJsUCNoGsXLHDad4TWjR

Nearly Departed New Audio Book! A ghost story anthology sewn together with a very cozy thread, from the mixed up files of Kathryn R. Wiggins. Katy hopes to create a space of permanent October, here to revisit whenever you're in need of a safe harbor to contemplate the living and the dead and the terrors in-between. While it may look cute and whimsical, these stories can be very scary and/or disturbing and are not intended for kids. For fans of history, melancholy, pumpkin pie, dusty mansions, flirting with terror, atmosphere, coziness, plastic skeletons, and real ones too. Katy is a writer and improviser in Austin, TX and co host of popular podcast Scary Stories from Camp Roanoke, which has over 40,000 listeners. Katy adores history, and ghost stories are one of the ways the past echoes into the future in its own active voice. It's a way that the people of bygone eras literally come alive, and that possibility has never gotten old to her. Katy is also fascinated by the unprovable nature of ghosts--how one person can have years of their life tormented by a spiritual force and another person thinks it's all a bunch of hocus pocus. Paranormal or not, it's a fascinating reflection of the invisible struggles we each move through the world with. https://www.buzzsprout.com/2233839 https://feeds.buzzsprout.com/2233839.rss

TIDLØS New Audio Drama! Vildræven er verdenshistoriens største tyv. Det mener han i hvert fald selv, men verden har ikke opdaget ham endnu. Derfor stjæler han en tidsmaskine og rejser tilbage i tiden for at stjæle Guldhornene, så han kan få den berømmelse, han er berettiget til. Til at hjælpe med tyveriet har han skytten Richard og den hyper-intelligente Ingeborg. Men tyveriet går ikke som planlagt, og før de ved af det, er de med i en hæsblæsende jagt gennem historien forfulgt af betjente, bankfuldmægtige, advokater og vikinger. TIDLØS er det største danske hørespil i nyere tid, skrevet af Troels Bering, klippet og instrueret af Jacob Octavius Jarlskov, og produceret af Audiorama. https://audiorama.dk/ https://pinecast.com/feed/tidl-s

Murder Manor New Audio Drama! When ten people are invited to spend the weekend in a mansion on a remote island, they each start dropping like flies. Can they solve the mystery of who's behind it all or will they die trying? The series is heavily inspired the critically acclaimed novel "And Then There Were None" by Agatha Christie. https://shows.acast.com/murder-manor https://feeds.acast.com/public/shows/64dc022f00649a0011d48c8c

La Bóveda de Evo New Audio Book! Lo que realmente perdura en nosotros, anidando un profundo recuerdo en nuestras mentes, es aquello que se asemeja mucho a lo cotidiano. Pero luego de una mirada más reflexiva, no tiene nada de común. Lo cotidiano tiene tantas formas como individuos: Es caótico. Azaroso. Transitorio. Atemporal. Confuso. Voraz. Aquí, cada semana una historia original e independiente nos muestra una cotidianeidad absolutamente fuera de lo común. https://linktr.ee/labovedadeevo https://labovedadeevo.podigee.io/feed/mp3

#audio fiction

6 notes · View notes

havaforever · 4 months

Text

L'INNOCENCE - Ce n’est pas une affaire de viol, comme dans les Risques du Métier, mais de violence qui détruit la notoriété d’un professeur. Une violence aux effets destructeurs, générée par le mensonge, le remord et la dissimulation.

Le génie de Kore Eda sera d’utiliser l'effet Rashōmon (du nom d’un film réalisé en 1950 par Akira Kurosawa) pour décrire les faits sous différentes perspectives, selon la version de chaque protagoniste. Mensonges et absence de preuves permettent de conforter ou de disqualifier toute version de la vérité, tandis que la pression sociale exerce tout son poids en faveur de la clôture du débat.

La critique de la société (japonaise « mais pas que.. ») est féroce et ne manquera pas de dénoncer les défenseurs d’une certaine tradition. Les acteurs Sakura Andō (Saori), Eita Nagayama (Hori), Soya Kurokawa (Minato) sont dirigés d’une main paternelle et douce et expriment par leur jeu tout en retenue l’humanisme et la délicatesse de Kore-Eda.

Qu'aurait donné L'Innocence si Hirokazu Kore-eda avait construit son film de manière traditionnelle et linéaire, sans recourir à un procédé à la Rashomon ? Sans doute aurait-il gagné en évidence dès le départ, et peut-être même en émotion, mais il aurait en revanche perdu de son mystère et d'un rapport ludique avec son public. Oui, la forme sophistiquée du long-métrage dissimule somme toute une histoire plutôt simple et touchante, qui ne se révèle que dans ses dernières minutes, mais on n'en tiendra pas trop rigueur au cinéaste, eu égard au plaisir qu'il nous concède, in fine, avec ce regard attentif et bienveillant sur l'enfance, qui est sa marque de fabrique.

