Podcasts about Giulietta Masina

*Patreon Episode Preview* We talk about the cinematography in Federico Fellini's "Juliet of the Spirits" from 1965, why it's Hollis Monk Thayer's favorite movie when it comes to color cinematography, Stephen's first time reaction to it, how still photography has so many differences with this production, Giulietta Masina's performance, the affect of watching art films on your life and more!

Memento #318. Els seus retrats de dones maltractades per la vida, marcades per la resignaci

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Silvana vuelve al podcast para hablar con Villalobos respecto a la película que disparó la fama de Fellini afuera de Italia. Una mujer que vive y piensa como niña, un bruto legendario y la mezcla entre miseria y magia que fascinó al director a la hora de filmar entornos como el circo y la religión. 

It's classic noir month, a theme we call THE LEFT HAND ENDEAVOR, and every Thursday in March we go overseas and away from the Hayes code for some Noir classics beyond the English language. Some greatly influenced by classic American noir and one that helped influence it. Today we break the seal on Frederico Fellini for the show and discuss a whimsical crime tale involving some swindlers that may be amongst the worst scumbags we see all month. They dress like clergy and con peasants out of their money and it seems as much a playful hobby as it is a moneymaking endeavor. It's a “Left Handed Endeavor” you might say. It's all a party until wives, estranged daughters and children stricken with polio come into the picture. We're discussing Fellini's 1955 Italian crime tragedy “IL BIDONE” starring Broderick Crawford, Giulietta Masina & Richard Basehart. That New Year's party seemed to be popping. Probably would have been more fun if you didn't have to keep checking your pockets. Of course we got a link: https://www.youtube.com/watch?v=S8cdmtZiMUM Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Chief film critic of The Hollywood Reporter David Rooney joins John Bleasdale to talk about Federico Fellini's 1957 masterpiece Le Notti di Cabiria, Nights of Cabiria, starring Giulietta Masina as a sex worker in a Rome on the edge of La Dolce Vita. Massina won Best Actress at Cannes and the film was the second Oscar in a row for Fellini.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Today we cover tales of murderous intrigue and devastating poverty. First up, Brad Garoon assigns Jake Ziegler the tightly-paced Dial M for Murder, by master of tension Alfred Hitchcock. The fellas discuss the film's expert plotting, the amazing performances from Grace Kelly, Ray Milland, and John Williams, and the unmistakable influence the movie has had on industry. Jake then assigns Brad la Strada, Federico Fellini's masterpiece about poverty and abuse. They theorize about the movie's shift in focus in its final few scenes, the power of language in different translations of the film, and the beautiful performance by Giulietta Masina. Others movies mentioned in this episode: Rear Window (1954), Seven Samurai (1954), 20,000 Leagues Under the Sea (1954), Twelve Angry Men (1954), On the Waterfront (1954), Raging Bull (1980), Fight Club (1999), Panic Room (2002), Gone Girl (2014).

In the year 1960, Federico Fellini premiered La Dolce Vita and changed cinema forever. That sounds like hyperbole but it's really just fact; it was the film that not only spawned a thousand knock-offs, both contemporary and legacy, but launched Fellini's own career into the stratosphere. Known for his dream-like films, fantastical visuals, introspective storylines and iconic Nino Rota scores, the ‘60s truly defined his unique voice as a director. In finally tackling Fellini, Cinema60 has stared into the face of God and emerged with the heaviness that comes with the gaining of great knowledge and the irrevocable loss of youthful innocence.In this episode, Bart and Jenna spend almost 30 minutes breaking down La Dolce Vita in great detail and then happily move on to the rest, because they're all great too. Sure, the two heavy hitters here cast a long shadow over Fellini's extensive body of work and over the entirety of ‘60s arthouse cinema. But the others that we cover are treasures in their own right – shining even more brightly due their comparative underexposure. I turns out, watching each of these films in order tells a rather gripping story of both the evolution of Fellini as an artist and of the self-immolating ambitiousness of the decade itself. The following films are discussed:• La dolce vita (1960) Directed by Federico Fellini Starring Marcello Mastroianni, Anita Ekberg, Anouk Aimée• Boccaccio '70 (1962) Segment: "Le tentazioni del Dottor Antonio" Directed by Federico Fellini Starring Anita Ekberg, Peppino De Filippo, Antonio Acqua• 8½ (1963) Directed by Federico Fellini Starring Marcello Mastroianni, Anouk Aimée, Claudia Cardinale• Juliet of the Spirits (1965) Giulietta degli spiriti Directed by Federico Fellini Starring Giulietta Masina, Sandra Milo, Mario Pisu• Spirits of the Dead (1968) Histoires extraordinaires - segment: "Toby Dammit" Directed by Federico Fellini Starring Terence Stamp, Marina Yaru, Salvo Randone • Fellini Satyricon (1969) Directed by Federico Fellini Starring Martin Potter, Hiram Keller, Max BornBonus Topics:• Spirits of the Dead (1968) Histoires extraordinaires - segment: "Metzengerstein" Directed by Roger Vadim Starring Jane Fonda, Peter Fonda, Serge Marquand• Spirits of the Dead (1968) Histoires extraordinaires - segment: "William Wilson" Directed by Louis Malle Starring Alain Delon, Brigitte Bardot, Katia Christine• Fellini: A Director's Notebook (1969) Directed by Federico Fellini Starring Federico Fellini, Giulietta Masina, Marcello Mastroianni

