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#threadcast #leoentertainment #mcb 11/11/2024
More than 1,000 mariachis belt out classics like 'Cielito Lindo' in a Mexico City plaza
https://abcnews.go.com/Entertainment/wireStory/1000-mariachis-belt-classics-cielito-lindo-mexico-city-115721730
MEXICO CITY -- More than 1,000 mariachis gathered in Mexico City’s main plaza Sunday, strumming guitars and singing classics like “Cielito Lindo” to end a mariachi congress celebrating the musical form.
The number of musicians apparently topped the previous record of 700 mariachis at an earlier gathering in the Mexican city of Guadalajara.
#abcnews #leoentertainment
The Guinness World Records organization hasn’t replied a message from The Associated Press asking whether Sunday's gathering broke the previous record.
The musicians, many of whom had arrived in Mexico's capital from other cities, expressed their joy at singing in the giant iconic plaza, saying the music is a family tradition they start learning at a young age.
Jesús Morales said his father taught him to play the violin at age 8, and at 13 he began playing with his uncles in the Mariachi Morales in the city of Hidalgo.
“The heritage that my dad mainly instilled in us is having respect for music and respect for our roots,” he said.
The mariachis played guitars, trumpets, violins and other instruments.
Aida Juárez is a mariachi with 20 years of experience. She is a pioneer of women’s mariachi groups.
“We feel proud that we broke (the record) it is a pride because we are Mexicans,” she said.
Diana Rocío Campos is a merchant who attended the event and loves the music.
“Anyone who listens to (the mariachi) gets very excited, whether they are Mexican or not,” she said. “People come from many countries like Colombia or Japan” to listen to the mariachis.
news headline
Judith Jamison, a dancer both eloquent and elegant, led Ailey troupe to success over two decades
https://abcnews.go.com/Entertainment/wireStory/judith-jamison-dancer-eloquent-elegant-led-ailey-troupe-115723294
NEW YORK -- There are few images more indelible in the history of American dance: Judith Jamison, regal and passionate in white leotard and long ruffled skirt, punching the air in “Cry" — Alvin Ailey’s piercing solo about Black womanhood.
#abcnews #leoentertainment
That searing 1971 piece made her an international star. But it was truly only the beginning of Jamison’s decades-long career atop modern dance, onstage and off. As Ailey’s hand-picked successor beginning in 1989, she led his namesake company for more than 20 years, helping it become the most successful modern dance troupe in the nation.
“It’s amazing,” Jamison, who died Saturday at 81 after a brief illness, reflected in an interview with The Associated Press in 2018, marking the company’s then-60th anniversary. “I find it remarkable that we still exist today,” she said. “And I think Mr. Ailey would be absolutely beside-himself happy, that something he started 60 years ago could blossom into everything he imagined.”
And likely much more. Jamison brought the company not only continued global exposure and crossover cultural appeal but economic stability and growth, putting it in “a stratosphere that Ailey couldn’t even imagine,” said Wendy Perron, author and former longtime editor of Dance Magazine.
Perron attributes Jamison’s success, in a world when many dance companies struggle to survive, to her unique personality and ability to forge relationships. “There was a warmth and magnetism about her — everyone wanted to be with her,” said Perron. “There was a light shining around her.”
Taking the reins as artistic director upon Ailey’s death at 58, Jamison introduced new works and choreography, but also made sure to keep front and center her predecessor's undisputed masterpiece: “Revelations,” a 1960 classic that has defined the company and powered its success like few others, if any, in the history of dance.
It was in “Revelations,” a telling of Black history through spirituals and blues, that Jamison also made a mark as a dancer, holding a white parasol with one arm as she undulated the rest of her body in a baptismal scene – “the umbrella woman,” as the part became known.
To this day, “Revelations” appears on most of the company’s programs, at home in New York and on tour, and is referred to as the most-seen work of modern dance. (It's hard to conceive of anything comparable.) “Revelations” was even performed at the White House, at a dance event hosted by Michelle Obama in 2010, in which the first lady paid tribute to Jamison, calling her “an amazing, phenomenal, ‘fly’ woman.”
Obama also told Jamison from the stage that a photo of her in “Cry” had been “the only piece of art” in the Obamas' home before the White House, and that her daughters, Malia and Sasha, had asked her: “Is that the lady in the picture?”
A year later, retiring as artistic director, Jamison exclaimed to a cheering crowd at New York City Center gathered to honor her: “I have come a long way from Philadelphia, Pennsylvania!” That’s where Jamison was born in 1943 and raised, her childhood spent training in various dance forms, including ballet, modern and tap.
