#tony gaudio
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Hal Mohr** is the only person to have won a competitive Academy Award without being nominated for it. Mohr was allowed to keep his Oscar and won a second.
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i don't understand what the point of shucked is but i saw quinn vanantwerp on my tv tonight so that made me happy
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Kay Francis, Warner Oland, and Ricardo Cortez in Mandalay (Michael Curtiz, 1934)
Cast: Kay Francis, Ricardo Cortez, Warner Oland, Lyle Talbot, Ruth Donnelly, Lucien Littlefield, Reginald Owen, Etienne Giardot, David Torrence, Rafaela Ottiano, Halliwell Hobbes, Bodil Rosing, Herman Bing. Screenplay: Paul Hervey Fox, Austin Parker, Charles King. Cinematography: Tony Gaudio. Art direction: Anton Grot. Film editing: Thomas Pratt. Music: Heinz Roemheld.
You get what you might expect from a movie titled Mandalay: Orientalist hooey, with lots of gun-running and opium dealing in sleazy night clubs, with expat Europeans and Americans fleecing tourists with the aide of sinister Eurasians. (There was no other kind of Eurasian in Hollywood movies of the '30s; here they're played by Warner Oland, who made a career of the type before going straight into yellowface as Charlie Chan, and Rafaela Ottiano, who filled the bill whenever Gale Sondergaard was unavailable.) Kay Francis does what she can with a role that doesn't make a lot of sense: She's the Russian-born Tanya Borodoff, who has somehow fallen in love with Tony Evans (Ricardo Cortez), a gun-runner and all-around heel. When he dumps her, she becomes Spot White (no, I don't get the name either), the madam of the sleazy night club in Rangoon run by Nick (Oland). She doesn't want to fall that far from grace, but needs must. When she's threatened with deportation to Russia by the police commissioner (Reginald Owen), she blackmails him by reminding him that they once had a night together when he was drunk, and that she has her garter adorned with his medals to prove it. He gives her the money she needs to leave Rangoon and head for the "cool green hills" near Mandalay. Now calling herself Marjorie Lang, she boards a paddle-wheel steamer upriver, on which she meets an alcoholic doctor (Lyle Talbot) who intends to atone for accidentally killing a patient by working with black fever patients in the jungles. They hit it off and she helps him sober up, but, wouldn't you know it, Tony Evans resurfaces on the very steamer. This sounds like a lot more fun than it is, although Michael Curtiz's professionalism and Tony Gaudio's cinematography gives it some occasional finesse. Francis slinks about nicely -- a woman passenger tells her, "You certainly can wear clothes" -- but she doesn't have the spark she fires in her best roles, perhaps because Cortez and Talbot are such dull leading men. The ending is the sort of thing that would have the heads of the Production Code enforcers exploding, but even that isn't enough for me to recommend sitting through the rest of the movie.
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2013 Napa Valley A Cappella Extravaganza — VoicePlay live performances
In January 2013, VoicePlay were the professional headliners to a roster of collegiate and high school a cappella groups at the 8th annual Napa Valley A Cappella Extravaganza. The event is a yearly fundraiser for Napa High School's choral program, hosted by their Vocal Music Workshop a cappella ensemble. These audience-view videos give a taste of the live concert experience.
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As indicated by the "Hello!" screen, this song is often their opening number for live shows. It's a great, energetic introduction to their playful sound, but doesn't get too far into the shenanigans that might startle the uninitiated.
Details:
title: Don't Stop Me Now
original performers: Queen
written by: Freddie Mercury
arranged by: VoicePlay
My favorite bits:
the slow build that gently eases you into things
Their choreography's not elaborate, but they do it well, and it allows for a bit of individuality to shine through.
the breakdown section culminating with ♫ "Any tiiii-IIIIME" ♫
the driving triplets in the ♫ "No one can stop me" ♫ section
Earl's soaring riffs
That big finish!
Trivia:
This song was the closing section of VoicePlay's Queen in 5 Minutes medley almost six years later.
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As much as mainstream pop culture might turn up its collective noses at boy bands when they're at their height of popularity among tween girls, there's no denying that a lot of beloved oldies have their origins there. And no wonder. Pop music is darn catchy and fun by design. VoicePlay makes these selections even moreso with their antics.
