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George Lucas originally planned to score Star Wars with existing classical music, much like 2001: A Space Odyssey. That changed after Steven Spielberg introduced him to John Williams. Together, they crafted a sweeping, 19th-century-inspired orchestral score filled with leitmotifs, giving each character and idea its own musical identity. Lucas... show more

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Prior to the release of "Star Wars: Episode IV - A New Hope" (1977), George Lucas screened a rough cut of the movie which was "mostly filled with stock footage of old war movies, and all kinds of stuff" to some of his friends in the film industry. Most of them thought it was a disaster. Brian De Palma was especially sarcastic in a good-natured way, teasing Lucas about the “almighty Force” and indicating that the rough cut version of the film was one of the "worst things" he had ever seen. Even Lucas thought the film was not going to be successful. He said, “I figured, well, it’s just a silly movie. It ain’t going to work.”" But Steven Spielberg was among the two who thought otherwise. He said, ‘This is going to be the biggest movie of all time’. Everybody in the room looked up at him and said, ‘Poor Steven.'” Jay cocks was the other one who praised the movie. However, Lucas' filmmaker friends helped him fix up "Star Wars" even though "they didn't have any faith in it." ("Skywalking: The Life and Films of George Lucas", Dale Pollock, 1999 & "George Lucas was convinced 'Star Wars' would flop and refused to believe it was a hit until he got a call telling him to turn on the news", kirsten Acuna, Business Insider, 2021 ) P.S: On this day, 49 years ago, "Star Wars: Episode IV - A New Hope" (1977) was released in the USA.

Prior to the release of "Star Wars: Episode IV - A New Hope" (1977), George Lucas screened a rough cut of the movie which was "mostly filled with stock footage of old war movies, and all kinds of stuff" to some of his friends in the film industry. Most of them thought it was a disaster. Brian De Palma was especially sarcastic in a good-natured way, teasing Lucas about the “almighty Force” and indicating that the rough cut version of the film was one of the "worst things" he had ever seen. Even Lucas thought the film was not going to be successful. He said, “I figured, well, it’s just a silly movie. It ain’t going to work.”" But Steven Spielberg was among the two who thought otherwise. He said, ‘This is going to be the biggest movie of all time’. Everybody in the room looked up at him and said, ‘Poor Steven.'” Jay cocks was the other one who praised the movie. However, Lucas' filmmaker friends helped him fix up "Star Wars" even though "they didn't have any faith in it." ("Skywalking: The Life and Films of George Lucas", Dale Pollock, 1999 & "George Lucas was convinced 'Star Wars' would flop and refused to believe it was a hit until he got a call telling him to turn on the news", kirsten Acuna, Business Insider, 2021 ) P.S: On this day, 49 years ago, "Star Wars: Episode IV - A New Hope" (1977) was released in the USA.

DepressedBergman

68,025 просмотров • 3 месяцев назад

Steven Spielberg recalls how he genuinely thought John Williams was joking when he first played the iconic 'Jaws' theme 🦈 "He sat at the piano and played... da duh ... da duh" "I thought he was joking" "John said, 'No, I'm serious ... This is the sound the audience will identify with the shark, even when you don't see the shark ... This is what is going to scare the audience" "He kept playing it until I realized the kind of genius I was experiencing" After hearing it with an orchestra, Spielberg then called George Lucas and told him, "This is the guy who has to [score] Star Wars" (via BBC)

Steven Spielberg recalls how he genuinely thought John Williams was joking when he first played the iconic 'Jaws' theme 🦈 "He sat at the piano and played... da duh ... da duh" "I thought he was joking" "John said, 'No, I'm serious ... This is the sound the audience will identify with the shark, even when you don't see the shark ... This is what is going to scare the audience" "He kept playing it until I realized the kind of genius I was experiencing" After hearing it with an orchestra, Spielberg then called George Lucas and told him, "This is the guy who has to [score] Star Wars" (via BBC)

Culture Crave 🍿

1,362,948 просмотров • 2 месяцев назад

Let’s be honest, Bruno Mars and Anderson .Paak changed the game with Silk Sonic. Leave The Door Open as their first single together was a threat to the music industry lol. You couldn’t even be nominated on the same category with them because they were sweeping 😭

Let’s be honest, Bruno Mars and Anderson .Paak changed the game with Silk Sonic. Leave The Door Open as their first single together was a threat to the music industry lol. You couldn’t even be nominated on the same category with them because they were sweeping 😭

Ricardo C

184,299 просмотров • 3 лет назад

Steven Spielberg reveals he genuinely thought John Williams was joking when he first played the now iconic Jaws theme... until he realized he was witnessing genius. "He sat at the piano and played... da da... da da..." "I thought he was joking." "John said, 'No, I'm serious. This is what the audience will associate with the shark, even when you don't see it.'" "He kept playing it until I realized the kind of genius I was experiencing." Spielberg then called George Lucas and told him, "This is the guy who has to score Star Wars."

