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Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000

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The Wolf Of All Streets

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Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

DepressedBergman

197,819 Aufrufe • vor 8 Monaten

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 Aufrufe • vor 2 Monaten

"What’s basically wrong with Kubrick’s version of 'The Shining' (1980) is that it’s a film by a man who thinks too much & feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should." --- Stephen King Full Excerpt: "Stanley Kubrick‘s version of 'The Shining' (1980) is a lot tougher for me to evaluate [than 'Carrie' (1976)], because I’m still profoundly ambivalent about the whole thing. I’d admired Kubrick for a long time and had great expectations for the project, but I was deeply disappointed in the end result. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat. I think there are two basic problems with the movie. First, Kubrick is a very cold man—pragmatic and rational—and he had great difficulty conceiving, even academically, of a supernatural world. He used to make transatlantic calls to me from England at odd hours of the day and night, and I remember once he rang up at seven in the morning and asked, “Do you believe in God?” I wiped the shaving cream away from my mouth, thought a minute and said, “Yeah, I think so.” Kubrick replied, “No, I don’t think there is a God,” and hung up. Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn’t grasp the sheer inhuman evil of the Overlook Hotel. So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones. That was the basic flaw: Because he couldn’t believe, he couldn’t make the film believable to others. The second problem was in characterization and casting. Jack Nicholson, though a fine actor, was all wrong for the part. His last big role had been in 'One Flew over the Cuckoo’s Nest' (1975), and between that and his manic grin, the audience automatically identified him as a loony from the first scene. But the book is about Jack Torrance’s gradual descent into madness through the malign influence of the Overlook, which is like a huge storage battery charged with an evil powerful enough o corrupt all those who come into contact with it. If the guy is nuts to begin with, then the entire tragedy of his downfall is wasted. For that reason, the film has no center and no heart, despite its brilliantly unnerving camera angles and dazzling use of the Steadicam. What’s basically wrong with Kubrick’s version of 'The Shining' is that it’s a film by a man who thinks too much and feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should. I’d like to remake 'The Shining' someday, maybe even direct it myself if anybody will give me enough rope to hang myself with." (From Stephen King's interview to Playboy, 1983) P.S: On this day, 46 years ago, "The Shining" (1980) had its limited release in the USA & Turkey.

"What’s basically wrong with Kubrick’s version of 'The Shining' (1980) is that it’s a film by a man who thinks too much & feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should." --- Stephen King Full Excerpt: "Stanley Kubrick‘s version of 'The Shining' (1980) is a lot tougher for me to evaluate [than 'Carrie' (1976)], because I’m still profoundly ambivalent about the whole thing. I’d admired Kubrick for a long time and had great expectations for the project, but I was deeply disappointed in the end result. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat. I think there are two basic problems with the movie. First, Kubrick is a very cold man—pragmatic and rational—and he had great difficulty conceiving, even academically, of a supernatural world. He used to make transatlantic calls to me from England at odd hours of the day and night, and I remember once he rang up at seven in the morning and asked, “Do you believe in God?” I wiped the shaving cream away from my mouth, thought a minute and said, “Yeah, I think so.” Kubrick replied, “No, I don’t think there is a God,” and hung up. Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn’t grasp the sheer inhuman evil of the Overlook Hotel. So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones. That was the basic flaw: Because he couldn’t believe, he couldn’t make the film believable to others. The second problem was in characterization and casting. Jack Nicholson, though a fine actor, was all wrong for the part. His last big role had been in 'One Flew over the Cuckoo’s Nest' (1975), and between that and his manic grin, the audience automatically identified him as a loony from the first scene. But the book is about Jack Torrance’s gradual descent into madness through the malign influence of the Overlook, which is like a huge storage battery charged with an evil powerful enough o corrupt all those who come into contact with it. If the guy is nuts to begin with, then the entire tragedy of his downfall is wasted. For that reason, the film has no center and no heart, despite its brilliantly unnerving camera angles and dazzling use of the Steadicam. What’s basically wrong with Kubrick’s version of 'The Shining' is that it’s a film by a man who thinks too much and feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should. I’d like to remake 'The Shining' someday, maybe even direct it myself if anybody will give me enough rope to hang myself with." (From Stephen King's interview to Playboy, 1983) P.S: On this day, 46 years ago, "The Shining" (1980) had its limited release in the USA & Turkey.

DepressedBergman

452,022 Aufrufe • vor 3 Monaten

哈苏纳再也无法踏上戛纳的红毯了，法国女星在戛纳电影节上致敬加沙女记者被以色列导弹击中身亡。在她去世前一天，由她主演的纪录片《将灵魂置于掌心前行》，刚入围戛纳。法国女星朱丽叶·比诺在戛纳电影节上致敬在4月16日凌晨被以色列导弹击中身亡的25岁加沙摄影女记者法蒂玛·哈苏纳。Hassouna will never step on the Cannes red carpet again. A French actress paid tribute at the Cannes Film Festival to a Gaza female journalist who was killed by an Israeli missile. The day before her death, the documentary Moving Forward with the Soul in the Palm, in which she starred, had just been shortlisted for Cannes. French actress Juliette Binoche paid tribute at the Cannes Film Festival to 25-year-old Gaza female photojournalist Fatima Hassouna, who was killed by an Israeli missile in the early morning of April 16.