Details:
title: boy band medley
original songs / performers: "ABC" by The Jackson 5; [0:50] "I Wanna Hold Your Hand" by The Beatles; [1:30] "My Girl" by The Temptations; [2:18] "Sherry" by The Four Seasons; [3:16] "YMCA" by The Village People; [3:50] "You Got It (The Right Stuff)" by New Kids on the Block; [4:12] "I Want It That Way" by Backstreet Boys; [4:52] "Bye Bye Bye" by *NSYNC; [5:23] "What Makes You Beautiful" by One Direction
written by: "ABC" by Berry Gordy, Freddie Perren, Alphonzo Mizell, & Deke Richards; "I Wanna Hold Your Hand" by John Lennon & Paul McCartney; "My Girl" by Smokey Robinson & Ronald White; "Sherry" by Bob Gaudio; "YMCA" by Jacques Morali & Victor Willis; "You Got It (The Right Stuff)" by Maurice Starr; "I Want It That Way" by Andreas Carlsson & Max Martin; "Bye Bye Bye" by Kristian Lundin, Jake Schulze, & Andreas Carlsson; "What Makes You Beautiful" by Savan Kotecha, Rami Yacoub, & Carl Falk
arranged by: VoicePlay
My favorite bits:
thirty-something Earl being able to recreate the sound of preteen Michael Jackson, holy heck
the way the choreography gets more complex as they move through the eras of music
making hand gestures to signify members of the Village People during YMCA
"I hate you guys." :(
the ♫ "wah-wah-wah-wah" ♫ harmonies transitioning from NKOTB to BSB
hamming up their roles in the "Boy Band 101" section
🎉 Party poppers!!! 🎉 (Which they got in trouble for a year later.)
Trivia:
Having this medley in their repertoire may have given them an advantage when "Bye Bye Bye" was chosen as the battle song for their first episode of The Sing-Off.
Tony was, in fact, the first one from this configuration of VoicePlay to leave. Not to go solo, though. He wanted to be home with his family and focus on growing PattyCake.
The guys updated this medley and filmed a full music video for it as the result of a Patreon poll in 2019.
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What happens when you take a country music classic, kick up the tempo a bit, and infuse your performance with an air of competition between bandmates? You get this, a favorite among VoicePlay fans.
Details:
title: Elvira
original performers: The Oak Ridge Boys
written by: Dallas Frazier
arranged by: Geoff Castellucci
My favorite bits:
the opening harmonies from the trio
Eli nudging Earl to take the lead, resulting in Geoff going to pout next to Layne
Layne pointedly staying out of whatever's happening, but still keeping an eye on things
everyone's feigned surprise for the "Earl can sing low, too" gag, especially Geoff giving his best dramatic chipmunk
Earl's breath control on that long note and the ensuing huff to refill his lungs
Geoff's wide stance and shoulder wiggle to prepare for his high notes
those lush ending chords
Trivia:
Home Free liked this version of the song so much that they asked Geoff to help create an arrangement for them to record with The Oak Ridge Boys.
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You'd think a cappella fans might be sick of this song, given how frequently it was used on Glee. But, as usual, VoicePlay bring their own talented twists to this classic rock song and make it something fresh. This recording is missing the first verse, but it still has most of the best parts.
Details:
title: Don't Stop Believing
original songs / performers: "Don't Stop Believin'"; [0:54] "Open Arms"; and [1:02] "Any Way You Want It" by Journey; [0:46] "Oh Sherrie" by Steve Perry
written by: all songs written by Steve Perry in collaboration – "Don't Stop Believin'" with Jonathan Cain & Neal Schon; "Oh Sherrie" with Randy Goodrum, Craig Krampf, & Bill Cuomo; "Open Arms" with Jonathan Cain; "Any Way You Want It" with Neal Schon
arranged by: Layne Stein & Geoff Castellucci
My favorite bits:
the gradual layering in the polyphony section, using other Journey / Steve Perry songs to fit inside the rhythmic gaps…
…culminating in that huge chord (Are we sure there are only five of them?)
their use of silence during the unison section
the camera panning around to take in the well-deserved standing ovation
Trivia:
VoicePlay filmed a full video for "Don't Stop Believin'" a few years later when they were the featured guests at Camp A Cappella 2016.
They later did a full version of "Any Way You Want It" as part of the second round of their Partwork series.
For a couple years, Eli also sang with a Journey cover band called Raised On Radio in between VoicePlay gigs.
#VoicePlay#a cappella#live performance#Napa Valley A Cappella Festival#concerts#music#video#long post
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“On this eve of eves, when my own heart is overflowing with peace and kindness, I think it is most fitting to tell once again the story of that still and lustrous night.”