Susan Sontag is not only the author of one of the most important essays about photography, but also the protagonist, together with her son, of an eloquent and wonderful portrait. The third and final tale of Chronorama starts from here, and then recounts the 1960s and 70s through the portraits of Federico Fellini and his wife Giulietta Masina, of a young Arnold Schwarzenegger, and of lesser known figures such as the fifteen-year-old actor Björn Andrésen. The last photo mentioned in Chronorama is by Irving Penn, dedicated to an apparently dull subject: two old and worn cigarette butts.

Oltre a essere autrice di uno dei saggi sulla fotografia più importanti di sempre, Susan Sontag è protagonista insieme al figlio di un eloquente e splendido ritratto fotografico. Da qui parte il terzo e ultimo racconto di Chronorama per immergerci nello spirito degli anni Sessanta e Settanta del Novecento, attraverso i ritratti della coppia Federico Fellini e Giulietta Masina, di un giovane Arnold Schwarzenegger e di una figura meno nota come l'attore quindicenne Björn Andrésen. L'ultima foto di Chronorama è di Irving Penn ed è dedicata a un soggetto apparentemente poco interessante: due vecchi e consunti mozziconi di sigaretta.

Susan Sontag est l'auteure de l'un des essais photographiques les plus importants de tous les temps. Elle est aussi la protagoniste, avec son fils, d'un portrait photographique éloquent et splendide. Ici commence le troisième et dernier récit de Chronorama, qui raconte les années ‘60 et ‘70, à travers les portraits du couple Federico Fellini et Giulietta Masina, d'un jeune Arnold Schwarzenegger et d'un acteur moins connu âgé de quinze ans: Björn Andrésen. La dernière photo de Chronorama est signée Irving Penn et est consacrée à un sujet en apparence peux intéressant: deux vieux mégots de cigarettes usés.

Giulietta Masina olasz filmszínésznő, a rendezőzseni, Federico Fellini felesége volt. A mindig légies külseje mással össze nem téveszthető játékstílussal párosult. Apró, törékeny alkatú volt és ahogy az emberi lelket meg tudta jeleníteni, azt úgy senki más nem volt képes, főleg az Országúton Gelsominájaként és a Cabiria éjszakái utcalányaként. Ez a két szerep tette halhatatlanná az egyetemes filmtörténet számára. Gyakran mondták róla: ő a női Chaplin. Giulietta művészetéről férje, Fellini a Mesterségem, a film című kötetében így vallott: "Olyan színésznek tartom, akit egyedülálló tehetséggel áldott meg az Isten: rendkívüli közvetlenséggel tudja kifejezni egy bohóc csodálkozását, rémületét, kirobbanó vidámságát és komikus szomorúságát. Giulietta ugyanis bohóc-színész, valódi női bohóc. Az én szememben ez nagy dicséret, sok színész azonban bosszankodva fogadja, lekicsinylést gyanít mögötte, nem tartja elég méltóságteljesnek, inkább gorombának érzi. Tévednek: szerintem a bohóctehetség a legnagyobb adomány, a lehető legarisztokratikusabb adottság a színészmesterségben." Kitűnő formában érkezett 1993-ban a Friderikusz Show kamerái elé, a felvétel során még táncra is perdült, természetesen csak Friderikusz Sándor kedvéért. Giulietta Masina a budapesti szereplése után néhány hónappal, 1994 márciusában, 73 éves korában halt meg, öt hónappal Fellini után. Közös sírhelyben nyugszanak, Fellini szülővárosának, Rimini temetőjében. Ahogy Fellini temetésén is, Masina végső búcsúján is Mauro Maur trombitált, Nino Rota keserédes témáját az Országúton-ból. Hogyan támogathatja a munkánkat? Legyen a patronálónk, és a támogatása mértékétől függően egyre több előnyhöz juthat: https://www.patreon.com/FriderikuszPodcast Egyszeri vagy rendszeres banki átutalással is segíthet. Ehhez a legfontosabb adatok: Név: TV Pictures Számlaszám: OTP Bank 11707062-21446081 Közlemény: Podcast-támogatás Ha külföldről utalna, nemzetközi számlaszámunk (IBAN - International Bank Account Number): HU68 1170 7062 2144 6081 0000 0000 BIC/SWIFT-kód: OTPVHUHB Akármilyen formában támogatja munkánkat, köszönjük! Kövessenek, kövessetek itt is: Facebook: https://www.facebook.com/FriderikuszPodcast YouTube: https://www.youtube.com/c/FriderikuszPodcast Instagram: https://www.instagram.com/friderikuszpodcast Spotify: https://spoti.fi/3blRo2g ApplePodcasts: https://apple.co/3hm2vfi #FriderikuszPodcast #FriderikuszArchiv

Caetano Veloso acabou de completar 80 anos e segue como um dos representantes mais importantes da música brasileira. O cantor é destaque do #CinemaFalado de hoje que também fala sobre o filme “Crimes do Futuro” e da atriz italiana “Giulietta Masina”.