哈苏纳再也无法踏上戛纳的红毯了，法国女星在戛纳电影节上致敬加沙女记者被以色列导弹击中身亡。在她去世前一天，由她主演的纪录片《将灵魂置于掌心前行》，刚入围戛纳。法国女星朱丽叶·比诺在戛纳电影节上致敬在4月16日凌晨被以色列导弹击中身亡的25岁加沙摄影女记者法蒂玛·哈苏纳。Hassouna will never step on the Cannes red carpet again. A French actress paid tribute at the Cannes Film Festival to a Gaza female journalist who was killed by an Israeli missile. The day before her death, the documentary Moving Forward with the Soul in the Palm, in which she starred, had just been shortlisted for Cannes. French actress Juliette Binoche paid tribute at the Cannes Film Festival to 25-year-old Gaza female photojournalist Fatima Hassouna, who was killed by an Israeli missile in the early morning of April 16.

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The Sam’s Club exclusive Ascended Heroes “Focused Fighters” premium collection drop last night at 11pm EST was a disaster after the website crash with stock getting pulled shortly after it went live.... Early this morning around 2am, we saw Sam's Club restock the full allocations of the product online with no formal notice 👀 Were you awake or had any success on the shock drop early this morning? 👇🏻 As always, Pokenotify monitors and staff were on top of the drop helping our community lock in and checkout 🚀 These rest of this week is looking busy with some additional surprise drops! Link in bio to prepare 🔥 PokeNotify Discord is offering 3 Day FREE TRIAL! You will get access to online retailer monitors, instore stock checker, restock notifications, important updates, and MORE! Link for discord access👇 🔥 #ad #Pokemon #PokemonTCG #Pokemoncards #AscendedHeroes

The Sam’s Club exclusive Ascended Heroes “Focused Fighters” premium collection drop last night at 11pm EST was a disaster after the website crash with stock getting pulled shortly after it went live.... Early this morning around 2am, we saw Sam's Club restock the full allocations of the product online with no formal notice 👀 Were you awake or had any success on the shock drop early this morning? 👇🏻 As always, Pokenotify monitors and staff were on top of the drop helping our community lock in and checkout 🚀 These rest of this week is looking busy with some additional surprise drops! Link in bio to prepare 🔥 PokeNotify Discord is offering 3 Day FREE TRIAL! You will get access to online retailer monitors, instore stock checker, restock notifications, important updates, and MORE! Link for discord access👇 🔥 #ad #Pokemon #PokemonTCG #Pokemoncards #AscendedHeroes

PokeNotify

43,545 Aufrufe • vor 1 Monat

Quentin Tarantino recounts seeing his first blaxploitation film with an all-Black audience at nine years old. The movie was Jim Brown’s “Black Gunn,” and the experience changed his life forever… “During this time, my mother was dating a football player named Reggie. So in an effort to score points with her, Reggie asked to hang out with me. Being a football player, he asked her, "Does he like football?" She told him “No, he likes movies.” Well, as luck would have it, so did Reggie. And apparently, he saw every blaxploitation flick that came out. So late one Saturday afternoon, Reggie, who I had never met before, dropped by the apartment, picked me up and took me to the movies. He took me to a part of town I had never been before. I had been to the big movie theater districts in Hollywood and Westwood, but this place was different. This theater row had huge cinemas on both sides of the street, which went down for about eight blocks. I realized when I got older, Reggie took me to the theater district in downtown Los Angeles, located on Broadway Boulevard. All of them were blaxploitation films. Films I had never seen, the new movie on Broadway, having opened just last Wednesday, was Blaxploitation superstar Jim Brown's new motion picture, "Black Gunn." I had seen the TV spots a lot that week, and it looked really exciting. I even remember the radio spot proclaiming, "Jim Brown was gonna get the mother who killed his brother." Well, "Black Gunn" was definitely the movie Reggie wanted to see. One being the connoisseur that he apparently was, it was the only one of the movies playing he hadn't seen. Also, it was pretty fucking obvious he dugged Jim Brown. This thing, the Saturday night showing of the brand new Jim Brown movie, the huge auditorium, I mean, it was probably 1400 seats, wasn't exactly packed, but it was definitely busy and buzzing with anticipation. My little face was the only white one in the audience. This was to be my first movie in a, except for me, all black movie theater in a black neighborhood. This was 1972. Then, on a downtown Saturday night, Jim Brown's new movie, "Black Gun," began flickering through the film projector shutter gate for an extremely excited audience of about 850 black folks, 800 of them male. And frankly, I've never been the same. To one degree or another, I've spent my entire life since both attending movies and making them, trying to recreate the experience of watching a brand new Jim Brown film on a Saturday night in a black cinema in 1972. There was no comparison. When Jim Brown sat behind his desk and Bruce Glover, Crispin’s father, and his other white gangster henchmen threatened him, and Gunn hits a button under the desk and a sawed off shotgun dropped in his lap (see below), the massive theater full of black males cheered in a way the nine-year-old me had never experienced in a movie theater before. At the time, living with a single mother, it was probably the most masculine experience I'd ever been part of. And when the movie ended with a freeze frame of Jim Brown as Gunn, the guy behind Reggie made me proclaimed out loud, "Now that's a movie about a bad motherfucker!" Sadly, after that night, I never saw Reggie again, and to this day I have no idea what happened to him." From Quentin Tarantino’s book Cinema Speculation