The Man Who Came To Dinner, 1942.
Dir. William Keighley | Writ. Julius and Philip G. Epstein | DOP Tony Gaudio
#the man who came to dinner#bette davis#kaufman and hart#william keighley#us film#1940s#screwball comedy#stage play adaptation
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The Red Pony (1949)
The Red Pony by LewisMilestone starring #RobertMItchum and #MyrnaLoy, "Every frame is a work of Technicolor beauty in this charmer"
LEWIS MILESTONE
Bil’s rating (out of 5): BBBB
USA, 1949. Republic Pictures, Lewis Milestone Productions, Chas. K. Feldman Group Productions Inc.. Screenplay by John Steinbeck, based on his novel. Cinematography by Tony Gaudio. Produced by Lewis Milestone. Music by Aaron Copland. Production Design by Nicolai Remisoff. Costume Design by Adele Palmer. Film Editing by Harry Keller.
This genuinely…
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#Aaron Copland#Adele Palmer#Beau Bridges#Chas. K. Feldman Group Productions Inc.#Don Reynolds#Harry Keller#Jackie Jackson#John Steinbeck#Lewis Milestone#Lewis Milestone Productions#Louis Calhern#Margaret Hamilton#Melinda Byron#Myrna Loy#Nicolai Remisoff#Nino Tempo#Peter Miles#Republic Pictures#Robert Mitchum#Shepperd Strudwick#Tommy Sheridan#Tony Gaudio
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Experiment Perilous
Hedy Lamarr turned down LAURA and GASLIGHT (both 1944) before agreeing to let MGM loan her to RKO for Jacques Tourneur’s EXPERIMENT PERILOUS (1944, Criterion Channel, TCM), a film combining elements of both. As in the former, the leading man (George Brent here) falls in love with the leading lady (Lamarr) after seeing her portrait, and though talked about extensively, she’s kept off-screen until well into the running time. As in the latter, it’s the tale of a woman whose husband (Paul Lukas) is trying to make her appear insane. The filmmakers even changed the setting of Margaret Carpenter’s novel from the present to 1903, ostensibly feeling the passive heroine wouldn’t be believable as a modern woman (had they seen other Hollywood films?), but possibly to ride on GASLIGHT’s coattails. The film is quite beautiful to look at, with Tourneur’s careful attention to period detail, Tony Gaudio’s shadowy photography and RKO’s art department turning studio streets into New York City in the winter. Sadly, any resemblance to GASLIGHT ends there. Lukas’ motivation for manipulating the leading lady, jealousy, isn’t as focused as Charles Boyer’s or Clifton Webb’s. Critics have suggested he’s trying to control her sexuality, but since she’s presented as beautiful but innocent, that doesn’t ring true. And Brent, in a role originally intended for first Cary Grant and then Gregory Peck, is a big neutron star of acting here. There are a lot of scenes in which he’s on-screen alone, and it’s like staring at nothing, which is a pity given his strong work opposite Bette Davis and Barbara Stanwyck. It’s a relief when the film moves into an extended flashback without him. Lamarr and many critics have hailed her performance as her best. She’s very effective when we first see her as Lukas’ nervous, uncertain wife and in the flashbacks in which she convincingly plays a wide-eyed country girl. But after a while it becomes clear that she isn’t really connecting to her co-stars. She turns to face the camera a little too often to create big dramatic moments with nothing behind them. And she has a confrontation that’s supposed to be climactic but seems as committed as her ill-advised Joan of Arc in the more ill-advised THE STORY OF MANKIND. Lukas, however, is very strong, even when the character makes no sense, and you also get good support from Albert Dekker as Brent’s sculptor friend, Olive Blakeney as Lukas’ sister, Margaret Wycherly as Brent’s maid, Stephanie Bachelor as the woman he dumps for Lamarr and Julia Dean as Lamarr’s maid.
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John Lloyd Young - Broadway Magic By The Bay
Just when I thought that there was no way John Lloyd Young could improve upon the perfection of his Broadway set - he did just that. And Northern Michigan will never be the same.
From the opening notes of "So You Wanted To Meet The Wizard" from The Wiz, JLY produced his own special magic and captivated a diverse audience at Great Lakes Center For The Arts, along the bay in Petoskey, Michigan. By the second song, "I Have Dreamed" from The King And I, he held everyone in the palm of his hand.
