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Tutta
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Tutta
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32401 Posts
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Tutta
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Tutta
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32401 Posts
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 Posted - 25/07/2018 : 22:49:54
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What happened to HARRY NILSSON?
Harry Nilsson lived the life of a devil but sang with the voice of an angel.
Let's take a look at his remarkable career.
Harry Nilsson - Everybodys talking (1969)
All I Think About Is You - Harry Nilsson (1977)
Wiki: Harry Nilsson
https://de.wikipedia.org/wiki/Harry_Nilsson
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+IN HOC SIGNO VINCES+
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Edited by - Tutta on 11/09/2018 21:16:32 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 26/07/2018 : 12:08:30
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When Champions of Women's Diving Were Called 'Athletes Second, Girls First'
The 1959 swimming and diving championships of the Amateur Athletic Union, which were held in Palm Beach, Fla., didn't exactly look like the diving events that
can be seen this week coming out of the Summer Olympics in Rio.
Even though the event was supposed to be the indoor championships, it was held outside due to the heat. And the 200 or so girls and young women of the AAU were
representing schools and local clubs, not nations. They wore the same modest one-piece bathing suits that can be seen in many poolside photos from the 1950s, not
the sleek and modern suit today's divers wear. Finally, perhaps unsurprisingly for 1959, much of the attention they garnered—at least in the pages of LIFE magazine—focused
a great deal on the looks of the "pretty plungers," rather than their skill. The burnt cork that they applied below their eyes, to minimize the glare off the water, was compared
to eyeshadow.
They could not, LIFE noted dismissively, "disguise the fact that they were athletes second, girls first."
The pictures that ran alongside the story were black and white, and provided no information about who won or what the events even were. But the photographer,
Peter Stackpole, also captured these vivid color images of the divers in action. And, seeing them now, it's clear that LIFE's unnamed writer didn't quite get the point.
Decades later, we can't know how central athleticism was to any of these women's identities, but they were athletes, no hedging required. Though Stackpole did not
record who among his subjects proved victorious, his photos provide evidence that a gravity-defying dive could be as impressive then as it is today.
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+IN HOC SIGNO VINCES+
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Edited by - Tutta on 10/09/2018 00:06:03 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 27/07/2018 : 09:55:17
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The Kings - This Beat Goes On / Switchin' To Glide (1980) HQ
MUNROWS RETRO
What can I say? The Kings, hailing from Vancouver, British Columbia in the early 1970s, relocated
to Oakville, Ontario, Canada in 1977, producing one of the most spectacular rock hits in Toronto I
ever had the pleasure to play as a disc jockey. The combo "This Beat Goes On / Switchin' To Glide"
was one of the most popular hits FM rock stations featured in the 1980s, and it remains a staple on
Classic Rock FM stations to this very day. When I first purchased the single on 45 in September 1980,
however, it was only "Switchin' To Glide" ... which did well in clubs by itself. Later I began hearing
"This Beat Goes On" being used as a prelude to the single. Eventually both songs were re-released
as a giant single which has been immortalized ever since.
The two-song combo reached #43 on Billboard and #50 on Cash Box on December 13, 1980, which
only proves it was way ahead of its time and deserved at least to reach the Top 10. It is a power rock
song that has withstood the test of time and towers among the best over the rock music landscape,
which is saying a lot. For some bands, sometimes just one hit is enough!
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+IN HOC SIGNO VINCES+
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Edited by - Tutta on 08/08/2018 22:34:47 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 27/07/2018 : 10:00:49
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JESSICA TANDY
Name: Jessie Alice Tandy
Born: 7th June 1909
Died: September 11th 1994
Occupation: Actress
Years active: 1932 – 1994
Golden Globes:
Jessica Tandy Wins Best Actress Motion Picture Musical or Comedy - Golden Globes 1990
Alice “Jessica” Tandy (June 7, 1909 – September 11, 1994) was an English – American stage and film actress.