Gangster Cinema Central

109,394 Aufrufe • vor 2 Monaten

"I Don't Want to Miss a Thing," one of Aerosmith's most beloved ballads, was penned by renowned songwriter Diane Warren and released in 1998. The song was initially written for the soundtrack of the blockbuster film Armageddon, which starred Liv Tyler, the daughter of Aerosmith's frontman, Steven Tyler. The song quickly soared to the top of the charts, becoming Aerosmith's first and only number one hit on the Billboard Hot 100. Its sweeping melody and heartfelt lyrics struck a chord with audiences worldwide, solidifying its place as a timeless anthem of love and devotion. By the time Aerosmith performed "I Don't Want to Miss a Thing" live at the Office Depot Center in Sunrise, Florida, on April 3, 2004, the song had already achieved iconic status. The performance was part of their Honkin' on Bobo Tour, a series of concerts that showcased the band's versatility and enduring appeal. Steven Tyler's powerful vocals and emotive delivery brought a new dimension to the song, captivating the audience and adding a raw, live energy that can't be replicated in the studio. The live rendition of "I Don't Want to Miss a Thing" on that night in Florida was a memorable experience for fans. Joe Perry's masterful guitar work, combined with the band's tight instrumentation and the passionate performance by Tyler, created an unforgettable atmosphere. The band's ability to convey deep emotion through their music was on full display, making this performance a standout moment in their extensive touring history. This live version not only highlighted the band's musical prowess but also underscored why Aerosmith remains one of the most enduring and beloved rock bands of all time. #Aerosmith #StevenTyler

"I Don't Want to Miss a Thing," one of Aerosmith's most beloved ballads, was penned by renowned songwriter Diane Warren and released in 1998. The song was initially written for the soundtrack of the blockbuster film Armageddon, which starred Liv Tyler, the daughter of Aerosmith's frontman, Steven Tyler. The song quickly soared to the top of the charts, becoming Aerosmith's first and only number one hit on the Billboard Hot 100. Its sweeping melody and heartfelt lyrics struck a chord with audiences worldwide, solidifying its place as a timeless anthem of love and devotion. By the time Aerosmith performed "I Don't Want to Miss a Thing" live at the Office Depot Center in Sunrise, Florida, on April 3, 2004, the song had already achieved iconic status. The performance was part of their Honkin' on Bobo Tour, a series of concerts that showcased the band's versatility and enduring appeal. Steven Tyler's powerful vocals and emotive delivery brought a new dimension to the song, captivating the audience and adding a raw, live energy that can't be replicated in the studio. The live rendition of "I Don't Want to Miss a Thing" on that night in Florida was a memorable experience for fans. Joe Perry's masterful guitar work, combined with the band's tight instrumentation and the passionate performance by Tyler, created an unforgettable atmosphere. The band's ability to convey deep emotion through their music was on full display, making this performance a standout moment in their extensive touring history. This live version not only highlighted the band's musical prowess but also underscored why Aerosmith remains one of the most enduring and beloved rock bands of all time. #Aerosmith #StevenTyler

Rock'n Roll of All

128,762 Aufrufe • vor 2 Jahren

Madonna and Gymskin Finally Met Last Night — Live on Stream Earlier this year, British Kick streamer Gymskin — real name Jack — sent Madonna’s 1985 classic “Into the Groove” back into the UK charts with his viral “follow that tune” clip, where it peaked at number 17 in the Official Top 40. Months later, Madonna and Gymskin have finally met. And when it happened, it happened live, unedited, in front of everyone watching. Gymskin had teased a surprise on his social media ahead of the stream, and after over an hour of live broadcasting, the final half hour took an unexpected turn: he went to Madonna’s London home. The door was already open. She was waiting for him on the ground floor, seated at her desk, dressed in gym wear, and “I Feel So Free” was playing loud in the background. What followed was unscripted and unfiltered. The two talked at length, shared a drink, and Madonna showed him the vinyl of her upcoming album Confessions II, out July 3rd via Warner Records. They also danced together, first to “I Feel So Free”, and then to “Into the Groove” itself. During the evening, Madonna described “I Feel So Free” as a kind of new version of “Into the Groove”. These clips are moments we’ve put together from last night’s livestream. You can watch the full broadcast in its entirety here:

Madonna and Gymskin Finally Met Last Night — Live on Stream Earlier this year, British Kick streamer Gymskin — real name Jack — sent Madonna’s 1985 classic “Into the Groove” back into the UK charts with his viral “follow that tune” clip, where it peaked at number 17 in the Official Top 40. Months later, Madonna and Gymskin have finally met. And when it happened, it happened live, unedited, in front of everyone watching. Gymskin had teased a surprise on his social media ahead of the stream, and after over an hour of live broadcasting, the final half hour took an unexpected turn: he went to Madonna’s London home. The door was already open. She was waiting for him on the ground floor, seated at her desk, dressed in gym wear, and “I Feel So Free” was playing loud in the background. What followed was unscripted and unfiltered. The two talked at length, shared a drink, and Madonna showed him the vinyl of her upcoming album Confessions II, out July 3rd via Warner Records. They also danced together, first to “I Feel So Free”, and then to “Into the Groove” itself. During the evening, Madonna described “I Feel So Free” as a kind of new version of “Into the Groove”. These clips are moments we’ve put together from last night’s livestream. You can watch the full broadcast in its entirety here:

DrownedMadonna

42,112 Aufrufe • vor 3 Monaten

jeonghan talking about seokhan’s jeju trip #도겸 😇 the jeju island trip with dokyeom was so fun but it was honestly so exhausting, i mean the filming itself wasn’t hard at all but since dokyeom and i went on a trip together for the first time in awhile and since it had the title of ‘travel’, once filming ended, we came back to our room and we’d drink together and we’d be like “should we just have one highball while catching up?” then we drank until 5am. then we’d wake up the next day and film hard again. then after we went back, we’d say “let’s not overdo it again.. just one highball” then we’d drink till 5am again. 😇 even when we’re drinking with the staff, they’d finish around 2am, neither of dokyeom and i would give up. one of us would be like “are you gonna go up?” no way then the two of us would keep drinking. then it’s the last day, since it’s the last day, we drank again. the day after that, we had a full day schedule and arrived back in seoul late at night and i felt like i was gonna die, my body couldn’t handle partying like that for three days straight anymore

jeonghan talking about seokhan’s jeju trip #도겸 😇 the jeju island trip with dokyeom was so fun but it was honestly so exhausting, i mean the filming itself wasn’t hard at all but since dokyeom and i went on a trip together for the first time in awhile and since it had the title of ‘travel’, once filming ended, we came back to our room and we’d drink together and we’d be like “should we just have one highball while catching up?” then we drank until 5am. then we’d wake up the next day and film hard again. then after we went back, we’d say “let’s not overdo it again.. just one highball” then we’d drink till 5am again. 😇 even when we’re drinking with the staff, they’d finish around 2am, neither of dokyeom and i would give up. one of us would be like “are you gonna go up?” no way then the two of us would keep drinking. then it’s the last day, since it’s the last day, we drank again. the day after that, we had a full day schedule and arrived back in seoul late at night and i felt like i was gonna die, my body couldn’t handle partying like that for three days straight anymore

⚔︎

78,721 Aufrufe • vor 9 Tagen

🚨 Single mum's 9 months of hell living next door to immigrants, and all Humberside police could do was arrest me TWICE September last year, a single mum's life was turned upside down when a gang of immigrants were moved into the house next door She contacted me for support, I gave her safety devices and camera advice, I knocked on the home of the immigrants to find out a little about them and where they had come from I posted a video about it on X 👇🏻 I never once shared the location, a few days later criminal damage to the property the migrants were staying in allegedly happened Humberside police put 2+2 together and came up with 69, having the biggest hard-on ever they came and booted my door in and arrested me for 'inciting racial hatred' taking all my devices They banned me off social media totally and made me sign on at the police station every few days😲 I couldn't even post about Grimsby Town beating Manchester United in the cup 😢 like I always do I appealed the bail conditions and got a hearing at magistrates court within a few days, but this time they brought in a district judge from Blackburn who wouldn't listen to my submissions and sided straight away with the police, I told him what he was doing was unlawful but he stood up walked away and ordered my removal from court The situation nearly made me homeless but after months of being on bail I was given a letter stating ' NO FURTHER ACTION' THE PROCESS IS THE PUNISHMENT 2 arrests in 6 months doors kicked in devices seized gagged from speaking nearly made homeless all because a single mum was petrified when a gang of immigrants were dumped next door in the middle of the night The migrants made that single mother's life hell for 9 months, coming in her home hiding in her garden looking through her windows bringing lots of other immigrants back, playing loud music and banging late at night. Authorities only moved them out when the public became aware, and they got moved for their safety not the woman's The state will do everything in their power to shut you up, but when you've got nothing to lose, you've nothing to fear. REMEMBER THAT NEXT TIME YOU COME KNOCKING!

🚨 Single mum's 9 months of hell living next door to immigrants, and all Humberside police could do was arrest me TWICE September last year, a single mum's life was turned upside down when a gang of immigrants were moved into the house next door She contacted me for support, I gave her safety devices and camera advice, I knocked on the home of the immigrants to find out a little about them and where they had come from I posted a video about it on X 👇🏻 I never once shared the location, a few days later criminal damage to the property the migrants were staying in allegedly happened Humberside police put 2+2 together and came up with 69, having the biggest hard-on ever they came and booted my door in and arrested me for 'inciting racial hatred' taking all my devices They banned me off social media totally and made me sign on at the police station every few days😲 I couldn't even post about Grimsby Town beating Manchester United in the cup 😢 like I always do I appealed the bail conditions and got a hearing at magistrates court within a few days, but this time they brought in a district judge from Blackburn who wouldn't listen to my submissions and sided straight away with the police, I told him what he was doing was unlawful but he stood up walked away and ordered my removal from court The situation nearly made me homeless but after months of being on bail I was given a letter stating ' NO FURTHER ACTION' THE PROCESS IS THE PUNISHMENT 2 arrests in 6 months doors kicked in devices seized gagged from speaking nearly made homeless all because a single mum was petrified when a gang of immigrants were dumped next door in the middle of the night The migrants made that single mother's life hell for 9 months, coming in her home hiding in her garden looking through her windows bringing lots of other immigrants back, playing loud music and banging late at night. Authorities only moved them out when the public became aware, and they got moved for their safety not the woman's The state will do everything in their power to shut you up, but when you've got nothing to lose, you've nothing to fear. REMEMBER THAT NEXT TIME YOU COME KNOCKING!

Active Patriot

184,550 Aufrufe • vor 2 Monaten

#WATCH | Kolkata, West Bengal | On the alleged assault on her, Bengali playback singer Lagnajita Chakraborty says, "I had started my show at around 7 pm and it was going smoothly. At around 7:45 pm, I was done singing 7 songs and I was going to start with my 8th one in the list... This 7th song is called 'Jago Maa' from the movie 'Devi Choudhurani', which was released during this Pujo. While I was interacting with the audience after this song, I suddenly saw one man from the audience charging towards the stage... He came very close to my face. The school that I was performing in, was recording my whole concert, which is very normal, as every organiser does it. But I don't have access to that video recording because it belongs to the school. If somebody can access the video, if it comes out in public, then everybody can see that Mahboob Mallick charged towards the stage with the intention of hitting me. In plain words, he wanted to beat me up... While people rushed to save me and were pulling him away, he shouted, "Enough of Jago Maa, now sing something secular"... Bangla is a beautiful language with many words that can be used to refer to a person, but he called me 'tu', which I am not okay with. That's not part of our culture. We don't do that to an unknown person or a guest. It is used for very near and dear ones or is used as an abuse... I went to the Bhagwanpur Police Station after leaving from the show, and filed a GD... I have full faith in my police and administration, and I know such an incident will not happen again... I have another show in the coming days in the Arambagh area, and I am going to sing 'Jago Maa' as my 7th number. I know the police and administration will ensure that I sing Jago Maa and do not get beaten up for it, and I return home safe and sound..."