He was backed this evening by a powerful trio as well. On piano, and serving as musical director, was Andrew Hertz, joined by stellar local musicians Will Harris on drums and Jack Dryden on electric bass. I had seen Andrew accompany JLY at View Arts Center in Old Forge a few weeks ago, which was phenomenal. On this night with the band, it was even better. Watching him lead the other musicians on stage was a joy, and it was so seamless that you would have thought that all four of the men on stage had been working together forever. Hopefully there will be many more collaborations together in the future.
JLY assured everyone that there would be plenty of Jersey Boys material in this set, in addition to many Broadway classics that shaped his life and inspired him to reach for his own Broadway dreams. He then moved right into "Oh What A Night" as an appetizer for the JB fans, complete with audience participation.
One of the things I love about his Broadway set is how he shares backstories and information about all of the songs he has chosen, and he is well-versed in Broadway history. Sometimes there are also personal anecdotes, as was the case with "Till There Was You". JLY grew up watching The Music Man with his grandmother, and it sparked some dreams that wound up coming true for him. Just like Robert Preston, JLY originated a role on Broadway, won the Tony Award, and starred in the movie version for Warner Brothers. Always pay attention to your dreams - they lead the way! The Beatles arrangement of this song was the perfect choice for JLY voice.
His deep, rich version of "My Heart Stood Still" (from A Connecticut Yankee) was accompanied by stories of how Lorenz Hart came up with the idea for the song, along with song ideas in general. And then he told the story of being an usher for 42nd Street and hearing this next song every night, and the serendipity of having this song arranged for him a year later by Ron Melrose for Jersey Boys. "I Only Have Eyes For You" was truly breathtaking, and I hope we continue to hear it often.
The next song was an absolute showstopper. JLY listened to cast recordings as he was growing up, and he dreamed of getting to play Marius in Les Miserables one day. That day came after Jersey Boys, when he was asked to portray Marius at the Hollywood Bowl. It is always special to hear him sing the haunting "Empty Chairs At Empty Tables", and it moves me to tears every single time.
The next section of the show was dedicated to Jersey Boys, complete with stories of working with Clint Eastwood on set making the movie. So many cool insights, and humorous moments - sometimes all wrapped up into one. It will never get old hearing JLY sing "Can't Take My Eyes Off You", and it is always a special moment. We also were treated to "Walk Like A Man" (where we got to sing along), "My Eyes Adored You", and "Moody's Mood For Love". JLY shared a story about the latter, which was another serendipitous moment for him where he realized he was going to get the part on Broadway. (It's a sign!) When he performs it during his shows, you are transported right back to the movie scene, and totally understand why Bob Gaudio says that he needs to write for that voice.
I am so glad that this next song is now in JLY's Broadway set. He has performed it in other sets before, but it is the ideal song to honor the inspiration he got from Nell Carter during his childhood. His full vocal range is showcased on "Mean To Me" from Ain't Misbehavin', and is so stunning that it completely blew everyone away. I hope he records this one at some point, because it's something you definitely want to hear over and over again.
It's always fun when JLY comes out into the audience, especially for "One Last Kiss" (from Bye Bye Birdie). Of course we all enjoy participating in this one as well! It takes a lot of stamina to work your way around a room of this size, especially while while singing. He always makes it look effortless as he enjoys every moment along with us.
Another song that I am glad to see back in this set is "The Impossible Dream" from Man Of La Mancha. JLY's arrangement and performance of this song is just the inspiration we all need in times like these, and I know I can personally relate to it as well. The emotion, combined with his powerful voice, will get you every time.
We finished the evening on our feet for "Sherry", and JLY had fun with all of us on this as well. This multi-faceted set is truly stunning, thrilling not only those of us who regularly attend shows, but also all of the new people who got to experience one of his performances for the first time, and couldn't say enough wonderful things about him. Here's to more performances here in the future - and to many more across the country and around the world, in both familiar and new venues. The world is gonna hear that voice...and I'm so happy that we are all a part of this journey!
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2023 INFI Awards
The First Bank of Greenwich hosted its first Influencer Awards (INFI Awards) event on Tuesday, February 28th at The J House. Identifying problems and coming up with creative solutions is what the Bank’s President and CEO, Frank Gaudio, does best.
After recognizing the need for the Bank to build a better online presence, Gaudio decided to reach out to the leading Influencers in the area for assistance. From Port Chester to Stamford, and everywhere in between, 25 of the most well-known were invited and recognized by the Bank as a “Best Influencer” in their respective areas. The Bank will feature these individuals and organizations throughout the year in various collaborations and community events.