Steven Spielberg reveals he genuinely thought John Williams was joking when he first played the now iconic Jaws theme... until he realized he was witnessing genius. "He sat at the piano and played... da da... da da..." "I thought he was joking." "John said, 'No, I'm serious. This is what the audience will associate with the shark, even when you don't see it.'" "He kept playing it until I realized the kind of genius I was experiencing." Spielberg then called George Lucas and told him, "This is the guy who has to score Star Wars."

JayJay⛓️

515,281 просмотров • 2 месяцев назад

Mel Brooks will make a “Spaceballs” sequel and return as Yogurt. The original 1987 Star Wars parody was a classic that even George Lucas praised. But there was a catch: after reading the script, Lucas asked Brooks to not sell merchandise. Brooks agreed and instead made this scene in the film roasting the fact that the Star Wars franchise had basically turned into a vehicle for Lucas to move an insane amount of toys, clothing and anything else that would pay a licensing fee. Worked out perfectly. Brooks didn’t get sued and we got an S-Tier parody film. May the Schwartz be with you.

Mel Brooks will make a “Spaceballs” sequel and return as Yogurt. The original 1987 Star Wars parody was a classic that even George Lucas praised. But there was a catch: after reading the script, Lucas asked Brooks to not sell merchandise. Brooks agreed and instead made this scene in the film roasting the fact that the Star Wars franchise had basically turned into a vehicle for Lucas to move an insane amount of toys, clothing and anything else that would pay a licensing fee. Worked out perfectly. Brooks didn’t get sued and we got an S-Tier parody film. May the Schwartz be with you.

Trung Phan

296,999 просмотров • 1 год назад

George Lucas initially wanted to start the "Indiana Jones and the Last Crusade" (1989) with a sequence showing Indy as a boy, but Spielberg initially disagreed with the idea. According to Lucas, Spielberg rejected the idea as he had really been trashed by the critics for "Empire of the Sun" (1987) & he had said. "I just don't want to do any more films with kids in them." Lucas also suggested making Indy III “a haunted-house movie.” He had such a script written by screenwriter Diane Thomas before her death in a 1985 car accident, but, Lucas said, “Steven had done 'Poltergeist' (1982), and he didn’t want to do another movie like that.” Menno Meyjes’s draft was about Indy’s quest for the Holy Grail, a plot device suggested by Lucas, left Spielberg dubious. However Spielberg agreed to do the movie about The Holy Grail on one condition. Spielberg said, "I will make the movie about the Holy grail but I want it to be about a father and son. I want to get Indy’s father involved in the thing. I want a quest for the father." "I wanted to do Indy in pursuit of his father, sharing his father’s dream, and in the course of searching for their dreams, they rediscover each other." However, according to screenwriter, Jeffrey Boam the Father-Son story was the idea of George Lucas. ("Steven Spielberg A Biography", Joseph McBride, 2010) P.S: On this day, 37 years ago, "Indiana Jones and the Last Crusade" (1989) was released in the USA & Canada.

George Lucas initially wanted to start the "Indiana Jones and the Last Crusade" (1989) with a sequence showing Indy as a boy, but Spielberg initially disagreed with the idea. According to Lucas, Spielberg rejected the idea as he had really been trashed by the critics for "Empire of the Sun" (1987) & he had said. "I just don't want to do any more films with kids in them." Lucas also suggested making Indy III “a haunted-house movie.” He had such a script written by screenwriter Diane Thomas before her death in a 1985 car accident, but, Lucas said, “Steven had done 'Poltergeist' (1982), and he didn’t want to do another movie like that.” Menno Meyjes’s draft was about Indy’s quest for the Holy Grail, a plot device suggested by Lucas, left Spielberg dubious. However Spielberg agreed to do the movie about The Holy Grail on one condition. Spielberg said, "I will make the movie about the Holy grail but I want it to be about a father and son. I want to get Indy’s father involved in the thing. I want a quest for the father." "I wanted to do Indy in pursuit of his father, sharing his father’s dream, and in the course of searching for their dreams, they rediscover each other." However, according to screenwriter, Jeffrey Boam the Father-Son story was the idea of George Lucas. ("Steven Spielberg A Biography", Joseph McBride, 2010) P.S: On this day, 37 years ago, "Indiana Jones and the Last Crusade" (1989) was released in the USA & Canada.