She first appeared on the London stage in 1926 at the age of 16, playing, among others, Katherine opposite Laurence Olivier’s Henry V, and Cordelia opposite
John Gielgud’s King Lear. She also worked in British films. Following the end of her marriage to Jack Hawkins, she moved to New York, where she met Canadian
actor Hume Cronyn. He became her second husband and frequent partner on stage and screen.
She won the Tony Award for her performance as Blanche Dubois in the original Broadway production of A Streetcar Named Desire in 1948, sharing the prize with
Katherine Cornell (who won for Antony and Cleopatra) and Judith Anderson (for the latter’s portrayal of Medea). Over the following three decades, her career
continued sporadically and included a substantial role in Alfred Hitchcock’s film, The Birds (1963), and a Tony Award-winning performance in The Gin Game (playing
in the two-character play opposite her husband, Cronyn) in 1977. She, along with Cronyn was a member of the original acting company of The Guthrie Theater.
In the mid 1980s she enjoyed a career revival. She appeared opposite Hume Cronyn in the Broadway production of Foxfire in 1983 and its television adaptation
four years later, winning both a Tony Award and an Emmy Award for her portrayal of Annie Nations. During these years, she appeared in films such as Cocoon (1985),
also with Cronyn.
She became the oldest actress to receive the Academy Award for Best Actress for her role in Driving Miss Daisy (1989), for which she also won a BAFTA and a
Golden Globe, and was nominated for an Academy Award for Best Supporting Actress for Fried Green Tomatoes (1991). At the height of her success, she was
named as one of People’s “50 Most Beautiful People”. She was diagnosed with ovarian cancer in 1990, and continued working until shortly before her death.
Early life
The youngest of three siblings, Tandy was born in Geldeston Road in Hackney.[1] Her mother, Jessie Helen (née Horspool), was the head of a school for mentally
handicapped children, and her father, Harry Tandy, was a travelling salesman for a rope manufacturer.[2] Her father died when Tandy was 12, and her mother
subsequently taught evening courses to earn an income. Tandy was educated at Dame Alice Owen’s School in Islington.
Acting career
Tandy began her career at the age of 16 in London, establishing herself with performances opposite such actors as Laurence Olivier and John Gielgud. She entered
films in England, but after her marriage to the actor Jack Hawkins failed, she moved to the United States. In 1942, she married Hume Cronyn and over the following
years played supporting roles in several Hollywood films.
She made her American film debut in The Seventh Cross (1944). She also appeared in The Valley of Decision (1945), The Green Years (1946, as Cronyn’s daughter),
Dragonwyck (1946) starring Gene Tierney and Forever Amber (1947). She won a Tony Award for her performance as Blanche Dubois in the original Broadway production
of A Streetcar Named Desire in 1948. Over the following three decades, her career continued sporadically that included The Desert Fox: The Story of Rommel (1951)
opposite James Mason, and a substantial role in Alfred Hitchcock’s film, The Birds (1963), and a Tony Award-winning performance in The Gin Game in 1977.
(Jessica Tandy in Driving Miss Daisy, 1989)
After her Tony-winning performance as Blanche DuBois in the original Broadway production of Tennessee Williams’ A Streetcar Named Desire, (she lost the film
role to actress Vivien Leigh), she concentrated on the stage. She became a naturalized citizen of the United States in 1952. For the next 20 years, she appeared
sporadically in films such as The Light in the Forest (1958) and The Birds (1963).
The beginning of the 1980s saw a resurgence in her film career, with character roles in The World According to Garp, Best Friends, Still of the Night (all 1982) and
The Bostonians (1984), and the hit film Cocoon (1985), opposite Cronyn, with whom she re-teamed for *batteries not included (1987) and Cocoon: The Return (1988).
She and Cronyn had been working together more and more, on stage and television, notably in 1987′s Foxfire which won her an Emmy Award (recreating her
Tony winning Broadway role). However, it was her colorful performance in Driving Miss Daisy (1989), as an aging, stubborn Southern-Jewish matron, that earned
her an Oscar.