The First Bank of Greenwich is a True Community Bank committed to delivering first rate customer service. Remaining involved with the community and its major players is a topmost priority. The Bank was named “Best Community Bank” by The Greenwich Sentinel in recognition of their investment in the community and reputation for putting people first.
The First Bank of Greenwich provides the products and services of a national bank with the addition of real bankers offering personalized attention and steadfast loyalty to their customers. The First Bank of Greenwich believes a strong bank helps maintain a strong community. Visit First Bank of Greenwich online (greenwichfirst.com) or at one of 3 branches in Fairfield and Westchester County to learn more about how First Bank of Greenwich can help you.
Click here to view photos of the event by Marilin Cardona, Stamford Branch Assistant Manager at The First Bank of Greenwich.
The 2023 Award Recipient List:
Party with Moms, LLC; Tamar Lurie Group/Coldwell Banker; Val's Putnam Wines & Liquors; Greenwich Lifestyle Magazine; It's All In The Details, LLC; Davis Management; Greenwich Point Marketing; Hybrid Media; Carrie Brudner PR; Westfair Productions; Greenwich Chamber of Commerce; The First Bank of Greenwich; Hey Stamford!; The Greenwich Sentinel; Synergy1 Holdings; Tony's at The J House; Stamford Chamber of Commerce; The Stamford Partnership; Westchester Magazine; Port Chester Rye Brook Chamber of Commerce; Greenwich/Rye Neighbor; Today Media; Greenwich Girl; Tiger Lily Events; Moffly Media; Greenwich Moms; Marcia Selden Catering
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Lp disentri
Unfortunately, Topix Records went bankrupt in mid-1961, and Crewe became an independent producer, a la Phil Spector.īy now the group had renamed themselves The Four Seasons, after a Union, NJ bowling alley where the group tried - and failed - to get a job as the house group for the alley's lounge. Gaudio introduced the group to Crewe, who was knocked out by their sound, and used them as backing vocalists on records by Hal Miller and The Rays and Turner Disentri (who was really Bob Gaudio). Gaudio was working with successful producer Bob Crewe, making records for Crewe's Topix label. Their fortunes changed in 1961 when a friend of the group's, Joe Pesci (yeah, that Joe Pesci), introduced them to Bob Gaudio, who had recently left The Royal Teens (of "Short Shorts" fame). After making one more single for Epic in 1957 (a record so rare that mint copies go for about 1500 bucks), the group dropped their name and played the NJ club circuit under various other names (The Four Passions, Frankie Valli and The Romans) and recording the occasional single ("Come Si Bella" as Frankie Valle and The Romans on Cindy, "Please Take A Chance" as Frankie Valley on Decca). They had a hit almost immediately with "You're The Apple Of My Eye", but the six follow up singles (and an LP, "Joyride") stiffed, and RCA dropped the group a year later. They changed their name to The Four Lovers, and signed with RCA Victor in 1956. Frankie Valli started out as a solo, waxing his first record for the Corona label in 1953 ("My Mother's Eyes") and then hooking up with NJ lounge group The Varietones. I don't know if Tommy DeVito's a gangster or not (I've never met the man personally), but I do know quite a bit about the Seasons' history. Then he pointed to Tommy DeVito and said, "you tink you know dat guy? He's just a singer, right? No, you don' know dat guy, dat guy's a gangster!! He'll rob ya as soon as look at ya!!" He never really mentioned records or music in conversation (so of course we had NOTHING to talk about), but he looked at the LPs and said, "Oh, you like dese guys? You know dat I know dese guys, right?" At first I thought he was bullshitting me, but then he said, "yeah, Nick Massi, dat's my cousin, his real name's Macioce" and told me about the family. My aunt's husband was a good guy, but he was definitely one of those Nicky Newark types - with the leather jacket, perfect Italian hair (exactly like John Travolta in Saturday Night Fever) and the Joe Pesci-style voice, constantly saying things like "I know a guy dat can take carradat faw ya" and "You tink you know dis guy? You don' know dis guy! Dis guy'll KILL ya! He'll hitcha wit' a friggin' BAT!" Anyway, one night, when I was about 17, my aunt came over with her husband, and he saw that I had some Four Seasons records out. Whenever I go to Tony's Barber Shop in Belleville, there's always at least ONE old paisan talking about Frankie - "VALLI? DAT GUY'S SO CHEAP, HE'S STILL GOT HIS FRIGGIN' COMMUNION MONEY!!!"Īnother connection I had to The Four Seasons was more personal - one of my aunts was married for a time to one of the cousins of Nick Massi, original bass player for the Seasons until he left abruptly in 1965. Hell, Frankie Valli himself used to fill up his car at my dad's old gas station on Union Avenue in Belleville (using his credit card that said "Seasons' Four, Inc." - my dad used to save the receipts for my mom). I know the exact spot where the "Lookin' Back" LP cover was shot (down on the old Newark City Subway tracks, just past the Grafton Avenue bridge). I have been to Stephen Crane Village (on the Newark/Belleville border - where Valli was from) on numerous occasions - it's a slum, always has been a slum, and always will be a slum. Unlike most folks, I don't have to look through the glass wall that Broadway provides for the tourists to get into the "real" story of the Seasons. In fact, the Philips Records logo was one of the first ones I can really remember becoming fascinated with. Their records were everywhere - in my dad's closet, at my aunt's house, in local garage sales and flea markets, they're even in old family photos. I constantly heard their songs on the radio. Everyone from that area (everyone I knew) talked about them. A couple of weeks ago, my sister took my parents into New York City to see the Broadway production of "Jersey Boys" - which (if you've been living under a rock for the last four years) is the story of Frankie Valli and The Four Seasons.