DepressedBergman

878,440 просмотров • 3 месяцев назад

Swingers (1996) is loosely based on Jon Favreau’s own experiences after moving to Los Angeles, shortly after the end of a long-term relationship. He relied on friends Vince Vaughn and Ron Livingston to help him through the breakup, and their real-life personalities inspired the characters they play in the film. Its release also coincided with the 1990s swing revival, and swing music. Swingers also proved to be a major breakthrough for Vaughn, whose performance brought him widespread attention and critical praise. Steven Spielberg was particularly impressed after receiving a copy of the film to clear the rights for its use of Jaws music, and subsequently cast Vaughn in The Lost World: Jurassic Park. The film also helped launch director Doug Liman’s Hollywood career, which would later include The Bourne Identity.

Swingers (1996) is loosely based on Jon Favreau’s own experiences after moving to Los Angeles, shortly after the end of a long-term relationship. He relied on friends Vince Vaughn and Ron Livingston to help him through the breakup, and their real-life personalities inspired the characters they play in the film. Its release also coincided with the 1990s swing revival, and swing music. Swingers also proved to be a major breakthrough for Vaughn, whose performance brought him widespread attention and critical praise. Steven Spielberg was particularly impressed after receiving a copy of the film to clear the rights for its use of Jaws music, and subsequently cast Vaughn in The Lost World: Jurassic Park. The film also helped launch director Doug Liman’s Hollywood career, which would later include The Bourne Identity.

Remnants of the Past

221,564 просмотров • 26 дней назад

🚨 Paramount Pictures initially rejected Steven Spielberg when he wanted to direct Raiders of the Lost Ark (1981). At that point, Spielberg’s films like Jaws, Close Encounters of the Third Kind, and 1941 — had all gone over budget, and, when 1941 bombed at the box-office, the studio told George Lucas to find another director. They eventually relented when Lucas refused to make the picture without Spielberg. Knowing his reputation, Spielberg meticulously planned every major set piece using scale miniatures and models before filming. The preparation saved hours of production time each day. Raiders came in under budget and, after it was a smash hit, no studio ever had doubts about Spielberg again. Afterwards, Lucas told the studio: “If you hire the greatest director in the world, making movies is easy.”

🚨 Paramount Pictures initially rejected Steven Spielberg when he wanted to direct Raiders of the Lost Ark (1981). At that point, Spielberg’s films like Jaws, Close Encounters of the Third Kind, and 1941 — had all gone over budget, and, when 1941 bombed at the box-office, the studio told George Lucas to find another director. They eventually relented when Lucas refused to make the picture without Spielberg. Knowing his reputation, Spielberg meticulously planned every major set piece using scale miniatures and models before filming. The preparation saved hours of production time each day. Raiders came in under budget and, after it was a smash hit, no studio ever had doubts about Spielberg again. Afterwards, Lucas told the studio: “If you hire the greatest director in the world, making movies is easy.”

Movies Scenes 🎫

1,120,795 просмотров • 6 месяцев назад

Lucas was always shooting from the hip. He had Jabba written as a human in the first film.. He didn’t even write NEW HOPE WITH VADER AS LUKES FATHER… LOL He added it during Empire Strikes Back. People act like he had 1-3 & 6-9 written and in vaults … he didn’t. He knew the backstory was Vader burned on Mustafar after losing a duel with Obi Wan. Nothing else was really written aside from some rough outlines. He made SOO MUCH MONNEEYY from lucking out with Hasbro, games and licensing that he really didn’t have an incentive and I think he was afraid of ruining his historical trilogy. He was doing Indiana Jones as well … years later he kept begging Spielberg to do one after Last Crusade but Spielberg kept telling Lucas “NO ALIENS” as a Macguffin since he already did 2 alien movies…years later he said ok.. they aren’t aliens.. they are an ancient civilization LOL Spielberg said what are they gonna look like ??? Lucas said “ALIENS” LOL . Spielberg got so tired of listening to him he just made the movie .. he was never a big idea guy that LUCAS. Turns out. 1-3 didn’t kill the mythology. It was him selling to Kathleen (Shitty note taker and glorified coffee girl) Kennedy that ruined it. Kennedg is the epitome of failing upwards.