#WATCH | Kolkata, West Bengal | On the alleged assault on her, Bengali playback singer Lagnajita Chakraborty says, "I had started my show at around 7 pm and it was going smoothly. At around 7:45 pm, I was done singing 7 songs and I was going to start with my 8th one in the list... This 7th song is called 'Jago Maa' from the movie 'Devi Choudhurani', which was released during this Pujo. While I was interacting with the audience after this song, I suddenly saw one man from the audience charging towards the stage... He came very close to my face. The school that I was performing in, was recording my whole concert, which is very normal, as every organiser does it. But I don't have access to that video recording because it belongs to the school. If somebody can access the video, if it comes out in public, then everybody can see that Mahboob Mallick charged towards the stage with the intention of hitting me. In plain words, he wanted to beat me up... While people rushed to save me and were pulling him away, he shouted, "Enough of Jago Maa, now sing something secular"... Bangla is a beautiful language with many words that can be used to refer to a person, but he called me 'tu', which I am not okay with. That's not part of our culture. We don't do that to an unknown person or a guest. It is used for very near and dear ones or is used as an abuse... I went to the Bhagwanpur Police Station after leaving from the show, and filed a GD... I have full faith in my police and administration, and I know such an incident will not happen again... I have another show in the coming days in the Arambagh area, and I am going to sing 'Jago Maa' as my 7th number. I know the police and administration will ensure that I sing Jago Maa and do not get beaten up for it, and I return home safe and sound..."

ANI

53,508 Aufrufe • vor 8 Monaten

"Whenever 'The Lady from Shanghai' (1947) was mentioned, people would clear their throats & change the subject very quickly out of consideration for my feelings. I only found out it was considered a good picture when I got to Europe." --- Orson Welles Full Excerpt: "Bogdanovich: But what was the Hollywood reaction generally to it? Welles: Friends avoided me. Whenever it was mentioned, people would clear their throats and change the subject very quickly out of consideration for my feelings. I only found out it was considered a good picture when I got to Europe. The first nice thing I ever heard about it from an American was from Truman Capote. One night in Sicily, he quoted whole pages of dialogue word for word. Bogdanovich: I guess that’s called being ahead of your time. Welles: It’s called being in trouble. Bogdanovich: How’d you come to make the movie? Welles: I was working on 'Around the World in 80 Days' and we found ourselves in Boston on the day of the premiere, unable to get the costumes from the station because $50,000 was due and our producer, Mr. Todd, had gone broke. Without that money we couldn’t open. I called Harry Cohn in Hollywood and I said, “I have a great story for you if you send me $50,000 by telegram in one hour. I'll sign a contract to make it.” “What story?” Cohn said. I was calling from a pay phone, and next to it was a display of paperbacks and I gave him the title of one of them, Lady from Shanghai. I said, “Buy the novel and I'll make the film.” An hour later, we got the money. Bogdanovich: There’s a quote from Peter Noble’s book: “Lady from Shanghai" cost a fortune, lost a fortune, and finished Welles’ career at any of the big Hollywood studios.” Welles: The truth is that it cost about the same as any other Rita Hayworth picture in that period, and if it didn’t do as well at the box office as some of the others, I don’t think it did either of us any real harm. I went to Europe after that and stayed there, but I wasn't run out of town. Harry Cohn told me, “I’m never going to make a picture like this again.” He had a good point. His reasons were: “Not because of the script, you understand—it’s the script I approved-and I liked it and I don’t care what anybody says. It’s just because nobody should be the director and producer and also the leading actor in any picture. There's no way that he can be fired. Somebody has a deal like that—what’s the use of me owning my own studio? | might as well be janitor.”" ('This is Orson Welles', Orson Welles & Peter Bogdanovich, 1993)

"Whenever 'The Lady from Shanghai' (1947) was mentioned, people would clear their throats & change the subject very quickly out of consideration for my feelings. I only found out it was considered a good picture when I got to Europe." --- Orson Welles Full Excerpt: "Bogdanovich: But what was the Hollywood reaction generally to it? Welles: Friends avoided me. Whenever it was mentioned, people would clear their throats and change the subject very quickly out of consideration for my feelings. I only found out it was considered a good picture when I got to Europe. The first nice thing I ever heard about it from an American was from Truman Capote. One night in Sicily, he quoted whole pages of dialogue word for word. Bogdanovich: I guess that’s called being ahead of your time. Welles: It’s called being in trouble. Bogdanovich: How’d you come to make the movie? Welles: I was working on 'Around the World in 80 Days' and we found ourselves in Boston on the day of the premiere, unable to get the costumes from the station because $50,000 was due and our producer, Mr. Todd, had gone broke. Without that money we couldn’t open. I called Harry Cohn in Hollywood and I said, “I have a great story for you if you send me $50,000 by telegram in one hour. I'll sign a contract to make it.” “What story?” Cohn said. I was calling from a pay phone, and next to it was a display of paperbacks and I gave him the title of one of them, Lady from Shanghai. I said, “Buy the novel and I'll make the film.” An hour later, we got the money. Bogdanovich: There’s a quote from Peter Noble’s book: “Lady from Shanghai" cost a fortune, lost a fortune, and finished Welles’ career at any of the big Hollywood studios.” Welles: The truth is that it cost about the same as any other Rita Hayworth picture in that period, and if it didn’t do as well at the box office as some of the others, I don’t think it did either of us any real harm. I went to Europe after that and stayed there, but I wasn't run out of town. Harry Cohn told me, “I’m never going to make a picture like this again.” He had a good point. His reasons were: “Not because of the script, you understand—it’s the script I approved-and I liked it and I don’t care what anybody says. It’s just because nobody should be the director and producer and also the leading actor in any picture. There's no way that he can be fired. Somebody has a deal like that—what’s the use of me owning my own studio? | might as well be janitor.”" ('This is Orson Welles', Orson Welles & Peter Bogdanovich, 1993)