Gal Cipreste Marinelli e Rodrigo Masina Pinheiro concorrem em Arles ao prêmio Descoberta Louis Roederer, nos Encontros de Arles. Elas buscaram na intimidade do sofrimento por imposição do gênero a inspiração para um trabalho autobiográfico clicado a quatro mãos. Patrícia Moribe, enviada especial a Arles A série se chama “G.H. – Gal e Hiroshima”, uma alusão às iniciais das artistas, sendo que Hiroshima era um apelido de infância de Rodrigo, que nasceu em 1987, no dia em que a bomba americana atingiu a cidade japonesa. É ainda uma alusão ao romance intimista “A Paixão segundo G.H.”, de Clarice Lispector. Rodrigo conta que quando criança se parecia com uma menina, delicada e com cabelos longos. Acabou sendo atacada com pedras por crianças da rua onde morava, em Vila da Penha, no Rio de Janeiro. O encontro com Gal, que cresceu num ambiente muito religioso, deu origem a esse projeto de duas autobiografias entrelaçadas. Os traumas e pesadelos inspiraram imagens que remetem ao sofrimento gerado pela imposição da heterossexualidade. “O gênero fodeu comigo e agora quero foder com o gênero”, explica Rodrigo. “A fotografia foi algo muito intenso, uma maneira de expurgar tudo o que estava guardado”, conta Gal. Um dos objetos expostos, além das fotos, é uma carta de sua mãe, em que ela faz pedidos para Nossa Senhora, incluindo que seu filho fosse heterossexual e se casasse com uma mulher. A exposição, acompanhada de outras concorrentes ao prêmio Louis Roederer e que de outras formas falam sobre imersão e intimidade, estão expostas na Église des Frères Prêcheurs - Igreja dos Irmãos Pregadores. Um "prêcheurs" que sem um "r" pode virar "pêcheurs", ou seja, pecadores ou pescadores. Coincidência ou acaso? Material doado por amigos A série foi quase toda feita durante a pandemia, principalmente em médio formato, com filmes doados por amigos. “Eram vencidos há muito tempo, não sabíamos qual seria o resultado, tanto que muitas imagens são bem granuladas”, conta Rodrigo. Masina (uma homenagem à atriz italiana Giulietta Masina) explica o significado da foto que mostra uma calça branca e pedras. Trata-se do pesadelo recorrente de estar sendo perseguido e apedrejado. O fato de a calça fazer alusão ao ajoelhamento remete à criação religiosa de Gal.  "É um trabalho forte, potente e importante”, diz Ioana Mello, curadora independente, que fez a ponte entre o festival e a Galeria Oriente, do Rio de Janeiro. “Eu trabalho com a Gal e a Masina há quase dois anos com G.H. e queria trazer o projeto para a Europa – é um discurso que precisa ser visto muitas vezes”, diz Ioana. “É a primeira vez que a série viaja nesse tamanho”, diz Rodrigo. “É interessante ouvir as pessoas falarem de suas próprias experiências - talvez essa seja a importância, a de se somar ao que era um legado de violência”, acrescenta. Os Encontros de Arles acontecem até 25 de setembro, no sul da França.

Sex vampires! Demonic possession! The burning of heretics! Sexual awakenings! Polecats! They're all right here in a pair of full color fantasias from Europe. First, young Valerie (Jaroslava Schallerová) finds her journey into womanhood fraught with grotesque vampires, pervy priests and vicious polecats in the Czech new wave weirdness of Valerie and Her Week of Wonders (1970). Then, Italian maestro Federico Fellini explores similar themes in Juliet of the Spirits (1965) where his wife and muse Giulietta Masina is thrust into a dreamlike world by suspicions of her husband's infidelity. As in our first film, we've got the burning of witches, demonic possession, and creepy nuns, but it's Fellini so there's also a tree house with a sex elevator and plenty of circus weirdness all set to a jaunty Nino Rota score. Philena Franklin and Cory Sklar are here to recommend the weed and Bob Calhoun brings us all down by talking about the Soviet tanks rolling into Prague. Valerie and Her Week of Wonders in streaming on Criterion Channel and Juliet of the Spirits is streaming on HBOMax and Criterion. Weed is at your dispensary in participating states.

A poor, half-witted girl is sold by her mother to be the assistant of a brutal traveling circus strongman in La Strada ("the road"). Federico Fellini's 1954 masterpiece, included on the Vatican film list in the category of Values, attests to the seeds that can be planted by selfless love, even in the face of abuse and rejection.  Condemned by Marxist critics in 1950s Italy for its spiritual view of suffering, the film found a better initial reception in the United States, where viewers saw Giulietta Masina's unforgettable protagonist as a "cross between St. Rita and Mickey Mouse". From the beginning, Catholic viewers have found found much to appreciate - Pope Francis, who was 17 when the film was released, calls it one of his favorites. Links Master of Fine Arts in Creative Writing at the University of St. Thomas in Houston https://www.stthom.edu/Academics/School-of-Arts-and-Sciences/Division-of-Liberal-Studies/Graduate/Master-of-Fine-Arts-in-Creative-Writing/Index.aqf?Aquifer_Source_URL=%2FMFA&PNF_Check=1 James Matthew Wilson https://www.jamesmatthewwilson.com/ Nathan Douglas https://nwdouglas.com/about Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com This podcast is a production of CatholicCulture.org. If you like the show, please consider supporting us! http://catholicculture.org/donate/audio

Szász Csongor filmművészetet ápoló műsora Federico Fellini 1957-es olasz-francia melodrámáját elemzi. A film címe: Cabiria éjszakái. A címszerepben a rendező, Fellini szerelme és felesége, Giulietta Masina remekel.

