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perfettamentechic · 2 months
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27 febbraio … ricordiamo …
27 febbraio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic
2022: Nick Zedd, nome d’arte di James Harding, regista, attore e artista statunitense.  (n.1958) 2022: Ned Eisenberg, attore statunitense.  (n.1957) 2015: Leonard Nimoy, Leonard Simon Nimoy, è stato un attore, regista e sceneggiatore statunitense.  (n. 1931)2015: Richard Bakalyan, attore statunitense.(n. 1931) 2011: Amparo Muñoz, nata Amparo Muñoz Quesada, attrice e modella spagnola.  (n.…
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autumncottageattic · 2 years
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Stella Dallas is a 1937 American drama film based on the 1923 Olive Higgins Prouty novel of the same name. Stars Barbara Stanwyck, John Boles, and Anne Shirley.  
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pazzesco · 7 months
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George Nakashima
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George Nakashima’s Woodworker’s Retreat featured at the University of Pennsylvania
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The Nakashima Woodworker’s Retreat “Arts Building” was given to the Nakashima Foundation for Peace in 2001 by George’s widow Marion so that the Foundation would have a permanent home. It features a soaring plywood hyperbolic paraboloid roof cantilevered from stone buttresses over two glass walls, built around a small pond and facing a series of small rooms known as the “Cloister,” harking back to the monastic tradition which so inspired Nakashima. It is used for concerts and events for peace, and houses prototype furniture and archival material, some of which will be turned over to the Michener Museum for research, reference and preservation.
National Historic Landmark nomination for the Nakashima complex
George Nakashima’s Vision
“A while back there appeared a great bole of a tree, a Walnut. It was about five feet in diameter (1.5M) at the small end, about seven (2.1M) at the flare, and twelve (3.6M) long, with extraordinary characteristics. In a small but firm voice the bole asked to be realized; two adjoining slabs opened to make an extraordinary table, roughly twelve feet (3.6M) long by the same dimension wide, weighing almost 1 ton. Gradually a few people became interested in the project and suggested we make six Altars—one for each Continent. It will be a symbol, a token of man’s aspirations for a creative and beautiful peace, free of political overtones; an expression of love for his fellow man. We have become so basically disoriented with our blind faith in science and technology without spirituality, it brought us to our pit of madness.
A symbol is needed—something tangible, like the toe of St. Peter’s statue in the Vatican. This symbol might be the object of a transcontinental or trans-world Peace March. At the end of this pilgrimage, a celebration: A rose or lotus placed on it; songs sung, each in his own tongue; Zen chants so strong; possibly the Day of Existence, a chant to music—spheric in line, spiritual and sad—composed by my ‘brother’ Ivan Wyschnegradsky; Sadhu friends from South India congregating; and monks and others from all over the world who are interested in a higher and deeper consciousness. There is little chance that peace can be achieved politically. There is, at best, a balance of terror; a balance of egos; a balance of demands. Enthusiastic contagion would be useful, as peace the world over is uppermost in our consciousness. It must be a joyous peace, not a fear or absence of war. It is a question of surrender. A surrender to the Divine Consciousness to end in a most beautiful aura of love.”
George Nakashima October 1, 1984
A Black Walnut Dream: George Nakashima's "Altars of Peace"
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 The name of George Nakashima is as famous for its contributions to design philosophy as it is for its artistry. As a woodworker, furniture maker, designer, and architect, Nakashima has enough titles to cement his place as the father of the American Craft Movement. But around the world, a separate legacy follows the renowned Japanese-American craftsman: his interest in world peace and  humanitarianism through design. Here we explore a project that was particularly close to his heart.  
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George Nakashima admiring the finished Altar in the Arts Building on the Nakashima compound before sending it to the Cathedral of St. John the Divine, in New York.
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citizenscreen · 22 days
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John Boles and Claire Trevor rehearsing a love scene for George Marshall’s WILD GOLD (1934)
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episodicnostalgia · 7 months
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Star Trek: The Next Generation, 109 (Nov. 21, 1987) - “Hide and Q”
Written by: C.J. Holland & Gene Roddenberry Directed by: Cliff Bole
The Breakdown
Q makes his first return appearance, but this time he decides he’s going to pick on Riker, since Picard is a boring rule follower. Initially Q brings Riker (along with a few select bridge crew) to another plane-of-existence to play some kind of war simulation. After making the participants suffer grisly and painful deaths, Q decides to undo it all, and instead levels Riker up with the power of unbridled omnipotence.  Initially Riker does try to resist the temptation to do literally anything he wants, but his resolve is tested when a young child dies on a rescue mission, which leads Riker to thinking “hey technically I could actually do a lot of good with these new powers.” And in fairness, he’s kind of got a point.