She earned a Best Supporting Actress nomination for her work in the grassroots hit Fried Green Tomatoes (1991), and co-starred in The Story Lady (1991 telefilm,
with daughter Tandy Cronyn), Used People (1992, as Shirley MacLaine’s mother), To Dance with the White Dog (1993 telefilm, with husband Hume Cronyn), Nobody’s
Fool (1994), and Camilla (also 1994, with Cronyn). Camilla was to be her last performance, at the age of 84.
Other awards
Tandy was chosen by People magazine as one of the 50 Most Beautiful People in the world in 1990.
1979 – Sarah Siddons Award Chicago theatre
1986 – Drama Desk Special Award
1990 – National Medal of Arts
1991 – Women in Film Crystal Award[3]
1994 – Special Tony Award for Lifetime Achievement shared with her husband, Hume Cronyn
Personal life
Tandy’s first marriage to British actor Jack Hawkins in 1932, produced one daughter, Susan Hawkins (born 1934). The couple divorced in 1940. Tandy married
her next husband, Canadian actor Hume Cronyn, in 1942. They had two children, daughter Tandy Cronyn (an actress who would co-star with her mother in the
NBC telefilm The Story Lady), and son Christopher.
Death
Prior to moving to Connecticut, she lived with Cronyn for many years in nearby Pound Ridge, New York and they remained together until her death in 1994. In 1990,
she was diagnosed with ovarian cancer which she battled for four years, during which she continued to work. She had previously been treated for angina and glaucoma.
She died at home on 11 September 1994 in Easton, Connecticut. Her ashes were given to her family.
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+IN HOC SIGNO VINCES+
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Edited by - Tutta on 13/08/2018 10:19:01 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
Posted - 27/07/2018 : 10:07:09
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KITTEN WITH A WHIP 1964
Ann-Margret in her 1994 memoir, “My Story”:
“My performance in ‘Kitten’ was so gritty and intense audiences were confused. They preferred me as the innocent sweetheart in ‘Birdie’ (Bye, Bye Birdie).
The same problem frustrated Elvis; people didn’t want us to change.”
Not so much…
Allow me to qualify the above quotation:
“My performance in ‘Kitten’ was so gritty and intense audiences were confused”
Only if by “gritty and intense” she means “artificial and hyperactive.”
“They preferred me as the innocent sweetheart in ‘Birdie.’”
We preferred something resembling recognizable human behavior.
“The same problem frustrated Elvis; people didn’t want us to change.”
Diversity was not exactly their strongest suit. Ann-Margret didn’t really begin acting in film until “Carnal Knowledge” in 1971.
I’m a major, MAJOR fan of Ann-Margret. Like most people my age, the first time I ever laid eyes on her was in Bye Bye Birdie (1963). The staggeringly eye-popping
image of her sashaying towards us in a skintight dress (ever-present wind machine blowing her orange mane) in a limitless blue void, singing the title song …well,
it launched a thousand puberties.
In this and every subsequent film of hers in the 60s, Ann-Margret mined a paradoxically wholesome/smutty glamour of dizzyingly kinetic female hypersexuality of
the sort I’ve literally never seen before or since. Bouncing about the screen in impossibly high heels, wiggling her rump, undulating her bosom, and tossing her hair
about in absolute abandon; Ann-Margret was in-your-face, aggressively sexy. She was also resoundingly camp. Cross an over-the-top female impersonator with
Lola Falana and Joey Heatherton on speed, and you’re still not likely to get an appreciation of the full-tilt atomic sex-bomb that was '60s-era Ann-Margret.
Energy and star quality personified, Ann-Margret, unlike the sex symbols of the 50s, wasn’t coy about her allure. Indeed, she seemed to so revel in her vivacious
(voracious?) sex appeal and took so much bawdy pleasure in her own body that she never seemed to need anyone else. What man could keep up with her?
Outside of Elvis Presley in Viva Las Vegas (1964), no other male co-star ever looked like they could spend an evening with Ann-Margret and come out alive.