Lucas was always shooting from the hip. He had Jabba written as a human in the first film.. He didn’t even write NEW HOPE WITH VADER AS LUKES FATHER… LOL He added it during Empire Strikes Back. People act like he had 1-3 & 6-9 written and in vaults … he didn’t. He knew the backstory was Vader burned on Mustafar after losing a duel with Obi Wan. Nothing else was really written aside from some rough outlines. He made SOO MUCH MONNEEYY from lucking out with Hasbro, games and licensing that he really didn’t have an incentive and I think he was afraid of ruining his historical trilogy. He was doing Indiana Jones as well … years later he kept begging Spielberg to do one after Last Crusade but Spielberg kept telling Lucas “NO ALIENS” as a Macguffin since he already did 2 alien movies…years later he said ok.. they aren’t aliens.. they are an ancient civilization LOL Spielberg said what are they gonna look like ??? Lucas said “ALIENS” LOL . Spielberg got so tired of listening to him he just made the movie .. he was never a big idea guy that LUCAS. Turns out. 1-3 didn’t kill the mythology. It was him selling to Kathleen (Shitty note taker and glorified coffee girl) Kennedy that ruined it. Kennedg is the epitome of failing upwards.

Johnny St.Pete

42,539 просмотров • 4 месяцев назад

Harrison Ford says he was sweeping the floor as a carpenter when George Lucas walked in to cast Star Wars. Han Solo almost went to Christopher Walken "I'll do it, but I'm only gonna work at night, cause I don't wanna confuse people about what I am." "I'm sweeping up, and he walks in. He's using Francis office. He walks in with Richard Dreyfuss for the first interview for Star Wars." "And I'm there, a carpenter… in my carpenter belt, with a broom in my hand." "Fred Roos asked me to read as a favor. Would I read with the other actors? Yeah, I'll do that." "So I read with all the other actors, and then they gave me the part. The part that I eventually played would've been Chris Walken." "I didn’t think they were testing me. I thought I was doing them a favor."

Harrison Ford says he was sweeping the floor as a carpenter when George Lucas walked in to cast Star Wars. Han Solo almost went to Christopher Walken "I'll do it, but I'm only gonna work at night, cause I don't wanna confuse people about what I am." "I'm sweeping up, and he walks in. He's using Francis office. He walks in with Richard Dreyfuss for the first interview for Star Wars." "And I'm there, a carpenter… in my carpenter belt, with a broom in my hand." "Fred Roos asked me to read as a favor. Would I read with the other actors? Yeah, I'll do that." "So I read with all the other actors, and then they gave me the part. The part that I eventually played would've been Chris Walken." "I didn’t think they were testing me. I thought I was doing them a favor."

Bavi

506,345 просмотров • 13 дней назад

These character scenes between Indy and Mutt were the best and most interesting part of Crystal Skull. If George Lucas hadn't rejected Frank Darabont's script, the movie would have just been another Raiders clone, where the emotional core of the film would have been Indy and Marion once again reuniting after being estranged. Indy had no child in that draft. I'm sure a lot of people would have loved that, but Lucas has absolutely never had any interest in rehashing his old material. Lucas wanted the film's emotional core to be about Indy discovering he had a child, and having to figure out how to relate to him despite their generational differences, the same way his own father had to do with him. If I have one criticism of the film, it's that I would have liked to have seen a little bit more of this dynamic. But we did see a fair bit of it nonetheless, and I personally thought it was quite interesting, and that Harrison Ford and Shia LaBeouf had the exact kind of chemistry required to sell that kind of relationship. I don't think Crystal Skull should be immune from criticism, but I do think that the two most interesting aspects of the film were the flying saucer angle and the specific characterization of Mutt. And these were the two core ideas contributed by Lucas. As much as they complained, it didn't seem as if Spielberg or Ford had any better ideas of their own. So I think it is true that Crystal Skull does at least deserve to be reevaluated, and that the consensus that it was George Lucas who was holding the film back is completely backwards.