So what does Riker do with his new godhood?  Of course first-things-first, he proceeds to bring the little girl back to life before reuniting her with her fami- Just kidding, lol. No, instead he offers his friends a round of good old fashioned wish fulfilment.  Riker proceeds to offer Geordie his sight back, Worf a violently horny Klingon woman, and Wesley a ripped-and-slightly-older body.  To his astonishment the entire crew turn down their gifts almost without hesitation, possibly because of their strong moral centre, but also possibly because Q is clearly playing at some kind of contrived moral lesson about humanity, and playing into his hands is generally unwise.  Realizing the error of his ways, Riker surrenders his new powers, and literally no one mentions the little dead girl ever again.  Meanwhile Q is dragged away screaming by the Q-continuum, because apparently he didn’t get the proper permits to visit the humans. I’m sure that’s the last we’ll see if that guy!
The Verdict
The concept is sound enough, as far as morality plays go, but the execution culminates in a missed opportunity to delve into some more interesting questions. Do I think Riker should possess the power of a god? No. But surely the life of an innocent child should yield greater consideration than Wesley’s desire to be a grown up. All things considered, ‘Hide and Q’ is just kind of weak, if amusing in it’s own right.
John de Lancie is starting to lean more into the trickster god vibes this time around, which I do enjoy, although still a little over-the-top, but then so is everyone else.
2 stars (out of 5)
Additional Observations
Lt. Yar has a thing for a sensitive Picard, and maybe also Worf? During Q’s games she’s sidelined and made to wait on the ship (with her life potentilally on the line).  Picard offers his moral support and she’s basically like “Wow you really are the whole package.  If ONLY you weren’t also my captain”.  And maybe it’s just me, but later when Worf is offered his potential Klingon mate, Tasha seems a bit jealous. I guess she can’t deny a strong forehead.
Wesley gets impaled, but words can’t do it justice.
Worf’s acrobatic leap over the bridge railings has got to be one of the most unintentionally hilarious pieces of acrobatics in television history. I love it with all my heart.
The bridge crew are all a little TOO impressed with adult Wesley.
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byneddiedingo · 5 months
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Irene Dunne and John Boles in Back Street (John M. Stahl, 1932)
Cast: Irene Dunne, John Boles, George Meeker, Zasu Pitts, June Clyde, William Bakewell, Arletta Duncan, Doris Lloyd, Paul Weigel, Jane Darwell, Shirley Grey, James Donlan, Walter Catlett, James McWade. Screenplay: Gladys Lehman, Lynn Starling, based on a novel by Fannie Hurst. Cinematography: Karl Freund. Art direction: Charles D. Hall. Film editing: Milton Carruth. 
The 1932 version of Back Street (the first of three films Hollywood made from Fannie Hurst's novel) suggests that there are some things you couldn't say even in a pre-Code movie. Ray Schmidt (Irene Dunne) and Walter Saxel (John Boles) have fallen in love, but he's engaged to a woman of whom his mother approves. He thinks that if his mother meets Ray, she might be inclined to let him break off the engagement and marry her instead. But on the day of the scheduled meeting, Ray's sister, Freda (June Clyde), comes to her in distress: The man she's been seeing is leaving town and she desperately needs Ray's help in persuading him to stay. If he doesn't, she tells Ray, she'll kill herself -- and she opens a window to prove the point. Why is Freda so desperate? The answer becomes apparent with an exchange of Meaningful Glances: She's pregnant. The word or any of its variants is never spoken. So Ray misses the meeting with Mother and loses the chance to marry Walter. Years pass and Ray and Walter meet again, after he's married and become a wealthy businessman. He sets her up in an apartment as his mistress, which she tolerates for a time until she realizes what she's lacking in life and begs him, "Walter, give me a child." Walter is shocked at the very idea. The mechanics of an illicit sexual relationship, including the veiled subject of contraception, are summed up in the reticence around Freda's plight and Ray's plea to Walter, which sounds a bit like she wants him to go down to the baby store and pick one off the shelf. Euphemisms aside, your acceptance of the movie depends to some degree on whether you enjoy watching Dunne, an actress who can slip into coyness and archness. The film gives her a gamut to run, from the flirtatious Ray who likes to drink beer with the fellows in the early part of the film, to the nobly suffering kept woman of the later part. Boles is a little stiff in his role, though that rather suits the character. On the whole, Back Street is a solid "woman's picture" of the kind that would be treated with more life and color by filmmakers like Douglas Sirk in the 1950s. 
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davidisen · 3 months
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Music Safari: New Braunfels TX, February, 2024!