Rendez-vous le 5 novembre pour la nouvelle saison du Goût de M. Chaque semaine, une personnalité issue du monde de la culture, de la mode, du design ou de la cuisine racontera son histoire personnelle du goût. Mais aussi ses dégoûts. Comment elle s'est façonné un art de vivre, en continuité ou au contraire en rupture avec son milieu d'origine. Comment celui-ci a évolué au cours de sa vie, de ses rencontres, de ses expériences.---Irène Jacob est l'invitée du podcast Le Goût de M proposé par M Le magazine du Monde. La comédienne a répondu depuis son appartement parisien aux questions de la journaliste et productrice Géraldine Sarratia.Irène Jacob évoque son enfance à Genève entre ses trois frères, son père astrophysicien au CERN qui aimait dessiner des flip books de personnages de cartoons, et sa mère qui, après quelques années passées au foyer, a repris ses études pour devenir psychothérapeute pour enfants. Très jeune, la future comédienne développe un fort intérêt pour les histoires, les déguisements. « Mon père m'a donné le goût des chats et du cinéma », confie-t-elle. Sa mère la pousse davantage vers la musique. Deux passions artistiques qui lui permettent d'accéder à son premier rôle au cinéma : celui d'une professeure de piano dans le film Au revoir les enfants de Louis Malle. En attendant de retrouver Krzysztof Kieślowski pour La Double Vie de Véronique, qui lui vaut un prix d'interprétation à Cannes en 1991.Grande amoureuse des couleurs et de la cuisine italienne, Irène Jacob a trouvé dans la culture slave la force de l'expression des sentiments jusqu'au tragique. Elle préfère les maisons qui ont de la vie, un peu de « bordel » au look propret des intérieurs qui singent ceux des hôtels. Une énergie qu'elle aime retrouver sur scène. « Le théâtre, c'est l'instant, le présent, quelque chose de vivant », s'enthousiasme-t-elle. Ainsi les comédiennes qu'elle admire le plus – Gena Rowlands, Giulietta Masina ou Marie Trintignant – ont cette capacité à aller dans les extrêmes. « Pour moi, le goût, c'est une émotion. »Un podcast produit par Géraldine Sarratia (Genre idéal)Réalisation : Sulivan ClabautMusique : Gotan Project Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

durée : 00:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Cette émission exceptionnelle du ‘Masque et la Plume' était enregistrée à Rome à l'occasion de l'avant-première du film 'La Dolce Vita' de Federico Fellini. Giulietta Masina évoque son tournage à Berlin. La romancière Alba de Cespedes et Marcello Mastroianni décryptent le film 'La vie douce". - réalisation : Virginie Mourthé - invités : Giulietta Masina Actrice italienne; Marcello Mastroianni Acteur

In this episode, Marisa and Aric *figuratively* hit the road to celebrate the road film genre, a staple in cinema that is known for bringing new perspectives and unseen horizons.Along the way, they'll take a look at six iconic road films: THELMA & LOUISE (1991), the iconic story of two women on the run to Mexico that is, quite simply, badass, LA STRADA (1954), Federico Fellini's harsh, yet whimsical journey of a young woman and a strongman performer traveling through Italy, DEAD MAN (1995), Jim Jarmusch's western of a naive man that quickly becomes trapped in the hell of the American frontier, NEBRASKA (2013), the "dryer than yeast" comedy of an older father and son in search of a sweepstakes prize, WENDY AND LUCY (2008), a darkly ironic road film about a young girl, her dog, and a small Oregon town that are literally going nowhere, and THE PASSENGER (1975), Michelangelo Antonioni's cross-country road film of a journalist who steals the identity of a dead man, leading to dire consequences.Notes for a Theory of the Road Movie - Walter Salles, New York Times ArticlePlease consider supporting this show through our Patreon!Keep up with us on Instagram and Twitter: @filmchatterpod.Check out the films mentioned in this episode on our Letterboxd.Thanks for tuning in!Powered and distributed by Simplecast

The year 1954 gives us several of the greatest films of all time. Leading the pack are Akira Kurosawa's epic Seven Samurai and Alfred Hitchcock's iconic Rear Window - but 1954 also gives us Federico Fellini's first masterpiece, plus two American classics that stand on opposite sides of the Red Scare. But which one film has best stood the test of time? Join Rachel Schaevitz and Aaron Keck as they discuss the year in cinema, great women in Westerns, the loneliness of New York City, Kurosawa's influence on the heist film, the brilliance of Giulietta Masina, and the shadow of Joe McCarthy - and then we dig into the data and the numbers (and our expert panel votes) to identify the best picture of 1954. The nominees are Johnny Guitar, On the Waterfront, Rear Window, Seven Samurai, and La Strada. Who wins the Moonlight? 