A travers le regard d'une mère puis d'un enseignant et l'exploration d'un milieu scolaire où l'on peut stigmatiser le comportement d'un élève, doté d'un "cerveau de porc" (sic), ou encore enregistrer le poids des rumeurs et la tenaille du harcèlement, Kore-eda se fait sociologue de son pays, sans virulence mais en ne cachant quelques unes de ses failles, y compris au sujet du tabou dont il est question de manière certes tardive mais néanmoins claire. L'Innocence n'est vraisemblablement pas le meilleur film de son auteur mais la richesse de ses personnages contribue à ne pas en sortir déçu, d'autant qu'il se situe dans la continuité d'une œuvre dont la cohérence ne cesse de se consolider au fil du temps.

NOTE 14/20 - On retrouve et on partage les attentes du réalisateur : la quête d’un père qui ne soit ni absent ni violent et l’aspiration à la lumière et à la vérité. On apprécie de façon renouvelée, sans jamais se lasser : sa poésie, sa délicatesse, et cette très jolie magie des images.

#Cinéma #LES INNOCENTS #enfance #adolescence #harcelement #japon #kore eda #14

3 notes · View notes

maddiesbookshelves · 4 months

Text

Recipe for a perfect wife, by Karma Brown

When Alice Hale leaves a career in publicity to become a writer and follows her husband to the New York suburbs, she is unaccustomed to filling her days alone in a big, empty house. But when she finds a vintage cookbook buried in a box in the old home’s basement, she becomes captivated by the cookbook’s previous owner–1950s housewife Nellie Murdoch. As Alice cooks her way through the past, she realizes that within the cookbook’s pages Nellie left clues about her life–including a mysterious series of unsent letters penned to her mother. Soon Alice learns that while baked Alaska and meatloaf five ways may seem harmless, Nellie’s secrets may have been anything but. When Alice uncovers a more sinister–even dangerous–side to Nellie’s marriage, and has become increasingly dissatisfied with the mounting pressures in her own relationship, she begins to take control of her life and protect herself with a few secrets of her own.

I thought this book was going take the "the house is haunted by the spirit of the 50's housewife" or even the "the house is alive" route because of some elements at the beginning but uh, they end up not mattering at all? So that was weird

It was an interesting read, but I didn't like Alice's character/story nearly as much as Nellie's. I didn't understand some of her actions and decisions, thought some were stupid. The parts I liked best about Alice's chapters were when Nellie was mentioned. I kinda wish it was more like The Seven Husbands of Evelyn Hugo, in the way that Monique wasn't a big part of the story as a whole but she still had her stakes in it. I did like that, when Alice read Nellie's letters, you can tell there was more to what she was writing

Also, Nellie's chapters had my brain playing Paris Paloma's Labour on loop, it really fits the vibes. It also reminded me of the show Why Women Kill (at least the first season), which I loved. So if anyone has recs for similar book, please please please tell me, I'm desperate

French version under the cut

Lorsque Alice Hales quitte sa carrière dans la publicité pour devenir autrice et suivre son mari dans une banlieue pavillonnaire de New York, elle n'est pas habituée à remplir ses journées seule dans une grande maison vide. Mais lorsqu'elle trouve un livre de cuisine vintage enterré dans la cave de la vieille maison, elle est fascinée par la précédente propriétaire du livre, Nellie Murdoch, femme au foyer des années 1950. Tandis qu'Alice explore le passé au fil des recettes, elle réalise que Nellie a laissé entre les pages du livre de cuisine des indices concernant sa vie, dont une série de lettres adressées à sa mère jamais postées. Bientôt, Alice constate que, même si l'omelette norvégienne et le pain de viande peuvent sembler inoffensifs, ce n'était peut-être pas le cas des secrets de Nellie. Alors qu'Alice découvre un aspect plus sombre, voire dangereux, du mariage de Nellie, et qu'elle devient de plus en plus mécontente de la pression croissante dans son propre couple, elle décide de prendre le contrôle de sa vie et à se protéger avec ses propres secrets.