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I hadn't seen the Choro das 3 sisters for several months and I was missing them. They were playing in New Braunfels TX, about an hour south of Austin, on Friday, February 2, and I hadda be there.
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The gig was produced and hosted by monster piano player Bill McNally, who teaches in the music department at Texas State University in New Braunfels. Last summer, Bill showed up at my place in Woods Hole at the suggestion of fellow ragtime piano monster, Dalton Ridenhour, to play the Steinway in my house that was rebuilt from the soundboard out by piano genius David Stanwood. The above shows Corina, from Choro das 3, and Bill McNally, playing a piece by Ernesto Nazareth.
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Here's Corina, Bill and Elisa.
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On Saturday, Bill took us to the monthly meeting of the San Antonio Ragtime Society. A half dozen members took turns, each playing a ragtime piece. So much talent! Of special note (pardon pun), the kid on the left played the first part of The Entertainer with courage and promise. Also, the fellow in the white jacket, fourth from right, is Michael Chisholm, who was greeted by members of the Ragtime Society members as a prodigal son. He had just returned from seven years in California. He played several ragtime compositions with world-class talent and feeling.
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The choro sisters wowed the audience of talented musicians! The members of the Ragtime Society totally got the "family resemblance" between ragtime and chorinho.
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The San Antonio Ragtime Society met at the Steinway Gallery in north San Antonio. So many pianos! Front to back, that's Elisa, Corina and Lia of Choro das 3.
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A trip down Steinway Street . . .
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On Saturday, we all went to the New Braunfels farmer's market. Lia, and the sisters' dog Bibi, each got new hats.
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The New Braunfels area was settled by German immigrants in the late 1800s, and the town remembers. The culture is apparent in the food and the music. At Krausés restaurant, which seems to be at the center of the culture, in the center of town, we found this accordion duet - Glynis and Walt Harfmann - to provide polkas and waltzes as we had lunch.
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On Saturday evening, we discovered a house concert, hosted by Jean Wilson, starring singer-songwriter C. Daniel Boling. Daniel is a great song writer (who collaborates a lot with Tom Paxton). His songs reminded me of Bill Staines and Chuck McCabe, with a dose of John Prine mixed in. He was a good musician, and a charming performer. I was smiling all night long. The sisters' English is good enough for them to appreciate the subtle crafting of the lyrics, and even the double-entendres. Jean was a great host, the lake behind the house was lovely and the whole experience was entirely delightful.
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It was time for me to go to the airport, but first, a group picture. That's Corina, Elisa, me, Lia and Cristina (the mom). And their RV. We didn't say goodbye, we said, "Até a próxima!"
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Back Street
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Call me cynical, but I’ve never had much patience for the plot of BACK STREET. The woman who lives without job or friends and even gives up a wealthy suitor so she can be the kept plaything of a wealthy businessman who neglects her horribly didn’t work for me in the 1941 version when Margaret Sullavan was waiting around for Charles Boyer, someone who was worth waiting around for. When Ross Hunter remade the story in 1961, he had the good sense to make the protagonist (Susan Hayward) a successful career woman, though she seemed rather shallow pining over John Gavin, a lox of an actor if ever there was one. I kept wanting her to ditch him and run off with his wife (Vera Miles). They’d have made a lovely couple.
Anyway, that’s the long way round to my watching John Stahl’s original 1932 version on the Criterion Channel (also on YouTube).  Stahl is probably the best of the three directors to tackle the Fannie Hurst novel (the others were Robert Stevenson in 1941 and David Miller in 1961). He directs the film for naturalism, helped greatly by the genteel underplaying of Irene Dunne and John Boles. There are some graceful camera movements engineered by Karl Freund, particularly in an opening scene tracking over guests at a beer garden before settling on Dunne and the salesman with whom she’s flirting. It sets up a sense that this is one of many stories on which the film could have focused. He also makes good use of objects, particularly in the climactic scene. Dunne is a charming actress and playing her character as a flirt in the early scenes almost makes her acceptance of Boles’ emotional neglect believable. But she’s also an intelligent actress, so after a while, particularly when confronted with a neighbor (Shirley Grey) who’s also being kept by a married man, you wonder why she’s putting up with all this. I mean, love can only go so far, and you have to question the devotion of a man who forgets to send his mistress financial support while he’s vacationing in Europe with his wife. The film features supporting work from Zasu Pitts, June Clyde, Jane Darwell and Walter Catlett along with terrific costumes by Vera West, who captures not just changing periods but the changes in Dunne’s character as she ages.