These character scenes between Indy and Mutt were the best and most interesting part of Crystal Skull. If George Lucas hadn't rejected Frank Darabont's script, the movie would have just been another Raiders clone, where the emotional core of the film would have been Indy and Marion once again reuniting after being estranged. Indy had no child in that draft. I'm sure a lot of people would have loved that, but Lucas has absolutely never had any interest in rehashing his old material. Lucas wanted the film's emotional core to be about Indy discovering he had a child, and having to figure out how to relate to him despite their generational differences, the same way his own father had to do with him. If I have one criticism of the film, it's that I would have liked to have seen a little bit more of this dynamic. But we did see a fair bit of it nonetheless, and I personally thought it was quite interesting, and that Harrison Ford and Shia LaBeouf had the exact kind of chemistry required to sell that kind of relationship. I don't think Crystal Skull should be immune from criticism, but I do think that the two most interesting aspects of the film were the flying saucer angle and the specific characterization of Mutt. And these were the two core ideas contributed by Lucas. As much as they complained, it didn't seem as if Spielberg or Ford had any better ideas of their own. So I think it is true that Crystal Skull does at least deserve to be reevaluated, and that the consensus that it was George Lucas who was holding the film back is completely backwards.

The Mighty Dud Bolt

65,230 просмотров • 2 месяцев назад

Mel Brooks on the only condition George Lucas imposed on Brooks before allowing him to make the satire on "Star Wars" (1977): "Spaceballs" (1987): "The same way I called Alfred Hitchcock to get his blessings on 'High Anxiety' (1977), I sent the 'Spaceballs' script to 'Star Wars' (1977) creator George Lucas. If not to get his blessing, then certainly to give him a heads-up on what I was doing vis-à-vis Star Wars. He was kind enough to read it and respond. He said he had seen 'Blazing Saddles' (1974) and 'Young Frankenstein' (1974) and was a big fan. He enjoyed the script, and only had one real caveat for me: no action figures. He explained that if I made toys of my Spaceballs characters they would look a lot like Star Wars action figures. And that would be a no-no for his lawyers and his studio’s business affairs department. So he gave his blessing to make my funny satiric takeoff of Star Wars as long as I promised that we would not sell any action figures. I said, “You’re absolutely right.” And that was one of the rules we didn’t break. So even though in the movie itself we have Dark Helmet playing with action figures… we never sold any. The exchange with George Lucas also triggered a beloved comedy scene in which a character that I played, Yogurt, a takeoff on Yoda, responds to Lone Starr’s question of “What is this place? What is it that you do here?” with a whole exposé of the movie business. So even though we didn’t actually do any commercial merchandising, we still had a lot of fun with the scene. And over the years Spaceballs movie fans have sent me more than one mockup of “Spaceballs: The Breakfast Cereal.”" ("Mel Brooks on the Making of Spaceballs", Mel Brooks, Literary Hub, 2021)

Mel Brooks on the only condition George Lucas imposed on Brooks before allowing him to make the satire on "Star Wars" (1977): "Spaceballs" (1987): "The same way I called Alfred Hitchcock to get his blessings on 'High Anxiety' (1977), I sent the 'Spaceballs' script to 'Star Wars' (1977) creator George Lucas. If not to get his blessing, then certainly to give him a heads-up on what I was doing vis-à-vis Star Wars. He was kind enough to read it and respond. He said he had seen 'Blazing Saddles' (1974) and 'Young Frankenstein' (1974) and was a big fan. He enjoyed the script, and only had one real caveat for me: no action figures. He explained that if I made toys of my Spaceballs characters they would look a lot like Star Wars action figures. And that would be a no-no for his lawyers and his studio’s business affairs department. So he gave his blessing to make my funny satiric takeoff of Star Wars as long as I promised that we would not sell any action figures. I said, “You’re absolutely right.” And that was one of the rules we didn’t break. So even though in the movie itself we have Dark Helmet playing with action figures… we never sold any. The exchange with George Lucas also triggered a beloved comedy scene in which a character that I played, Yogurt, a takeoff on Yoda, responds to Lone Starr’s question of “What is this place? What is it that you do here?” with a whole exposé of the movie business. So even though we didn’t actually do any commercial merchandising, we still had a lot of fun with the scene. And over the years Spaceballs movie fans have sent me more than one mockup of “Spaceballs: The Breakfast Cereal.”" ("Mel Brooks on the Making of Spaceballs", Mel Brooks, Literary Hub, 2021)