DepressedBergman

21,038 Aufrufe • vor 6 Monaten

Happy Final Space Friday! Lots to update. So here’s the thing… since I legally can’t do a digital version of the comic, I’ve been digging into a little loophole: a motion comic. Like… an actual video version of the book. Still testing it, but Daz Tibbles did a rough test and is trying a few motion poster tests with other characters. If we pull this off, it’s gonna take FOREVER but it’s possible. That’s the key word here. Possible. And maybe worth it. Over on the Color Edition, the print file’s coming together clean. The whole focus right now is threefold: 1.Resizing 2. Color matching 3.And the “Zazz Pass” (if a tweak takes under 30 minutes, I’m hitting it). I’m building a punch list and should have some before/after examples to show off next week. It’s looking really good. On the Midnight Edition, we’re building out the UV Spot File for the cover titles on the front, spine, back, and yep, the shards of glass will glint too. Gonna look sick! Just waiting on the physical samples to land at my door so I can approve it for full print run. Also printer flagged 15 pages where the text bubbles were a little too close to the cut line, so I went in, fixed them, and sent them back. And yes, I asked about international languages. It’s doable, but that’s a whole other mountain would need to re-letter the whole thing. I’m shelving that until the English versions are fully out. Right now, I’m just keeping my head down and charging through the color files. Let me know what you think of Daz Tibbles tackling a full motion comic. -O PRE-ORDER HERE:

Happy Final Space Friday! Lots to update. So here’s the thing… since I legally can’t do a digital version of the comic, I’ve been digging into a little loophole: a motion comic. Like… an actual video version of the book. Still testing it, but Daz Tibbles did a rough test and is trying a few motion poster tests with other characters. If we pull this off, it’s gonna take FOREVER but it’s possible. That’s the key word here. Possible. And maybe worth it. Over on the Color Edition, the print file’s coming together clean. The whole focus right now is threefold: 1.Resizing 2. Color matching 3.And the “Zazz Pass” (if a tweak takes under 30 minutes, I’m hitting it). I’m building a punch list and should have some before/after examples to show off next week. It’s looking really good. On the Midnight Edition, we’re building out the UV Spot File for the cover titles on the front, spine, back, and yep, the shards of glass will glint too. Gonna look sick! Just waiting on the physical samples to land at my door so I can approve it for full print run. Also printer flagged 15 pages where the text bubbles were a little too close to the cut line, so I went in, fixed them, and sent them back. And yes, I asked about international languages. It’s doable, but that’s a whole other mountain would need to re-letter the whole thing. I’m shelving that until the English versions are fully out. Right now, I’m just keeping my head down and charging through the color files. Let me know what you think of Daz Tibbles tackling a full motion comic. -O PRE-ORDER HERE:

Final Space

51,347 Aufrufe • vor 1 Jahr

Rarely will you see a member of the truth community do something more awesome than this 🔥🙌🏻 Last week this absolute legend known as Justin Robert went to a county commissioners meeting in FL & completely exposed the Challenger hoax. He clearly proved that several people who were supposedly on board when it exploded have been found still alive & well in the year 2024. They were so rattled that they wouldn’t even let him finish his 3 minutes, and then forced the police to remove him from the building. 🤣😂 Their reaction says it all. Below is the full video if him speaking at the meeting, followed by excerpts from the film by @HibbelerTruth titled ‘Level With Me’ which completely exposes the people who were supposedly on board the Challenger when it exploded. You can see the entire film for free on Rumble at the following link: I HIGHLY recommend watching all of it 👊🏻 I’m also including excerpts from Justin’s interview last night by Stew Peters that can be viewed in full on Rumble on the Stew Peters Network channel. If you’re not already following Justin Robert on here, fix that immediately! The man is a legit hero who’s been going into public settings continuously and exposing the corruption and lies of NASA and others in our government. If that’s not worth a follow I don’t know what is. Also you can follow his Rumble channel that I’m linking below to see videos of all the fantastic stuff he’s been doing recently & undoubtedly will be doing in the future. We need a lot more people like Justin out there taking it to the streets, what a legend 💯 And finally, please share this video with anyone you know who’s still asleep regarding NASA’s fraudulent actions & behavior 👊🏻