As much as I took delight in watching Ann-Margret on screen and on her TV specials, I have to admit that I never quite knew if she was putting us on or not.
Her brand of femininity was so far out on a limb that I could never tell if this was Ann-Margret engaging in a subtle form of self-parody (like Mae West), or
did she really believe in her exaggerated, tigress/vamp act?
This ambiguity is somewhat cruelly exploited in Kitten with a Whip: one of a rash of black & white, low-budget films released in the early 60s that attempted
to capture the gritty neo-realism of Something Wild (1961) or UK’s The Leather Boys; but instead fell into the chasm of B-movie exploitation, exemplified by
films like Who Killed Teddy Bear?(1965) and Lady in a Cage (1966). Kitten with a Whip was made in 1964, but it feels like a late '50s Mamie Van Doren castoff.
(Ann-Margret as Jody Dru)
(John Forsythe as David Stratton)
(Peter Brown as Ron)
(Diane Sayer as Midge)
(Skip Ward as Buck)
17 year-old Jody Dru, nee Dvorak (Ann-Margret), escapes from a girl’s detention center and seeks refuge in a darkened, apparently vacant, suburban home.
Come morning, Jody discovers the residence to belong to aspiring State Senator David Stratton (Forsythe) whose estranged wife and daughter are away.
Certain he’s being set up for a political scandal, Stratton decides to call the police but changes his mind after hearing Jody’s tale of abuse and neglect.
Resolving instead to help her reverse her fortunes, Stratton offers Jody his assistance only to discover that there is clearly more to this voluptuous teen than
meets the eye. What follows is a black comedy of errors crossed with a juvenile delinquent cautionary tale as the woodenly sincere Stratton attempts to extricate
himself from the escalating mess his life becomes after crossing paths with the auburn-haired minx.
(Relax and enjoy the rear-screen projection)
WHAT I LOVE ABOUT THIS FILM
With its nervously percussive, espresso bongo jazz soundtrack; Saul Bass-inspired titles; and stark, almost nourish, photography; there’s the nagging sense
that Kitten with a Whip is trying to say something deep about teen disaffection in the age of The Bomb. Fortunately for us, director /screenwriter Douglas Heyes’
preference for sleaze over sermons makes certain that Stanley Kramer isn't likely to suffer any sleepless nights.
Kitten with a Whip is an overheated, flagrantly gynophobic, suburban nightmare about middle-class normalcy turned upside-down by a bi-polar teenage
sociopath in French heels. Ergo, it’s an awful lot of fun.
Everything in this film—emotions, dialog, and dramatic situations—are ratcheted up to such absurdly shrill levels that it feels like you’re watching flash cards.
Nothing substantive is allowed to land and take root. Like the animated cartoon that plays in the background of one scene, Kitten with a Whip doesn’t allow for
the dust to settle between explosions. As soon as one disaster is felled, a new one pops up to take its place.
All the above would certainly disqualify this film from most people’s must-see lists, but as a fan of the brilliant Faster, Pussycat! Kill! Kill! (1965), I find Kitten
with a Whip to be a similar thrill ride. Bad girls are always more fun, and as “Kitten” defies being taken seriously, it’s easy to sit back and wallow in its naïve
lewdness. There are countless laughs to be had (some even intentional!).
(Jody don't take no mess!)
PERFORMANCES
Kitten with a Whip was Ann-Margret’s first “dramatic” role following her star-making turn in Bye Bye Birdie (her manager even turned down Cat Ballou for this
film. He was later fired). Sandwiched between Viva Las Vegas and The Pleasure Seekers, Kitten with a Whip was to be the film to show off her range and versatility.
Alas, it did anything but.
There’s a kind of bad acting that is boring to watch and painful to subject yourself to (evident most reliably in testosterone-laden action films), but Ann-Margret’s
performance in Kitten with a Whip is so electrifyingly awful, you can’t take your eyes off of her.