Segundo Oscar a mejor película de habla no inglesa y segundo consecutivo para su autor: Federico Fellini, una de las figuras mas importantes, en cuanto a dirección, de la historia del cine. Este drama que cierra la etapa neorrealista del director nos sumerge en la esfera de la prostitución de los bajos fondos de la Roma de los cincuenta a través de la figura de la resiliente Cabiria. Protagonizada por la magnífica Giulietta Masina, esposa de Fellini. Secundada por los veteranos François Périer, Amadeo Nazzari y Aldo Silvani e introduciendo a las fantástica actriz Franca Marzi y a la sensual Dorian Grey encontramos una experiencia cinematográfica profunda, dolorosa y elocuente en su honesta representación de la miseria. Nos acompaña en esta ocasión el gran Guillermo Segarra. Hermano de Lucía Segarra, declarado admirador de Nino Rota y un apasionado del cine clásico. ➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖ Nuestra programación: 🕑 06:41 | Avance 🕑 08:44 | What If 🕑 16:10 | Contexto Histórico 🕑 32:53 | Sinopsis, Cast & Crew y Premios 🕑 01:19:36 | Making Of 🕑 01:28:53 | Análisis 🕑 02:47:45 | La Contracrítica 🕑 02:57:32 | Debate: Oscars Internacionales y Remakes 🕑 03:37:29 | Próxima Estación ➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖ Nuestro Twitter 👉 @cinefagoscast Nuestro Instagram 👉 https://www.instagram.com/cinefagos_podcast/ Nuestro E-mail 👉 cinefagospodcast@gmail.com ¡Ansia viva por el cine!

E pure Moby Dick! La clip è tratta dal film "Nella città l'inferno" (regia Renato Castellani-con Anna Magnani e Giulietta Masina-produzione Riama Film-1959 all rights reserved)

durée : 00:28:41 - Personnages en personne - par : Charles Dantzig - Qui est Juliette, qui porte un tailleur vert pomme et des chapeaux de piqueur de riz ? Retour sur le film "Juliette des Esprits" de Federico Fellini avec Giulietta Masina dans le rôle de Juliette. - réalisation : Clotilde Pivin - invités : N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)

durée : 00:28:41 - Personnages en personne - par : Charles Dantzig - Qui est Juliette, qui porte un tailleur vert pomme et des chapeaux de piqueur de riz ? Retour sur le film "Juliette des Esprits" de Federico Fellini avec Giulietta Masina dans le rôle de Juliette. - réalisation : Clotilde Pivin - invités : N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)

Un día 10 de abril nos dejó uno de los mayores compositores de la historia del cine: Nino Rota. Escuchamos su música en grabaciones del pianista Enrico Pieranunzi -con Kenny Wheeler, Chris Potter, Paul Motian y Charlie Haden- ('Le notti di Cabiria', 'La Strada'), el guitarrista Theo de Barros ('La Strada'), el saxofonista Zé Nogueira y el guitarrista Guinga ('Amarcord'), el guitarrista Roberto Correa ('La dolce vita'), el acordeonista Luiz Carlos Borges ('La gradisce si sposa e se ne va'), el pianista Laercio de Freitas ('Romeo y Julieta'), el acordeonista Chiquinho do Acordeon ('Love theme from Godfather'), Caetano Veloso ('Come tu mi vuoi', 'Giulietta Masina') y Carla Bley Band ('8 1/2'). Escuchar audio

Avui

Irène Jacob est la nouvelle invitée du podcast Le Goût de M proposé par M Le magazine du Monde. La comédienne a répondu depuis son appartement parisien aux questions de la journaliste et productrice Géraldine Sarratia.Le Goût de M est désormais réservé aux abonnés du Monde à partir de l'offre intégrale. Ecoutez cet épisode en intégralité sur https://www.lemonde.fr/podcasts/ ou dans l'application mobile Le Monde.Si vous n'êtes pas encore abonné, rendez-vous sur https://abo.lemonde.fr/goutdem pour bénéficier de -50% la première année pour la souscription d'un abonnement Intégrale Irène Jacob évoque son enfance à Genève entre ses trois frères, son père astrophysicien au CERN qui aimait dessiner des flip books de personnages de cartoons, et sa mère qui, après quelques années passées au foyer, a repris ses études pour devenir psychothérapeute pour enfants. Très jeune, la future comédienne développe un fort intérêt pour les histoires, les déguisements. « Mon père m'a donné le goût des chats et du cinéma », confie-t-elle. Sa mère la pousse davantage vers la musique. Deux passions artistiques qui lui permettent d'accéder à son premier rôle au cinéma : celui d'une professeure de piano dans le film Au revoir les enfants de Louis Malle. En attendant de retrouver Krzysztof Kieślowski pour La Double Vie de Véronique, qui lui vaut un prix d'interprétation à Cannes en 1991.Grande amoureuse des couleurs et de la cuisine italienne, Irène Jacob a trouvé dans la culture slave la force de l'expression des sentiments jusqu'au tragique. Elle préfère les maisons qui ont de la vie, un peu de « bordel » au look propret des intérieurs qui singent ceux des hôtels. Une énergie qu'elle aime retrouver sur scène. « Le théâtre, c'est l'instant, le présent, quelque chose de vivant », s'enthousiasme-t-elle. Ainsi les comédiennes qu'elle admire le plus – Gena Rowlands, Giulietta Masina ou Marie Trintignant – ont cette capacité à aller dans les extrêmes. « Pour moi, le goût, c'est une émotion. »Un podcast produit par Géraldine Sarratia (Genre idéal)Réalisation : Sulivan ClabautMusique : Gotan Project See acast.com/privacy for privacy and opt-out information.