DepressedBergman

1,766,224 просмотров • 3 месяцев назад

Jay Park shared how LNGSHOT’s second mixtape came to life The idea started when he played LNGSHOT’s first mixtape to producer Hwimin. After listening, Hwimin told him that while the music was good, he expected a mixtape to feel a little more raw, energetic, and unfiltered. That comment stuck with them. Since they had been making music that was relatively smooth and easy-listening, they decided to take a different approach and create something with more grit and intensity. Jay also explained that the goal was never to make a song that would go viral. Instead, they wanted to create a project that felt complete as an album and reflected their artistic vision. For him, the mixtape would be a success if listeners could genuinely feel the effort, care, and sincerity that went into every part of it. #롱샷 #LNGSHOT #JayPark

Jay Park shared how LNGSHOT’s second mixtape came to life The idea started when he played LNGSHOT’s first mixtape to producer Hwimin. After listening, Hwimin told him that while the music was good, he expected a mixtape to feel a little more raw, energetic, and unfiltered. That comment stuck with them. Since they had been making music that was relatively smooth and easy-listening, they decided to take a different approach and create something with more grit and intensity. Jay also explained that the goal was never to make a song that would go viral. Instead, they wanted to create a project that felt complete as an album and reflected their artistic vision. For him, the mixtape would be a success if listeners could genuinely feel the effort, care, and sincerity that went into every part of it. #롱샷 #LNGSHOT #JayPark

자스 ✮

18,877 просмотров • 3 месяцев назад

A story that should never be forgotten. Komitas. He was an orphan and grew up within the walls of the seminary. The boy's name was Soghomon Soghomonian — the world would later know him as Komitas. From an early age, he showed a remarkable talent for music. He would go on to become a priest, a composer, and one of the greatest collectors and preservers of Armenian folk music. He traveled across villages, listening to the songs of the people, writing them down, and arranging them so that they would never be lost. His work gave Armenia its musical soul and identity. But during the Armenian Genocide in 1915, he was arrested and witnessed unimaginable horrors. Though he survived, the trauma broke him. He spent the rest of his life in asylums, silent and tormented, until he passed away in 1935. Yet his music lives on! A testament to a culture that refused to be erased. (clip by neuro_visuals_by_marianna /IG)

A story that should never be forgotten. Komitas. He was an orphan and grew up within the walls of the seminary. The boy's name was Soghomon Soghomonian — the world would later know him as Komitas. From an early age, he showed a remarkable talent for music. He would go on to become a priest, a composer, and one of the greatest collectors and preservers of Armenian folk music. He traveled across villages, listening to the songs of the people, writing them down, and arranging them so that they would never be lost. His work gave Armenia its musical soul and identity. But during the Armenian Genocide in 1915, he was arrested and witnessed unimaginable horrors. Though he survived, the trauma broke him. He spent the rest of his life in asylums, silent and tormented, until he passed away in 1935. Yet his music lives on! A testament to a culture that refused to be erased. (clip by neuro_visuals_by_marianna /IG)

Muse

10,094 просмотров • 5 месяцев назад

As the Trump Arraignment is sure to divide us even further, Gavin Newsom's appearance on Hannity last night was incredible. I wish that more liberals like Newsom would go on Hannity and have the dialogue and debate like he did. I think a problem with the media culture today is that each party refuses to associate with the media that is considered to be "the other side". This is why echo chambers continue. I don't like Hannity's ideologies, but I would certainly listen each night if he would have liberal guests on and let them talk. Let them push back. Let them explain why they think like they do. Yesterday we hosted a Twitter Space with former FBI Counterintelligence agent Peter Strzok. We had both sides asking him questions and doing so in a respectful manner. It was amazing and I think we all left the Space more knowledgable and with a better understanding of why the other side thinks the way they do. We laughed together, we agreed together and most importantly we understood each other. More dialogue, less echo chambers!