If there’s anything jarring about her efforts (she wins us over by being photogenic and histrionically agitated at all times) it’s that Ann-Margret trying to be “real”
seems phonier than anything you've ever encountered. It’s like she’s never seen real human behavior and has no idea of how to convey emotions except in the
broadest strokes possible.
Hers is a strenuous, muscular, performance that decimates everything and everyone else in the film (particularly the stupendously inexpressive and monumentally
dull John Forsythe), but it’s the only life the film has. Giving it everything she’s got, Ann-Margret purrs, writhes, gnashes her teeth, pops her eyes, leers, pouts,
and glowers; all in bas-relief, indicating and telegraphing like she’s in a silent movie. She’s magnificent in a "I can't believe my eyes!" kind of way.
(Ken Russell would harness Ann-Margret’s ferocity more capably in 1975s Tommy.)
THE STUFF OF FANTASY
As the film’s star, it’s only fitting that Ann-Margret is blessed with the lion’s share of Kitten with a Whip’s colorful (and comical) dialog.
Jody: “Ooooh! Everything’s so creamy! Kill me quick, I never had it so good!”
Jody: “How come you think you’re such a smoky something when you’re so nothing painted blue?”
Jody: “Hands off, Buster! Don’t you ever bruise me, David. God knows what I might do to you if you ever bruise me.”
Jody: “You’re gonna think I have an awfully dirty mind David, I change it so often.”
Jody: “You follow all this? You live behind walls here, man. Where I come from it’s outer space.”
Jody: “Put it down! You poke that finger at that dial, mister, and that's when I start screaming rape!"
Jody: “Look, I’m only a girl…I panic!”
(Jody's not that kind of girl)
THE STUFF OF DREAMS
Folks who don’t enjoy camp humor or lack a taste for cult films with reputations built on their shortcomings, may find this post bewildering; does he hate Ann-Margret,
does he like her? What gives?
As I stated from the start, I’m really pretty much mad about Ann-Margret, but I’m not one of those fans who needs to take an-all-or-nothing stance about a performer.
She's developed into a phenomenal actress over the years, but some of her early performances are painful to watch. I'm the first to admit that she's outstanding in
both Carnal Knowledge and Tommy...but I'm not about to let my affection for this gorgeous lady excuse embarrassments like Made in Paris or The Swinger (although
its title sequence alone is worth the price of a rental). I admire Ann-Margret because she is a dynamo, a hard worker, and is genuinely, truly talented. And like Cher,
she’s one of those stars whose career has spanned decades and innumerable shifts in tastes and trends. The two are such survivors they’re likely to be the only things
left standing after Armageddon.
One of the things I most like about Ann-Margret is her ability to be “good” even when she’s awful. And by that, I mean I admire her commitment. She may give a bad
performance in Kitten With a Whip, but you'd have to look far to find a poor performance done with such conviction. She's giving 100% and then some. The results may
be artistically uneven, but when accessed by standards of professionalism, dedication, and sheer hard work, she really delivers. I can’t help but admire that... even as
I’m looking at some of her acting choices and wondering “What was she thinking?”
The whiny crybabies of today who drop out of Broadway plays because they’ve eaten bad sushi, or deliver half-assed hosting performances on Academy Awards
telecasts because they disagree with the script…well, they could take a lesson.
Oh, and for the record: Fans didn’t stay away from Kitten with a Whip because they didn’t like seeing Ann-Margret acting bad; they stayed away because didn’t
like seeing Ann-Margret acting badly.
In a review for the 1968 musical Star!, Pauline Kael observed of British stage personality, Gertrude Lawrence: "She was what drag queens want to be."
I can't think of a sentence that better encapsulates Ann-Margret's uniquely enduring charm.
..for the literal-minded.
(I swear, this is a legitimate piece of promotional artwork for the film!!)
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+IN HOC SIGNO VINCES+
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Edited by - Tutta on 11/09/2018 09:47:53 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32401 Posts
Member since 19/02/2010 |
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Tutta
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32401 Posts
Member since 19/02/2010 |
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OLDIES FOREVER / MUSIC / CARS / MOVIES & Chicas!