J'ai cru que ce livre allait faire le coup du "la maison est hantée par le fantôme de la femme des années 50" ou encore "la maison est en vie" à cause de certains éléments au début mais euh, au final ils ont aucune importance ? Donc c'était bizarre

C'était une lecture intéressante mais j'ai pas aimé le personnage/l'histoire d'Alice autant que celle de Nellie. J'ai pas compris certaines de ses actions et de ses décisions, j'en ai même trouvé certaines stupides. Les moments que j'ai le plus apprécié dans les chapitres d'Alice étaient ceux où Nellie était mentionnée. J'aurais limité préféré que le livre soit plus comme The Seven Husbands of Evelyn Hugo, dans le sens où Monique n'était pas super importante dans l'histoire mais il y avait quand même des enjeux pour elle. J'ai beaucoup aimé quand Alice lisait les lettres de Nellie, on pouvait sentir qu'elle écrivait pas tout

Aussi, les chapitres de Nellie faisaient tourner la chanson Labour de Paris Paloma en boucle dans mon cerveau, elle collait vraiment bien à l'histoire. Ils me rappelaient aussi la série Why Women Kill (du moins la première saison), que j'ai adorée. Donc si quelqu'un a des recos de livres similaires, siouplait dites moi, je suis désespérée

#recipe for a perfect wife #karma brown #books #booklr #booklr community #book recs #book recommendations #book reviews

3 notes · View notes

detournementsmineurs · 2 years

Photo

Robe "Muguet" de Christian Dior pour Françoise Arnoul en satin polyester brodé de strass et fil vert (1956) devant un foulard imprimé de "Brins de Muguets" de Christian Dior en soie (circa 1950) à l'exposition “Végétal” orchestrée par Chaumet à l'Ecole des Beaux-Arts de Paris, juin 2022.

#expos #style #végétal #broderie #Illustrations #Dior #Chaumet #EcoleBeauxArts

44 notes · View notes

ferro5 · 2 years

Text

Quando il Principe Antonio de Curtis umiliò Oscar Luigi Scalfaro, 1950

Io sono un uomo all'antica, appartengo al secolo scorso, anzi, che dico, al secolo delle crociate.

Il mondo moderno, il mondo di oggi, per me non c'è, non esiste, non lo vedo, non mi piace. Detesto tutto di esso: la fretta, il frastuono, l'ossessione, la volgarità, l'arrivismo, la frenesia, le brutte maniere, la mancanza di rispetto per le tradizioni, le stupide scoperte.

Per questo vivo per conto mio, in un mondo mio, da isolato, un mondo per bene.

Lavoro, torno a casa e mi chiudo qui dentro.

Sono pessimista, solitario, alieno dalla mondanità, odio i rumori e mi piace parlare poco ...

• Principe Antonio Focas Flavio Comneno de Curtis

Le parole di Antonio de Curtis seguono il fil rouge del disobbediente che non accetta mai di omologarsi al solipsismo degli uomini ed alla “malacreanza” ed emblematico è l’episodio che sto per raccontarvi.

Il 21 luglio del 1950 tre parlamentari democristiani stanno pranzando al Ristorante “da Chiarina”, in Via della Vite, nel cuore di Roma.

I loro nomi sono: Oscar Luigi Scalfaro, Vittoria Titomanlio e Umberto Sampietro.

Ad un tratto, durante il pranzo, gli occhi di Scalfaro si posano sulle spalle di una giovane e bella signora, seduta ad un tavolo accanto al suo, che, per il gran caldo, aveva spostato il bolerino a fiorellini verdi e rossi lasciando le spalle parzialmente scoperte.

A questa visione, del tutto normale anche in quegli anni e che, ai più, risulterebbe piacevole, Oscar Luigi Scalfaro, invece, reagisce in modo inatteso e quanto mai violento, oltre che estremamente volgare.

Infatti il deputato DC si alza ed inizia ad apostrofare in malo modo la signora che, a suo dire, dava scandalo (!).

Alcuni testimoni del fatto “increscioso” riferiscono che Scalfaro si spinse anche ad alzare le mani sulla distinta signora ma ciò che è certo è che inizia ad inveire contro di lei dicendo: “Non si vergogna ?” e ancora “è uno schifo ! E’ vomitevole ! Lei manca di rispetto alle donne presenti, così vestita è una donna disonesta, lei è una bestia !”.

La signora insultata è Edith Mingoni Toussan, figlia e moglie di due ufficiali dell’Aeronautica: Colonnello il padre, Capitano il marito e perdipiù è anche una militante missina.

Non se ne sta certo zitta, calmissima, non fa una piega e replica a Scalfaro dicendogli che è meglio che pensi piuttosto ai poveri delle borgate romane e annuncia querela.