con Silvia Nonnato e Gianfranco Angelucci.

A film where a prostitute searches for true love. Kyle doesn't think anyone is good enough for her. Dave wants to jump off a cliff. The Machine just wants to hypnotize people.

在这期节目中，我们探讨了以下这些内容：费里尼在意大利电影界地位如何？费里尼如何传承了意大利新现实主义？摄影棚如何助力费里尼电影的拍摄？费里尼电影中有哪些有趣的细节？费里尼/意大利电影为何喜欢使用配音？……本 期 嘉 宾邱炯炯 画家、电影导演，代表作《痴》《彩排记》等。雷雅涵 青年编剧、导演，北京电影学院本科班，后求学于博洛尼亚大学，罗马国立电影学院导演系。圆首的秘书 主持人，深焦DeepFocus 主编今年是法国电影大师费德里科·费里尼诞辰100周年。费里尼是战后艺术电影的一位巨擘，其高度与同时代的英格玛·伯格曼（Ingmar Bergman）和黑泽明（Kurosawa Akira）相当。他的声誉起于20世纪50年代中期，其时他的两部电影《大路》（La strada, 1954）和《卡比利亚之夜》（Nights of Cabiria, 1957）都在奥斯卡斩获奖项——这两部电影均由他的妻子、缪斯朱丽叶塔·马西纳（Giulietta Masina）主演。20世纪60年代初，《甜蜜的生活》（La dolce vita, 1960）与《八部半》（8 1⁄2, 1963）奠定了他的影坛地位，这两部电影的中心人物都是他那位备受欢迎的自我化身——马塞洛·马斯楚安尼（Marcello Mastroianni）。对费里尼后期作品的这种简单化的议论一直持续到今天，特别是在英语世界中。诸如导演那种一向随心所欲的风格，对性别和性事的态度，以及对怪诞事物的拥抱，常常会惹人白眼。然而，在正视这些批评的前提下重新审视费里尼的电影作品，我们会看到一位在视觉上具有无比野心的艺术家，一位充分探索了电影自我表达潜能的导演。他始终如一执著探索电影本身的意义，也在漫画书与电影院、马戏团与电视机之间，探秘电影与其他文化形式的联系。

在这期节目中，我们探讨了以下这些内容：费里尼在意大利电影界地位如何？费里尼如何传承了意大利新现实主义？摄影棚如何助力费里尼电影的拍摄？费里尼电影中有哪些有趣的细节？费里尼/意大利电影为何喜欢使用配音？……本 期 嘉 宾邱炯炯 画家、电影导演，代表作《痴》《彩排记》等。雷雅涵 青年编剧、导演，北京电影学院本科班，后求学于博洛尼亚大学，罗马国立电影学院导演系。圆首的秘书 主持人，深焦DeepFocus 主编今年是法国电影大师费德里科·费里尼诞辰100周年。费里尼是战后艺术电影的一位巨擘，其高度与同时代的英格玛·伯格曼（Ingmar Bergman）和黑泽明（Kurosawa Akira）相当。他的声誉起于20世纪50年代中期，其时他的两部电影《大路》（La strada, 1954）和《卡比利亚之夜》（Nights of Cabiria, 1957）都在奥斯卡斩获奖项——这两部电影均由他的妻子、缪斯朱丽叶塔·马西纳（Giulietta Masina）主演。20世纪60年代初，《甜蜜的生活》（La dolce vita, 1960）与《八部半》（8 1⁄2, 1963）奠定了他的影坛地位，这两部电影的中心人物都是他那位备受欢迎的自我化身——马塞洛·马斯楚安尼（Marcello Mastroianni）。对费里尼后期作品的这种简单化的议论一直持续到今天，特别是在英语世界中。诸如导演那种一向随心所欲的风格，对性别和性事的态度，以及对怪诞事物的拥抱，常常会惹人白眼。然而，在正视这些批评的前提下重新审视费里尼的电影作品，我们会看到一位在视觉上具有无比野心的艺术家，一位充分探索了电影自我表达潜能的导演。他始终如一执著探索电影本身的意义，也在漫画书与电影院、马戏团与电视机之间，探秘电影与其他文化形式的联系。