As the Trump Arraignment is sure to divide us even further, Gavin Newsom's appearance on Hannity last night was incredible. I wish that more liberals like Newsom would go on Hannity and have the dialogue and debate like he did. I think a problem with the media culture today is that each party refuses to associate with the media that is considered to be "the other side". This is why echo chambers continue. I don't like Hannity's ideologies, but I would certainly listen each night if he would have liberal guests on and let them talk. Let them push back. Let them explain why they think like they do. Yesterday we hosted a Twitter Space with former FBI Counterintelligence agent Peter Strzok. We had both sides asking him questions and doing so in a respectful manner. It was amazing and I think we all left the Space more knowledgable and with a better understanding of why the other side thinks the way they do. We laughed together, we agreed together and most importantly we understood each other. More dialogue, less echo chambers!

Brian Krassenstein

2,131,131 просмотров • 3 лет назад

Daryl Hall & John Oates - Out of Touch [1984] Wikipedia: Daryl Franklin Hohl (born in Pottstown, Pennsylvania, on October 11, 1946) and John William Oates (born in New York City on April 7, 1948) first met at the Adelphi Ballroom in Philadelphia in 1967. Each was heading his own musical group, Hall with The Temptones and Oates with The Masters. They were attending a band competition, when they discovered that they were interested in the same music and both were attending Temple University. They started spending time together and eventually shared a number of apartments in the city. One of the apartments they shared had "Hall & Oates" on the mailbox, which became the duo's common nickname. It took them another two years to form a musical duo, and three years after that, they signed to Atlantic Records and released their debut album. The two did not start working together seriously until 1970 after Oates returned from an extended stay in Europe.

Daryl Hall & John Oates - Out of Touch [1984] Wikipedia: Daryl Franklin Hohl (born in Pottstown, Pennsylvania, on October 11, 1946) and John William Oates (born in New York City on April 7, 1948) first met at the Adelphi Ballroom in Philadelphia in 1967. Each was heading his own musical group, Hall with The Temptones and Oates with The Masters. They were attending a band competition, when they discovered that they were interested in the same music and both were attending Temple University. They started spending time together and eventually shared a number of apartments in the city. One of the apartments they shared had "Hall & Oates" on the mailbox, which became the duo's common nickname. It took them another two years to form a musical duo, and three years after that, they signed to Atlantic Records and released their debut album. The two did not start working together seriously until 1970 after Oates returned from an extended stay in Europe.

💜Music is Love💜

18,712 просмотров • 8 месяцев назад

Do you feel it? In late 19th-century Paris, while concert halls demanded massive orchestral sound and technical speed, Erik Satie took a radically different path. They made fun of him. They tried to ignore him. Working as a pianist in the cabarets of Montmartre, he composed Gymnopédie No. 1 in 1888—a work that stripped Western classical music to its barest essentials. The piece operates on a deliberate paradox. Though peaceful on the surface, Satie marked it lento e doloroso (slowly and painfully). That underlying melancholy prevents the music from becoming purely decorative, giving every suspended chord weight and quiet gravity. Watching it played, you see the thought and weight put into each simple note as it pulls on something inside you. To many it is not to make you feel good but to feel. And in this is something shared. Perhaps a rainy-day memory. In this 1966 broadcast, French pianist Jacques Février demonstrates the strict discipline Satie’s music requires. Chosen by Maurice Ravel and Francis Poulenc to premiere their works, he understood that performing Satie demands utter emotional restraint, letting the space between the notes carry the composition’s weight. By removing resolving harmonies and traditional momentum, Satie laid the groundwork for modern minimalism and ambient music nearly a century before either genre had a name.

Do you feel it? In late 19th-century Paris, while concert halls demanded massive orchestral sound and technical speed, Erik Satie took a radically different path. They made fun of him. They tried to ignore him. Working as a pianist in the cabarets of Montmartre, he composed Gymnopédie No. 1 in 1888—a work that stripped Western classical music to its barest essentials. The piece operates on a deliberate paradox. Though peaceful on the surface, Satie marked it lento e doloroso (slowly and painfully). That underlying melancholy prevents the music from becoming purely decorative, giving every suspended chord weight and quiet gravity. Watching it played, you see the thought and weight put into each simple note as it pulls on something inside you. To many it is not to make you feel good but to feel. And in this is something shared. Perhaps a rainy-day memory. In this 1966 broadcast, French pianist Jacques Février demonstrates the strict discipline Satie’s music requires. Chosen by Maurice Ravel and Francis Poulenc to premiere their works, he understood that performing Satie demands utter emotional restraint, letting the space between the notes carry the composition’s weight. By removing resolving harmonies and traditional momentum, Satie laid the groundwork for modern minimalism and ambient music nearly a century before either genre had a name.