“I knew I had so much energy back then – just too much for everybody,” she quipped in a 2023 podcast interview. “But my parents went, ‘OK, lets direct her this way.’” She credited her mother’s dedication — she made her daughter’s costumes, and “would massage my legs when I got home from class.”
In 1964, famed choreographer Agnes de Mille had seen Jamison in a class and brought her to New York to participate in a production of American Ballet Theatre. Soon after, the young dancer went to an audition for a TV special — and flubbed it, she said. But Ailey was there, and she soon was invited to join his fledgling company.
She wasn’t sure what he saw in her, she has said, other than a look: “Small head, broad shoulders, long arms and long legs.”
With the young company, Jamison traveled to Europe and Africa. Even then, it took her a few years to appreciate that this could be a career. Partly this was because, as she noted in the 2023 podcast, “We were getting paid doodly-squat” – envelopes that sometimes contained a $20 bill, and sometimes just a thank-you note.
But she soon realized that she loved dancing, traveling and being around other dancers. The Ailey troupe was also a rare outlet at the time for Black talent. “There were no outlets,” she said. “There was no place for us to say, "Hey look, this is our artistry, this is our culture, and guess what else we can do?”
Ailey chose Jamison for “Cry” in 1971, a work he dedicated to Black women everywhere, but especially mothers. On opening night, Jamison has said, she didn’t know if she was going to make it though the demanding, 16-minute solo.
She told the Hollywood Reporter that “when the curtain went down, I was on the floor.” She got up to take a bow, “and I kept taking bows over and over until I don’t know which number it was, but they were still screaming and yelling.”
Over the next two decades, Jamison often appeared as a guest artist with companies around the world, and left the Ailey troupe in 1980 to star on Broadway in “Sophisticated Ladies." She also formed her own company, The Jamison Project.
Then an ailing Ailey told her he’d like her to run the company after him.
Jamison recalled, in the AP interview in 2018, being present as Ailey died, along with fellow dancer Sylvia Waters and Ailey’s mother.
“We were in his room as he passed, and usually you see in movies, that people have their last breath and they breathe out. But Mr. Ailey breathed IN. We expected him to breathe out, and he didn’t. So I think what we’re living on now, is his breath OUT ... that air, that vision, that dream.”
Among her many laurels, Jamison was awarded Kennedy Center Honors in 1999 and a National Medal of the Arts in 2001.
Perron, the former Dance Magazine editor, said she felt Jamison had been overlooked somewhat as a choreographer. She pointed to “A Case of You” — a duet to Diana Krall’s version of the Joni Mitchell classic and part of Jamison’s 2005 “Reminiscin.'" The duet, Perron said, was “happy and sad and passionate and inventive .. you really believe these people are passionately in love.”
Jamison passed the artistic director baton to choreographer Robert Battle in 2011. Looking back, she has said one of her proudest moments at the company was the creation of the Joan Weill Center for Dance in 2005, a midtown Manhattan home for the company.
“Majestic” and “queenly” is how Waters, now Ailey II Artistic Director Emerita, described her late colleague.
“She was a unique, spectacular dancer," Waters said. “To dance with her and to be in her sphere of energy was mesmerizing."
news headline
First emperor penguin known to reach Australia found on tourist beach
https://abcnews.go.com/Entertainment/wireStory/emperor-penguin-reach-australia-found-tourist-beach-115724871
MELBOURNE, Australia -- An emperor penguin found malnourished far from its Antarctic home on the Australian south coast is being cared for by a wildlife expert, a government department said Monday.
#abcnews #leoentertainment
The adult male was found on Nov. 1 on a popular tourist beach in the town of Denmark in temperate southwest Australia — about 3,500 kilometers (2,200 miles) north of the icy waters off the Antarctic coast, according to a statement from the Western Australia state’s Department of Biodiversity, Conservation and Attractions.
The largest penguin species has never been reported in Australia before, University of Western Australia research fellow Belinda Cannell said, though some had reached New Zealand, Australia's neighbor almost entirely south of Denmark.
Cannell said she had no idea why the penguin traveled to Denmark.
Cannell is advising seabird rehabilitator Carol Biddulph who is caring for the penguin, spraying him with a chilled water mist to help him cope with his alien climate. The penguin is 1 meter (39 inches ) tall and initially weighed 23 kilograms (51 pounds).
A healthy male can weigh more than 45 kilograms (100 pounds).
The department said its efforts were focused on rehabilitating the penguin. Asked if the penguin could potentially be returned to Antarctica, the department replied that “options are still being worked through.”
News headline
What kind of usic are you listening to right away?
Feel free to share them with us here....
Which program are you watching on your TV?
Lately I've been watching MasterChef and I like listening to my rock music.
Happy day of rejoicing 🙂🙂🙂... Its another Monday and here is our entertainment center on Leo...