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THE MASK OF FU MANCHU (1932) - Episode 124 - Decades of Horror: The Classic Era
“The slightest move will send a bullet crashing through your stiff British spine.” What’s all this, then? Join this episode’s Grue-Crew – Whitney Collazo, Chad Hunt, Daphne Monary-Ernsdorff, and Jeff Mohr – as they discuss another pre-code vehicle for Boris Karloff, The Mask of Fu Manchu (1932).
Decades of Horror: The Classic Era
Episode 124 – The Mask of Fu Manchu (1932)
Join the Crew on the Gruesome Magazine YouTube channel!
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https://youtube.com/gruesomemagazine
ANNOUNCEMENT
Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL
Which all now include video episodes of The Classic Era!
Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website.
Across All OTT platforms, as well as mobile, tablet, and desktop.
https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/
Englishmen race to find the tomb of Genghis Khan before the sinister Fu Manchu does.
Director: Charles Brabin
Writers: Irene Kuhn, Edgar Allan Woolf, & John Willard (screenplay); Sax Rohmer (from the story by)
Cinematography by: Tony Gaudio (photographed by)
Costume Design by: Adrian (gowns)
Makeup Department: Cecil Holland (makeup artist) (uncredited)
Special Effects by:
Warren Newcombe (special effects) (uncredited)
Kenneth Strickfaden (special effects electrician) (uncredited)
Cast
Boris Karloff as Dr. Fu Manchu
Lewis Stone as Sir Denis Nayland Smith
Karen Morley as Sheila Barton
Charles Starrett as Terrence Granville
Myrna Loy as Fah Lo See
Jean Hersholt as Dr. Von Berg
Lawrence Grant as Sir Lionel Barton
David Torrence as McLeod
C. Montague Shaw as Curator Dr. Fairgyle (uncredited)
E. Alyn Warren as Goy Lo Sung (uncredited)
Chad is familiar with Fu Manchu as Shang-Chi’s father in The Hands of Shang-Chi: The Master of Kung Fu series of comics. When he saw that The Mask of Fu Manchu was available on the Classic Horror Movie Channel, he decided it was a good time to learn more about the genesis of the character and chose it for this episode. He describes the film as unquestionably racist and, as a pre-code film, it’s also a bit on the racy side. If, he promises, you’re able to get past the racism in The Mask of Fu Manchu, you’ll find a good adventure story that is reminiscent of the old serials.
Daphne is a fan of Myrna Loy from her appearances in the Thin Man series of films and loves the costumes she wears in The Mask of Fu Manchu. Even though the blatant racism makes it hard to watch, she enjoys the manufactured perils the characters are subjected to and finds it to be a fun adventure movie. For Whitney, the aesthetics are as wild as the adventure and really sucked her into The Mask of Fu Manchu. She is also glad Karloff uses his authentic voice rather than going for an Asian accent. Myrna Loy is a newfound love for Jeff and he points out that Karen Morley’s character figures out the danger before any of the other characters but no one listens to her warnings.
The talk of the yellow peril and conspiracies to destroy the white race aside, The Mask of Fu Manchu, with its alligator-pit perils and Strickfaden electromagic, is a fun ride. As of this writing, The Mask of Fu Manchu is available to stream from the Classic Horror Movie Channel and various PPV options.
Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule is one chosen by Jeff: The War of the Worlds (1953)!
Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the site or email the Decades of Horror: The Classic Era podcast hosts at [email protected]
To each of you from each of us, “Thank you so much for listening!”
Check out this episode!
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Our patrons voted and we dutifully answered: this month's horror adjacent episode dives into THE MASK OF FU MANCHU (1932) starring Boris Karloff as the titular "Yellow Peril incarnate" character!
Discussions of cultural fears, author Sax Rohmer, Orientalism and more abound in this bonus episode. Enjoy!
Context setting 00:00; Synopsis 1:26:54; Discussion 1:36:33
#podcast#horror#horror adjacent#fu manchu#the mask of fu manchu#the mysterious dr fu manchu#sax rohmer#charles brabin#irene kuhn#edgar allan woolf#charles vidor#john willard#boris karloff#myrna loy#tony gaudio#ben lewis#cosmopolitan productions#william randoplh hearst#metro goldwyn mayer#genghis khan#lewis stone#karen morley#charles starrett#jean hersholt#lawrence grant#yellow peril#orientalism
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Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared
The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!
#ACLA24#ACLA24Leaders#youtube#youtube video#climate leaders#climate solutions#climate action#climate and environment#climate#climate change#climate and health#climate blog#climate justice#climate news#weather and climate#environmental news#environment#environmental awareness#environment and health#environmental#environmental issues#environmental justice#environment protection#environmental health#Youtube
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The Adventures of Robin Hood (1938)
“It's injustice I hate, not the Normans.”
Directors: Michael Curtiz & William Keighley
Cinematographers: Tony Gaudio & Sol Polito
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Bette Davis in The Letter (William Wyler, 1940)
Cast: Bette Davis, Herbert Marshall, James Stephenson, Frieda Inescort, Gale Sondergaard, Bruce Lester, Elizabeth Inglis, Cecil Kellaway, Victor Sen Yung, Doris Lloyd, Willie Fung, Tetsu Komai. Screenplay: Howard Koch, based on a play by W. Somerset Maugham. Cinematography: Tony Gaudio. Art direction: Carl Jules Weyl. Film editing: George Amy, Warren Low. Music: Max Steiner.
As Tony Gaudio's camera travels across the Malayan rubber plantation we hear shots being fired, and as we track closer we see Leslie Crosbie (Bette Davis), coming down her front steps with a grimly determined look on her face, firing the remaining bullets from her revolver into a man on the ground. And we sit back and relax and think, "Oh, yeah, Bette's here. This is gonna be good." Davis is one of the few stars who can almost always make us feel this way -- maybe Cary Grant or Barbara Stanwyck for me -- who else for you? And it is good, perhaps the best of the three films Davis made with William Wyler. For me, Jezebel (1938) is too steeped in the Hollywood Old South myth, and The Little Foxes (1941) too hamstrung by Lillian Hellman's dramaturgy. This one has a very fine screenplay by Howard Koch that deftly steps on and around the restrictions placed on it by the Production Code. For one thing, Leslie has to be punished for her crime, which involves not only murder but also, with the help of her lawyer, Howard Joyce (James Stephenson), suborning justice. (Joyce somehow gets off scot-free, though with an embittered conscience.) Wyler got a bad rap from the auteur critics like Andrew Sarris, who found his technical skills insufficiently personal. But we see something of Wyler's daring early in the film as Leslie is recounting her version of why she shot Geoffrey Hammond to her lawyer, her husband (Herbert Marshall), and a government official (Bruce Lester) who has been called to the scene. Wyler chooses to shoot a long segment of Leslie's story with the backs of Leslie and the three men to the camera: We don't see their faces, but only the room where the initial shooting took place. The effect, relying heavily on Davis's voice acting and Koch's script, is to place Leslie's narrative -- which as others comment rarely varies by a word -- in our minds instead of the truth. It is, for Davis, a splendidly icy and controlled performance. The major fault in the film today is in the condescension toward Asian characters typical of Hollywood in the era, though it's not as bad perhaps in 1940 as it would be after Pearl Harbor a year later. We learn that Hammond had a Eurasian wife (the Code-enforced substitute for the Chinese mistress of W. Somerset Maugham's 1927 play), and in 1940s Hollywood "Eurasian" invariable meant "sinister," especially when she's played by Gale Sondergaard. The other Asians in the film are treated as subordinates, including Joyce's Chinese law clerk, Ong Chi Seng (Victor Sen Yung), who is all smiles and passive aggressiveness. That we are expected to share in this colonialist order of things is especially apparent when Leslie is forced to deliver the payment for the incriminating letter to Mrs. Hammond, who lords it over Leslie, making her remove her shawl to bare her head and to place the money in her hands; then Mrs. Hammond drops the letter on the floor, making Leslie pick it up. If today we cheer at Mrs. Hammond's abasement of Leslie, who after all killed her husband, you can bet that 1940s audiences, or at least the white ones, didn't.