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pearlsoflongago · 4 months
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December Botanicals
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Pine-Trees And The Sky: Evening
I'd watched the sorrow of the evening sky, And smelt the sea, and earth, and the warm clover, And heard the waves, and the seagull's mocking cry. And in them all was only the old cry, That song they always sing—"The best is over! You may remember now, and think, and sigh, O silly lover!" And I was tired and sick that all was over, And because I, For all my thinking, never could recover One moment of the good hours that were over. And I was sorry and sick, and wished to die. Then from the sad west turning wearily, I saw the pines against the white north sky, Very beautiful, and still, and bending over Their sharp black heads against a quiet sky. And there was peace in them; and I Was happy, and forgot to play the lover, And laughed, and did no longer wish to die; Being glad of you, O pine-trees and the sky!
—Rupert Brooke
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Firwood
The fir trees taper into twigs and wear The rich blue green of summer all the year, Softening the roughest tempest almost calm And offering shelter ever still and warm To the small path that towels underneath, Where loudest winds—almost as summer's breath— Scarce fan the weed that lingers green below When others out of doors are lost in frost and snow. And sweet the music trembles on the ear As the wind suthers through each tiny spear, Makeshifts for leaves; and yet, so rich they show, Winter is almost summer where they grow.
—John Clare
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Blow, Blow, Thou Winter Wind
Blow, blow, thou winter wind, Thou art not so unkind As man’s ingratitude; Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. Heigh-ho! sing, heigh-ho! unto the green holly: Most friendship is feigning, most loving mere folly: Then, heigh-ho, the holly! This life is most jolly.
Freeze, freeze, thou bitter sky, That dost not bite so nigh As benefits forgot: Though thou the waters warp, Thy sting is not so sharp As friend remembered not. Heigh-ho! sing, heigh-ho! unto the green holly: Most friendship is feigning, most loving mere folly: Then, heigh-ho, the holly! This life is most jolly.
—William Shakespeare from As You Like It
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Of the Christmas Rose (Hellebore)
There are three sorts of blacke Hellebor or Beares foote, one that is the true and right kinde, whose flowers haue the most beautifull aspect, and the time of his flowring most rare, that is, in the deepe of Winter about Christmas, when no other can bee seene vpon the ground…
—from Paradisi in Sole, Paradisus Terrestris, 1629, by John Parkinson
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The Holly
The sturdiest of forest-trees With acorns is inset; Wan white blossoms the elder brings To fruit as black as jet; But O, in all green English woods Is aught so fair to view As the sleek, sharp, dark-leaved holly tree And its berries burning through? Towers the ash; and dazzling green The larch her tassels wears; Wondrous sweet are the clots of may The tangled hawthorn bears; But O, in heath or meadow or wold Springs aught beneath the blue As brisk and trim as a holly-tree bole With its berries burning through? When hither, thither, falls the snow, And blazes small the frost, Naked amid the winter stars The elm's vast boughs are tossed; But O, of all that summer showed What now to winter's true As the prickle-beribbed dark holly tree, With its berries burning through!
—Walter de la Mare
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streamhour9 · 2 years
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You may Thank Us Later - 3 Reasons To Cease Excited about Color Wheel Fashion Clothes
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sculpture-allotopus · 4 years
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The Love of Sunya (1927)
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perfettamentechic · 1 year
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27 febbraio … ricordiamo …
27 febbraio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic
2022: Nick Zedd, nome d’arte di James Harding, regista, attore e artista statunitense che ha svolto gran parte della sua attività nella città di New York. Nel 1985 ha scritto il Manifesto del Cinema della trasgressione coagulando attorno a questa etichetta un movimento di registi che usavano tematiche scioccanti ed umorismo nero. Sotto vari pseudonimi, Zedd ideò e pubblicò la rivista Underground…
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autumncottageattic · 2 years
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Stella Dallas is a 1937 American drama film based on the 1923 Olive Higgins Prouty novel of the same name. Stars Barbara Stanwyck, John Boles, and Anne Shirley.
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fourorfivemovements · 5 years
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Films Watched in 2019:
67. The Last Warning (1928) - Dir. Paul Leni
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citizenscreen · 5 years
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Flicker Alley and Universal Pictures present Paul Leni's THE LAST WARNING (1929)
Flicker Alley and Universal Pictures present Paul Leni’s THE LAST WARNING (1929)
Horizons will be broadened when you watch a movie from the perspective of a master. That’s what happened to me as I watched Paul Leni’s The Last Warning recently released by Universal Pictures and Flicker Alley in a new 4K restoration deluxe Blu-ray/DVDedition. The film features Laura La Plante, Montagu Love, Margaret Livingston, and John Boles, but the star is Leni’s inventive camera, a fitting…
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mrci · 5 years
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