Rarely will you see a member of the truth community do something more awesome than this 🔥🙌🏻 Last week this absolute legend known as Justin Robert went to a county commissioners meeting in FL & completely exposed the Challenger hoax. He clearly proved that several people who were supposedly on board when it exploded have been found still alive & well in the year 2024. They were so rattled that they wouldn’t even let him finish his 3 minutes, and then forced the police to remove him from the building. 🤣😂 Their reaction says it all. Below is the full video if him speaking at the meeting, followed by excerpts from the film by @HibbelerTruth titled ‘Level With Me’ which completely exposes the people who were supposedly on board the Challenger when it exploded. You can see the entire film for free on Rumble at the following link: I HIGHLY recommend watching all of it 👊🏻 I’m also including excerpts from Justin’s interview last night by Stew Peters that can be viewed in full on Rumble on the Stew Peters Network channel. If you’re not already following Justin Robert on here, fix that immediately! The man is a legit hero who’s been going into public settings continuously and exposing the corruption and lies of NASA and others in our government. If that’s not worth a follow I don’t know what is. Also you can follow his Rumble channel that I’m linking below to see videos of all the fantastic stuff he’s been doing recently & undoubtedly will be doing in the future. We need a lot more people like Justin out there taking it to the streets, what a legend 💯 And finally, please share this video with anyone you know who’s still asleep regarding NASA’s fraudulent actions & behavior 👊🏻

matthew

75,822 Aufrufe • vor 2 Jahren

Man… outside of memorizing The Eminem Show (clean version), the FIRST tape that ever got me into music was J. Cole’s The Come Up. From that moment on I was locked in. I went to every show I could — my first being when he opened for Estelle at UCR and I drove from the Bay just to be front row. I still remember coming home, downloading Friday Night Lights, closing my eyes and listening front to back trying to absorb it. His music wasn’t just music to me. It was a cheat code to life. It taught me how to think, how to move, how to chase a dream. Every drive was Cole. Every girl I dated got sick of it and after every breakup I’d get the same text: “A Cole song came on today, thought of you.” Funny enough, every YouTube video I ever posted ended with the instrumental to Return of Simba. That song meant everything to me. I’ll admit there were times I crossed into full STAN territory. In 2018, after everything fell apart in my life, I convinced myself and the world that I had to walk out and introduce Cole at one of his shows. Why? God knows. I bought tickets to 5 shows across the country, met security, had the strangest spiritual conversations with people who somehow knew him. I got close. Years later I told Ibrahim H. who happened to be at the hookah lounge I was at the whole story, secretly hoping he’d say “Cole needs to hear this.” He didn’t. He said, “Sounds like God was with you. Keep fighting.” That was enough. The last show I ever thought I’d attend was the day after I left my first rehab stint. In rehab all we had were MP3 players and I had his entire discography on mine. That night felt like closure. I silently thanked him for everything his music did for my life and let the chapter close. Since then I’ve been a quiet supporter. Every drop at midnight. Every release an instant buy. But this last Dreamville Fest pulled me back in and for the first time ever I didn’t record, didn’t pull my phone out, didn’t perform for the moment. I just experienced it. And it was the greatest show I’ve ever been to. So yeah, the hype for The Fall Off is real. This Friday I’ll do what I’ve always done by cleaning the house, setying the lights, sitying down, and really listening. I don’t know where I’d be, or if I’d even be here, without this man’s music. I used to want to gatekeep him. Now I just feel gratitude watching how big he’s become. Thank you, J. Cole Always appreciated. Truly yours, your biggest fan, this is Stan.. haha just playing.

Man… outside of memorizing The Eminem Show (clean version), the FIRST tape that ever got me into music was J. Cole’s The Come Up. From that moment on I was locked in. I went to every show I could — my first being when he opened for Estelle at UCR and I drove from the Bay just to be front row. I still remember coming home, downloading Friday Night Lights, closing my eyes and listening front to back trying to absorb it. His music wasn’t just music to me. It was a cheat code to life. It taught me how to think, how to move, how to chase a dream. Every drive was Cole. Every girl I dated got sick of it and after every breakup I’d get the same text: “A Cole song came on today, thought of you.” Funny enough, every YouTube video I ever posted ended with the instrumental to Return of Simba. That song meant everything to me. I’ll admit there were times I crossed into full STAN territory. In 2018, after everything fell apart in my life, I convinced myself and the world that I had to walk out and introduce Cole at one of his shows. Why? God knows. I bought tickets to 5 shows across the country, met security, had the strangest spiritual conversations with people who somehow knew him. I got close. Years later I told Ibrahim H. who happened to be at the hookah lounge I was at the whole story, secretly hoping he’d say “Cole needs to hear this.” He didn’t. He said, “Sounds like God was with you. Keep fighting.” That was enough. The last show I ever thought I’d attend was the day after I left my first rehab stint. In rehab all we had were MP3 players and I had his entire discography on mine. That night felt like closure. I silently thanked him for everything his music did for my life and let the chapter close. Since then I’ve been a quiet supporter. Every drop at midnight. Every release an instant buy. But this last Dreamville Fest pulled me back in and for the first time ever I didn’t record, didn’t pull my phone out, didn’t perform for the moment. I just experienced it. And it was the greatest show I’ve ever been to. So yeah, the hype for The Fall Off is real. This Friday I’ll do what I’ve always done by cleaning the house, setying the lights, sitying down, and really listening. I don’t know where I’d be, or if I’d even be here, without this man’s music. I used to want to gatekeep him. Now I just feel gratitude watching how big he’s become. Thank you, J. Cole Always appreciated. Truly yours, your biggest fan, this is Stan.. haha just playing.