Brian Roemmele

135,172 просмотров • 25 дней назад

i'm glad netflix showed the amount of lack of preparation williams was fighting last year as a team, and despite that carlos fought hard and got not one but two podiums that's what's gonna stay with me about williams episode and how everyone was proud of him inside the team carlos: i'm just really happy.. i needed williams, williams needed me, and together, we just feel in a good place that's why i can call this a home.. 🤍 alex: i'm not gonna lie, i wish i was the one to score the podium but to see the team get that result, how much they enjoy it, to share that moment with everyone was very special

i'm glad netflix showed the amount of lack of preparation williams was fighting last year as a team, and despite that carlos fought hard and got not one but two podiums that's what's gonna stay with me about williams episode and how everyone was proud of him inside the team carlos: i'm just really happy.. i needed williams, williams needed me, and together, we just feel in a good place that's why i can call this a home.. 🤍 alex: i'm not gonna lie, i wish i was the one to score the podium but to see the team get that result, how much they enjoy it, to share that moment with everyone was very special

ari 🦄✨

36,499 просмотров • 6 месяцев назад

$The Searchers (1956) was a landmark Western that redefined the genre, starring John Wayne as the haunted Ethan Edwards, a complex antihero driven by obsession, racism, and post-Civil War trauma, on a 5-year quest across the American frontier to rescue his niece from Comanche captors. Its revolutionary narrative structure (exploring moral ambiguity or family fracture), and Ford’s stunning Monument Valley cinematography, with those iconic doorway compositions, influenced directors like Scorsese, Spielberg, and George Lucas. And that magnificent final sequence is without a doubt one of the most beautiful in film history.$

The Searchers (1956) was a landmark Western that redefined the genre, starring John Wayne as the haunted Ethan Edwards, a complex antihero driven by obsession, racism, and post-Civil War trauma, on a 5-year quest across the American frontier to rescue his niece from Comanche captors. Its revolutionary narrative structure (exploring moral ambiguity or family fracture), and Ford’s stunning Monument Valley cinematography, with those iconic doorway compositions, influenced directors like Scorsese, Spielberg, and George Lucas. And that magnificent final sequence is without a doubt one of the most beautiful in film history.

MSI | Movie Star Icons

31,972 просмотров • 6 месяцев назад

Music Director B.I #HANBIN #비아이 #김한빈 #보이 Reporter: B.I joined as the music director, right? I felt that in scenes where the music was laid in, even when someone is k*lled, there were times fast-tempo, bright songs, or music that feels more like mainstream pop come out. I was wondering if that was influenced by B.I, and also what kind of discussions you went through to place that kind of music in each scene. Director: Music Director B.I actually already has a personal connection with Actor Jo (Byeong-kyu), which I mentioned earlier, they worked on a music together. I was introduced to him. When I first met him, he was already someone who had created many works with a distinct personal world of his own. He also has deep understanding of film and the script. When I showed him early edits where I had already laid in some music, he would take in my opinions while also bringing out his own style. Overall, I wanted the music in “Boy” to include a wide variety of genres, techno, pop songs. Having that kind of mix not only makes it more fun to watch, but I also felt that it matched the emotional tone of “Boy” very well.

Music Director B.I #HANBIN #비아이 #김한빈 #보이 Reporter: B.I joined as the music director, right? I felt that in scenes where the music was laid in, even when someone is k*lled, there were times fast-tempo, bright songs, or music that feels more like mainstream pop come out. I was wondering if that was influenced by B.I, and also what kind of discussions you went through to place that kind of music in each scene. Director: Music Director B.I actually already has a personal connection with Actor Jo (Byeong-kyu), which I mentioned earlier, they worked on a music together. I was introduced to him. When I first met him, he was already someone who had created many works with a distinct personal world of his own. He also has deep understanding of film and the script. When I showed him early edits where I had already laid in some music, he would take in my opinions while also bringing out his own style. Overall, I wanted the music in “Boy” to include a wide variety of genres, techno, pop songs. Having that kind of mix not only makes it more fun to watch, but I also felt that it matched the emotional tone of “Boy” very well.

🆔 𝐭𝐭𝐭𝐨𝐩𝟏𝟑𝟏 🌕

47,850 просмотров • 8 месяцев назад