在这期节目中，我们探讨了以下这些内容：费里尼在意大利电影界地位如何？费里尼如何传承了意大利新现实主义？摄影棚如何助力费里尼电影的拍摄？费里尼电影中有哪些有趣的细节？费里尼/意大利电影为何喜欢使用配音？……本 期 嘉 宾邱炯炯 画家、电影导演，代表作《痴》《彩排记》等。雷雅涵 青年编剧、导演，北京电影学院本科班，后求学于博洛尼亚大学，罗马国立电影学院导演系。圆首的秘书 主持人，深焦DeepFocus 主编今年是法国电影大师费德里科·费里尼诞辰100周年。费里尼是战后艺术电影的一位巨擘，其高度与同时代的英格玛·伯格曼（Ingmar Bergman）和黑泽明（Kurosawa Akira）相当。他的声誉起于20世纪50年代中期，其时他的两部电影《大路》（La strada, 1954）和《卡比利亚之夜》（Nights of Cabiria, 1957）都在奥斯卡斩获奖项——这两部电影均由他的妻子、缪斯朱丽叶塔·马西纳（Giulietta Masina）主演。20世纪60年代初，《甜蜜的生活》（La dolce vita, 1960）与《八部半》（8 1⁄2, 1963）奠定了他的影坛地位，这两部电影的中心人物都是他那位备受欢迎的自我化身——马塞洛·马斯楚安尼（Marcello Mastroianni）。对费里尼后期作品的这种简单化的议论一直持续到今天，特别是在英语世界中。诸如导演那种一向随心所欲的风格，对性别和性事的态度，以及对怪诞事物的拥抱，常常会惹人白眼。然而，在正视这些批评的前提下重新审视费里尼的电影作品，我们会看到一位在视觉上具有无比野心的艺术家，一位充分探索了电影自我表达潜能的导演。他始终如一执著探索电影本身的意义，也在漫画书与电影院、马戏团与电视机之间，探秘电影与其他文化形式的联系。

This year one of the greatest Italian directors Federico Fellini would be 100 years old. That's why Andrei and Mario decided to speak about him in this Cultural program. First of all we will shorly tell you about Italian neorealism - film movement which Federico Fellini represented. Then we will mention Giulietta Masina - his beloved wife and muse. And of course we will remember Fellini's most significant movies and tell you some interesting and even scandalous facts about them.

U Felliniho Silnice jsem strašně brečela. Celá atmosféra filmu a sama Giulietta Masina pro mě byly zjevení, říká herečka Barbora Hrzánová. Inscenaci Silnice o cirkusovém životě nastudovala v divadle Kalich. Mám pocit, že Gelsominu znám, že to je kus mého já, přiznává. Asi je to tím, kde a jak jsem vyrostla. Z narážek učitelek mi došlo, že jsme spodina. A já k sobě přitahuji nejpodivnější z podivných, většinou lidi na okraji společnosti.

U Felliniho Silnice jsem strašně brečela. Celá atmosféra filmu a sama Giulietta Masina pro mě byly zjevení, říká herečka Barbora Hrzánová. Inscenaci Silnice o cirkusovém životě nastudovala v divadle Kalich. Mám pocit, že Gelsominu znám, že to je kus mého já, přiznává. Asi je to tím, kde a jak jsem vyrostla. Z narážek učitelek mi došlo, že jsme spodina. A já k sobě přitahuji nejpodivnější z podivných, většinou lidi na okraji společnosti.

Ella no era gran cosa pero él encontraba que era la criatura más linda del mundo. A Federico Fellini le gustaban incluso los ojos saltones de Giulietta Masina porque “me hacen creer que ves mucho más allá de lo que ve el resto".

In some Australian cities cinemas have reopened and tonight (Tuesday 1st September 2020) the film "The nights of Cabiria", directed by Federico Fellini, is screened at the Randwick Ritz in Sydney. - In alcune città d'Australia i cinema hanno riaperto, e questa sera (martedì 1 settembre 2020) è in programma al Randwick Ritz di Sydney la proiezione del film "Le notti di Cabiria", diretto da Federico Fellini.

Time for another Friday bonus episode, as actor and producer Peter Sarsgaard — currently on your screens in Agnieszka Holland’s Mr. Jones and the Netflix anthology series Homemade — discusses his lifelong fascination with Giulietta Masina’s performance in Federico Fellini’s Nights of Cabiria. Your genial host Norm Wilner is honored to lead the parade.

My review of The Nights of cabiria directed by Federico fellini and starring Giulietta Masina

durée : 00:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Cette émission exceptionnelle du ‘Masque et la Plume’ était enregistrée à Rome à l’occasion de l’avant-première du film 'La Dolce Vita' de Federico Fellini. Giulietta Masina évoque son tournage à Berlin. La romancière Alba de Cespedes et Marcello Mastroianni décryptent le film 'La vie douce". - réalisation : Virginie Mourthé - invités : Giulietta Masina Actrice italienne; Marcello Mastroianni Acteur