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Hi, @sabrinah,
This post has been voted on by @darkcloaks because you are an active member of the Darkcloaks gaming community.
Get started with Darkcloaks today, and follow us on Inleo for the latest updates.
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Warner Bros. Discovery’s Max Add-on Subscriptions Launched on Prime Video in Sweden, Netherlands
Warner Bros. Discovery's Max add-on subscriptions are now available on Amazon service Prime Video in Sweden and the Netherlands.
Warner Bros. Discovery (WBD) and Amazon’s Prime Video have expanded their partnership to make WBD’s streaming service Max available as an add-on subscription through Prime Video, bringing that option to Sweden and the Netherlands, where it is called HBO Max, starting on Monday.
#amazonprime #entertainment #max #warnerbros #sweden #hbomax
Prime Video customers will be able to subscribe to watch the likes of The Penguin, House of The Dragon, The Last of Us, and the upcoming Dune: Prophecy, and season 3 of The White Lotus, along with such movies as Beetlejuice Beetlejuice, Dune: Part Two, Godzilla x Kong, Wonka and Barbie.
Max’s Basic with Ads and Standard plans will be available to customers as add-on subscriptions through Prime Video. A sports-add on is also available, offering what the partners described as “a wide range of world-class sports, such as Grand Slam tennis, Grand Tour cycling, snooker, motorsports, winter sports and the Olympic Games.”
Max has previously been made available as an add-on subscription for Prime Video users in the U.S., Brazil, Mexico, Colombia, France, and Spain.
“Today’s announcement strengthens the global relationship between Warner Bros. Discovery and Amazon which sees Max available as an add-on subscription …, offering millions of customers premier content from Warner Bros. Discovery’s iconic brands,” the partners said.
‘Yellowstone’ Premiere Quickly Reveals Fate of Kevin Costner’s Character: “We Let the Cat Out of the Bag”
Director Christina Voros dives into the highly anticipated return of the hit Paramount Network series to reveal how they kept John Dutton's fate a secret (there were code words), how it propels everything forward and how the cast "shouldered the weight of [Costner's] absence in such a bold and beautiful way."
Yellowstone returned with a big swing on Sunday night by giving viewers the answer they were hoping to get right out of the gate. How would the hit Western saga handle the exit of star Kevin Costner and the fate of his revered show patriarch John Dutton?
#yellowstone #series #entertainment #johndutton
Taylor Sheridan, the writer and mastermind of the Yellowstone-verse, did something rather unexpected when he quickly revealed during the season 5B premiere — and return of TV’s No. 1 show — that John Dutton has indeed died. That fate was likely expected, given Costner’s high-profile and abrupt exit from the Paramount Network series between the first and second half of season five. But the fact that it was revealed so quickly was a surprise.
Kevin Costner’s ‘Yellowstone’ Fate Doesn’t Do Right by John Dutton — or the Show
Taylor Sheridan finally revealed how his franchise tentpole could work without its exiting star and, initially, it sure seems like it can't.
In the end, John Dutton lost.
Given “Yellowstone‘s” overt, lingering sentimentality for his waning way of life, as well as its candor in acknowledging the growing threats facing modern ranching, perhaps Dutton’s failure isn’t all that surprising. After all, the unlikely gubernatorial candidate once built his platform around bringing a halt to progress itself. “I am the opposite of progress,” Dutton said. “I am the wall it bashes against, and I will not be the one who breaks.”
Except, of course, he did. In Season 5, Episode 9 — the long-awaited return of “Yellowstone” after a two-year hiatus — creator Taylor Sheridan revealed the John Dutton is dead. Police at the Governor’s mansion inform his children, Beth (Kelly Reilly) and Kayce (Luke Grimes), that John died by suicide. Obviously, that isn’t true. John is too proud to take himself out of the saddle, and this is still “Yellowstone,” so viewers know a twist is coming.
Instead, it appears Jamie (Wes Bentley) orchestrated his father’s demise. After thinking about putting a hit on John an episode prior, it seems the ambitious attorney general followed through with a little help from his girlfriend/fixer, Sarah (Dawn Olivieri). They talked about it, she acted on it, and now John is dead, just like that. Sarah instructed her hatchet man to make the great cattle man’s death look like a suicide, and that’s exactly what the authorities believe happened.
While John being murdered is much more plausible than John taking his own life, the twist doesn’t do all that much to improve how Sheridan ultimately decided to keep “Yellowstone” running without its lead actor. (Costner, long ago, announced he would not return to the franchise, preferring to make his four-part, 12-hour “film” series, “Horizon: An American Saga.”) Sure, the fact that the eldest Dutton died before he could secure his ranch for future generations isn’t hard to believe. Progress, in the grand, sweeping sense that John used the term, cannot be stopped (let alone reversed, as the most powerful man in Montana aimed to do). But the devil’s in the details, and the details of John’s death are all wrong. How he’s suspected of dying and how he actually died both seem out of line for a character — and a series — that deserved better.