La vicenda, divenuta nota con il nome di “scandalo del prendisole”, rimbalza subito sugli organi di stampa che da sinistra e da destra attaccano il “politico bacchettone” che, intanto, riceve anche tre cartelli di sfida a duello e, segnatamente, dal padre della signora insultata, dal marito, che, come nei migliori racconti romantici, si chiama Aramis e dalla stessa vittima che, tra l’altro, è un’ottima schermitrice.

Scalfaro, però, rifiuta di battersi non perché lo vieta la legge ma, a suo dire, perché la sua fede di cristiano gli impedisce di battersi, affermazioni che generarono disgusto generale da parte di tutti i gentiluomini in circolazione e grandi battute umoristiche sulla stampa di opposizione.

E’ in questo momento che interviene il Principe de Curtis che scrive una lettera asciutta ma palesemente accusatoria di codardia ad Oscar Luigi Scalfaro che, tra l’altro, ha anche il titolo nobiliare di barone, del seguente letterale tenore:

Ho appreso dai giornali che Ella ha respinto la sfida a duello inviataLe dal padre della signora Toussan, in seguito agli incidenti a Lei noti.

La motivazione del rifiuto di battersi da Lei adottata, cioè quella dei principi cristiani, ammetterà che è speciosa e non fondata: il sentimento Cristiano, prima di essere da Lei invocato, per sottrarsi ad un dovere che è un patrimonio comune di tutti i gentiluomini, avrebbe dovuto impedire, a Lei e a Suoi Amici di fare apprezzamenti in un pubblico locale sulla persona di una Signora rispettabilissima.

Abusi del genere comportano l’obbligo di assumerne le conseguenze, specialmente per uomini responsabili, i quali hanno la discutibile prerogativa di essere segnalati all’attenzione pubblica, per ogni loro atto.

Non si pretende da Lei, dopo il rifiuto di battersi, una maggiore sensibilità per ciò che è avvenuto, ma si ha il diritto di esigere che in incidenti del genere, le persone alle quali il sentimento della responsabilità morale e cavalleresca è ignoto, abbiano almeno il pudore di sottrarsi al giudizio degli uomini, ai quali questi sentimenti e il coraggio civile dicono ancora qualcosa.

• Principe Antonio Focas Flavio Comneno de Curtis

Oscar Luigi Scalfaro non risponde alla lettera inviatagli dal Principe ma, come tutti coloro che non conoscono il significato della parola onore, trova metodi indiretti ed oscuri per ottenere la propria “vendetta”.

Intanto la questione, dopo i lazzi dei giornali, finisce in Parlamento con una serie di interrogazioni.

Il Presidente del Consiglio Alcide De Gasperi imbarazzatissimo si lascia scappare un “... qui rischiamo il ridicolo”.

Ma il barone Scalfaro non demorde e, a novembre, alla Camera partirà la sua crociata contro le donne che si espongono senza pudore (!).

Nel 1954 Oscar Luigi Scalfaro subentra a Giulio Andreotti nell’incarico ministeriale di controllo del cinema e dello spettacolo, cosiddetta “commissione censura” e, dopo il divieto ai minori di 16 e 18 anni e l’esclusione di film dal circuito del “Centro Cattolico Cinematografico”, arriva anche il divieto ai minori di 14 anni.

Ed ecco che si presenta l’occasione per “far scontare” a Totó quella lettera, intanto passata alla storia e, secondo lo storico del cinema Alberto Anile, Scalfaro ha ancora “il dente avvelenato” a seguito di quella pubblica umiliazione essendo stata, la lettera, pubblicata sui giornali dell’epoca.

Il critico cinematografico Ranieri Polese scriverà: “… i guai di Totò si moltiplicano.

Si creano problemi per “I soliti ignoti” (titolo originario bocciato, “Le madame”), per “I due marescialli” e per “Chi si ferma è perduto”. Prevedibili difficoltà incontra “Arrangiatevi !” girato in una ex casa di tolleranza.

Ma l’episodio più bizzarro tocca a “Totò, Peppino e la dolce vita” del 1961 che sconta gli ultimi rigori della vecchia legge e le vendette dei censori che nulla avevano potuto fare contro il quasi omonimo film di Fellini.

Cadono fotogrammi di feste, si cancellano battute sui ministri che deviano l’autostrada per contentare i propri elettori, si cassano allusioni alle ‘polverine’, i giochi di parole con i Proci.

Insomma, un’ecatombe !”.

*Valentina Carnielli

Lo “scandalo del prendisole” ebbe così tanta risonanza che Federico Fellini ne parlerà in un episodio di “Boccaccio 70”.

(Suggerito da Manolo Nispi )

17 notes · View notes