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Pinellas Park, FL — VoicePlay live performances
In the middle of June 2016, the VoicePlay guys scooted down to the Tampa Bay area for a concert in between longer bookings and video shoots. With Layne on paternity leave, they once again called on Antonio Fernandez to come play and keep the beat.
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This video is missing the very beginning of the song, but it's still a great way to kick off a VoicePlay live show.
Details:
title: Don't Stop Me Now
original performers: Queen
written by: Freddie Mercury
arranged by: VoicePlay
performance date: 18 June 2016
My favorite bits:
Antonio's solo percussion riff
dropping into the half-time groove
those lush rising harmonies on ♫ "any tiii-IIIME" ♫
creating extra crescendo through synchronized microphone movements
the crisp syncopation on the ♫ "no one can stop me" ♫ section
Trivia:
The guys had been performing and refining this song since the 4:2:Five era. The earliest video I've found is from a benefit concert at the University of Rochester in early 2009.
A softer version of the opening chords from this arrangement were the closing section of VoicePlay's Queen in 5 Minutes medley almost two and a half years later.
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They're not quite a boy band, but VoicePlay definitely sounds good singing these classic pop songs.
Details:
title: boy band medley
original songs / performers: "ABC" by The Jackson 5; [0:44] "I Wanna Hold Your Hand" by The Beatles; [1:27] "My Girl" by The Temptations; [2:15] "Sherry" by The Four Seasons; [3:12] "YMCA" by The Village People; [3:48] "You Got It (The Right Stuff)" by New Kids on the Block; [4:09] "I Want It That Way" by Backstreet Boys; [4:48] "Bye Bye Bye" by *NSYNC; [5:20] "What Makes You Beautiful" by One Direction
written by: "ABC" by Berry Gordy, Freddie Perren, Alphonzo Mizell, & Deke Richards; "I Wanna Hold Your Hand" by John Lennon & Paul McCartney; "My Girl" by Smokey Robinson & Ronald White; "Sherry" by Bob Gaudio; "YMCA" by Jacques Morali & Victor Willis; "You Got It (The Right Stuff)" by Maurice Starr; "I Want It That Way" by Andreas Carlsson & Max Martin; "Bye Bye Bye" by Kristian Lundin, Jake Schulze, & Andreas Carlsson; "What Makes You Beautiful" by Savan Kotecha, Rami Yacoub, & Carl Falk
arranged by: VoicePlay
performance date: 18 June 2016
My favorite bits:
the choreography getting progressively complex as they move through the eras (and adjusted so Antonio didn't have to learn everything the other guys had been doing for years)
Tony's fantastic belt in "I Wanna Hold Your Hand"
the little hip swings from the lefthand trio on ♫ "dance the night away" ♫
everybody leaving Geoff hanging on the "YMCA" chorus, and his petulent "I hate you guys."
the crunchy transition from "Right Stuff" to "Bye Bye Bye"
the era-appropriate reverb on the last few songs
that beefy growl at the start of "Bye Bye Bye"
Eli getting in on some percussion at the start of the last song
everyone hamming up their assigned roles
Antonio's added explosion sound effect 💥 instead of their usual party poppers
Trivia:
Having this medley in their repertoire may have given them an advantage when "Bye Bye Bye" was chosen as the battle song for their first episode of The Sing-Off.
Tony was, in fact, the first one from this configuration of VoicePlay to leave. Not to go solo, though. He wanted to be home with his family and focus on growing PattyCake.
The guys updated this medley and filmed a full music video for it as the result of a Patreon poll in 2019.
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on stage in Pinellas Park — photo by Mary D. Fox
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The Old Maid (Edmund Goulding, 1939).
#the old maid (1939)#edmund goulding#bette davis#george brent#tony gaudio#george amy#robert m. haas#orry-kelly#the old maid#casey robinson#zoe akins#edith wharton
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