Al cumplirse 100 años del nacimiento de Fellini, Documentos RNE recrea la vida del genio de Rímini desde nacido un 20 de enero de 1920, y muerto en Roma el 31 de octubre de 1993. Un recorrido por su intensa vida, partiendo de la infancia y adolescencia en Rímini; un periodo que influirá enormemente en su posterior obra artística y en su propia e imaginativa personalidad. Entre juegos y travesuras transcurrió la infancia de Fellini con una normalidad mayor de la que él mismo deseara. Fellini fue un niño como tantos otros de su época al que se le daba bien dibujar y dotado de una mente fabuladora capaz de inventar su propia vida. Sus estancias veraniegas en la casa de campo de sus abuelos en la localidad de Gambettola sirvieron de acicate para impulsar su espíritu mágico y aventurero, en aquella Italia provinciana que le tocó vivir. Una Italia dominada por la influencia de la Iglesia y el fascismo mussoliniano. El documental recupera el pensamiento del director romañolo por medio de las entrevistas que concedió a TVE durante sus visitas a España. En ellas, Fellini muestra sus ideas sobre el cine y la vida de su tiempo, y reflexiona acerca de su propia experiencia vital. En una de estas entrevistas el director reconoce que él es un director autobiográfico cuya vida, señala, “es completamente inventada…En efecto, si pienso en los primeros años de mi infancia o de la primera adolescencia, tengo la sensación de no poder concretar ningún episodio preciso. Es como si hubiera tenido una larga y somnolienta incubación para poder llegar un día al plató, despertarme y comenzar a inventarme una infancia y adolescencia de recuerdos”. Tras la adolescencia, huyó a Roma donde vivió la Segunda Guerra Mundial y forjó su carrera creativa desde su experiencia de caricaturista, periodista y escritor de guiones, hasta lograr la dirección de sus primeras películas, influido por el movimiento neorrealista italiano. En Roma conocerá Fellini a su compañera de toda la vida, la actriz Giulietta Masina. Será la Giulietta de los espíritus, una actriz de marcada personalidad, que tomó parte en la mayoría de sus principales películas y que compartió el triunfo del cineasta, que le llegó a partir del estreno de El jeque blanco. Éxito que se completará con films de la talla de Los inútiles, La Strada, Ocho y medio, Las noches de Cabiria, Amarcord o La dolce vita. Algunas de ellas obtuvieron importantes galardones, como la Palma de Oro del Festival de Cannes o el Oscar de Hollywood, que obtuvo en cinco ocasiones, incluido el premio honorífico en 1993. En el documental, de Miguel Molleda, además de las voces del propio Fellini, Giullietta Masina, Alberto Sordi o del compositor Nino Rota, escucharemos los testimonios del profesor y crítico de cine, Paulino Viota; del especialista en cine italiano, José Manuel Ibarrola; del director de cine español, José Luis García Sánchez; y del historiador y profesor universitario italiano Matteo Re. Escuchar audio

Una storia d'amore e di avventure sospese tra realtà e immaginazione. Quella di Federico Fellini e Giulietta Masina, seguendo le tracce che hanno lasciato nella nostra memoria e nel cinema.

durée : 00:29:30 - Personnages en personne - par : Charles Dantzig - Qui est Juliette, qui porte un tailleur vert pomme et des chapeaux de piqueur de riz ? Retour sur le film "Juliette des Esprits" de Federico Fellini avec Giulietta Masina dans le rôle de Juliette. - réalisation : Clotilde Pivin - invités : N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)

durée : 00:29:30 - Personnages en personne - par : Charles Dantzig - Qui est Juliette, qui porte un tailleur vert pomme et des chapeaux de piqueur de riz ? Retour sur le film "Juliette des Esprits" de Federico Fellini avec Giulietta Masina dans le rôle de Juliette. - réalisation : Clotilde Pivin - invités : N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)

Penúltimo programa de la temporada donde hablamos de estrenos de la semana como 'El rey león', 'Génesis', 'Utoya, 22 de julio', 'Bosque maldito', 'Apolo 11', 'Al agua gambas', 'Entendiendo a Ingmar Bergman', 'Ojos negros' y 'Ayla, la hija de la guerra'. En el clásico hablaremos del clásico de Fellini 'La Strada' con unos notables Anthony Quinn y Giulietta Masina y repasaremos 4 destacados films del Atlántida Film Fest que se está desarrollando en FIlmin. Nos pueden seguir en habladecine.com en Facebook (habladecine.com) o en twitter (@habladecine_com). Pueden solicitar un clásico para analizar o comentar cualquier película dejando comentarios en las redes indicadas, en ivoox o escribiendo un email a habladecine@gmail.com

Lo scrittore Marco Missiroli torna nella sua Rimini per raccontarci un luogo davvero meraviglioso: simbolico e onirico eppure reale con la sua facciata liberty di marmo bianco quasi accecante che si staglia verso l'Adriatico: il Grand Hotel. Miss...

Celebrating some of cinema's greatest wogs with Federico Fellini's Academy Award winning "Nights of Cabiria" starring his wife Giulietta Masina in an incredible performance as a sex worker on the outskirts of 1950's Roma. It is available to stream on Stan.com.au, bambini!         We also tell you the best way to watch WOG BOY (2001) in a thrilling round of ASL.                           Next Up: ROCKY IV - The perfect border-crossing sports film to celebrate the Olympics. Available to stream on Stan.com.au See acast.com/privacy for privacy and opt-out information.

We delve into Fellini territory again with a discussion of Juliet of the Spirits. This 1965 film was Federico Feelini's first foray into the wonderful world of color film.