FOUSEY

96,159 Aufrufe • vor 6 Monaten

🧵🔥👀 YOU CANT UNSEE IT. I CANT BELIEVE IT TOOK ME THIS LONG TO SEE IT MYSELF. I BELIEVE SWALWELL WAS A CIA ASSET. Watch until the end. Remember when General Mike Flynn said he knew for a fact that Brennan was still working with people inside the government? What if I told you that Swalwell was sacrificed and pushed out in an OP to try to slow down focus on Brennan possibly being indicted? What if I told you Swalwell was PAID A CONSULTING FEE by a company called “Spycraft/Smersh” that is run by two Ex CIA & that those same people host a podcast that just had the fake CLINTON FUNDED DOSSIER AUTHOR CHRISTOPHER STEELE ON LAST WEEK TO DEFEND IT? What if I told you that Brennan was likely feeding Swalwell questions years ago during the fake collusion hoax? Now what if I told you that Swalwell and Brennan both went to the premiere of a film called “WORDS OF WAR” which is an anti Russia / Putin film about a journalist. Guess who else was there… fake journalist CIA asset Bob Woodward who they used to take down Nixon. Wha if I told you that they were on an all in panel for the film at the end. Now what if I told you that Sean Penn was there and a producer… yes the same Sean Penn who WENT TO UKRAINE TO GIVE ZELENSKY HIS OSCAR propaganda because HOLLYWOOD IS USED BY THE CIA to indoctrinate. What other film was pushed and given awards this year? The anti ICE film “ ONE BATTLE AFTER ANOTHER” Guess who else was in that film ? Sean Penn who was also a producer on BOTH FILMs. Now what if I told you that ERIC SWALWELL was an also an EXECUTIVE producer on that “Words of War” film? Where did the money come from? I believe The deepstaters had him compromised for YEARS and they pulled his card in an orchestrated takedown to deflect because they want to SACRIFICE HIM as red meat and distract from the higher ups. Remember Pelosi is retiring and John Solomon said YESTERDAY the walls are closing in on Brennan. Who was the “PRO TEMPORE” (person given the gavel) when Pelosi left on Jan 6th and put in charge? Swalwell. They will make a deal to keep Swalwell quiet on collusion and the Jan 6 operation. They know he’s a weak link and are afraid of someone giving up all the cards. The machine & Obama wanted their Billionaire Steyer (PODESTA FRIEND & CAP BOARD MEMBER) in as their California candidate so they just did two birds one stone. They couldn’t risk that’s compromised clown being Governor of their California cash cow like Minnesota. They threw Swalwell away just to show him how EASY it is and they will throw him a life preserver if he KEEPS QUIET. They even had their weaponized NY go after him as a signal. This may all be a ruse to throw people red meat and PROTECT THE TRUE ELITES & RUN OUT THE CLOCK ON TRUMPS 2ND TERM. LETS SEE WHO TALKS. 🧵 CONTINUED👇🏻

🧵🔥👀 YOU CANT UNSEE IT. I CANT BELIEVE IT TOOK ME THIS LONG TO SEE IT MYSELF. I BELIEVE SWALWELL WAS A CIA ASSET. Watch until the end. Remember when General Mike Flynn said he knew for a fact that Brennan was still working with people inside the government? What if I told you that Swalwell was sacrificed and pushed out in an OP to try to slow down focus on Brennan possibly being indicted? What if I told you Swalwell was PAID A CONSULTING FEE by a company called “Spycraft/Smersh” that is run by two Ex CIA & that those same people host a podcast that just had the fake CLINTON FUNDED DOSSIER AUTHOR CHRISTOPHER STEELE ON LAST WEEK TO DEFEND IT? What if I told you that Brennan was likely feeding Swalwell questions years ago during the fake collusion hoax? Now what if I told you that Swalwell and Brennan both went to the premiere of a film called “WORDS OF WAR” which is an anti Russia / Putin film about a journalist. Guess who else was there… fake journalist CIA asset Bob Woodward who they used to take down Nixon. Wha if I told you that they were on an all in panel for the film at the end. Now what if I told you that Sean Penn was there and a producer… yes the same Sean Penn who WENT TO UKRAINE TO GIVE ZELENSKY HIS OSCAR propaganda because HOLLYWOOD IS USED BY THE CIA to indoctrinate. What other film was pushed and given awards this year? The anti ICE film “ ONE BATTLE AFTER ANOTHER” Guess who else was in that film ? Sean Penn who was also a producer on BOTH FILMs. Now what if I told you that ERIC SWALWELL was an also an EXECUTIVE producer on that “Words of War” film? Where did the money come from? I believe The deepstaters had him compromised for YEARS and they pulled his card in an orchestrated takedown to deflect because they want to SACRIFICE HIM as red meat and distract from the higher ups. Remember Pelosi is retiring and John Solomon said YESTERDAY the walls are closing in on Brennan. Who was the “PRO TEMPORE” (person given the gavel) when Pelosi left on Jan 6th and put in charge? Swalwell. They will make a deal to keep Swalwell quiet on collusion and the Jan 6 operation. They know he’s a weak link and are afraid of someone giving up all the cards. The machine & Obama wanted their Billionaire Steyer (PODESTA FRIEND & CAP BOARD MEMBER) in as their California candidate so they just did two birds one stone. They couldn’t risk that’s compromised clown being Governor of their California cash cow like Minnesota. They threw Swalwell away just to show him how EASY it is and they will throw him a life preserver if he KEEPS QUIET. They even had their weaponized NY go after him as a signal. This may all be a ruse to throw people red meat and PROTECT THE TRUE ELITES & RUN OUT THE CLOCK ON TRUMPS 2ND TERM. LETS SEE WHO TALKS. 🧵 CONTINUED👇🏻

Johnny St.Pete

130,442 Aufrufe • vor 4 Monaten