As has been heavily scrutinized in the two years since “Yellowstone” Season 5 first premiered and Costner’s exit became inevitable, the series did little to set up John Dutton’s departure. In Episode 8 (the last to air before the lengthy hiatus), Costner’s rancher was still the sitting governor of Montana, and he’d just lent his public support to his former (and current?) nemesis Thomas Rainwater (Gil Birmingham). Together, they hoped to stop a pipeline from being built across tribal land — a pipeline that would also damage the Yellowstone ranch.
Then there was the promised impeachment. Before John could leave the podium, news that his estranged son Jamie filed impeachment proceedings against his adopted dad — accusing Governor Dutton of violating state law and, in the process, leading Montana into bankruptcy — reached the press. Reporters swarmed the stage. A formal hearing was in the offing. John, as he’s wont to do, sat silently, making plans.
Plans we’ll never see him carry out. Now, setting their father’s affairs is up to the kids, who’ve been at each other’s throats since day one and promised more attacks at the end of Episode 8. After Beth finds out what Jamie has done, she suggests to her father that they take him to the Train Station — family code for killing someone and dumping the body where it won’t ever be found. Expecting his sister’s attack, Jamie suggests the same thing to his Sarah — that they kill John before John can kill Jamie. The long-brewing battle between father and son had finally begun.
And now, after two years of anticipation, it’s over. John will never get to go boot-to-boot with the son he raised to replace him. Jamie will never get to stand up to a father he’s tried to live up to all his life. More importantly, the audience will never get to see the showdown “Yellowstone” has been building toward for five seasons. No matter what’s revealed in the coming weeks, Costner won’t be a part of it. Viewers will never get the visceral satisfaction of father and son in a literal or figurative shootout at the Yellowstone corral.
Movie Review: 'Gladiator II,' with Denzel Washington, goes back into the arena?
https://abcnews.go.com/Entertainment/wireStory/movie-review-gladiator-ii-denzel-washington-back-arena-115729218
Rome teeters on the brink in Ridley Scott’s “Gladiator II.” Its fall is said to be imminent. The dream it once symbolized is dead. The once high-minded ideals of the Roman Empire have deteriorated across a venal land now ruled by a pale-faced emperor.
#abcnews #gladiators #leoentertainment
On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.
This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the “Gladiator” films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.
“Gladiator II” isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in “Gladiator II” understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins – so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.
Inside this Rome are scattered interests in toppling it, including Marcus Acacius, a decorated general who has just returned from a successful campaign taking Numidia in northwest Africa. (That siege makes the movie’s blistering opening, with an armada racing at almost NASCAR speed toward the walled city, with towers on the bows of the boats to scale the parapets.)
Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.
In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in “Gladiator”). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.
Mescal, the terrific Irish actor of “Aftersun” and “All of Us Strangers,” smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.
We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.
But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators' first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.
Now, “Gladiator II” may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, “Napoleon,” which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.
Yes, heads do roll in Scott’s “Gladiator” sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves “Gladiator II.” You don’t quite believe his recklessness after he so patiently and artfully turned the screws.
Nevertheless, two possible successors emerge – Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”
“Gladiator II,” a Paramount Pictures release. is rated R by the Motion Picture Association for “strong bloody violence.” Running time: 148 minutes. Three stars out of four.
news headline
‘Red One’ Review: Dwayne Johnson’s Christmas Franchise Nonstarter Is a Blockbuster-Sized Lump of Coal
Amazon MGM's $250-million bid at a Marvel-level Christmas franchise is a charmless, level-four naughty-lister that will make you wish Christmas
It’s never a harbinger of good tidings when the critics’ embargo for your $250-million Christmas franchise launcher is 9 p.m. PT on Election Day. But here we are.
#entertainment #redone #amazon #mgm #marvel #christmas #therock
Amazon MGM Studios’ bid at a Marvel-level action-comedy spectacle, the ho-ho-horrible “Red One” is a blockbuster-sized cinematic lump of coal, driven as if by narcotized reindeer on a sleigh of hideous CGI and charmless stars with only dancing dollar-shaped sugar plums on the mind. Directed by “Jumanji” reboot filmmaker Jake Kasdan and written by longtime “Fast & Furious” scribe Chris Morgan, here is a level-four naughty-lister that will make you wish Christmas were canceled altogether, a cynical, depressing holiday adventure about the abduction of a swoled-up Santa Claus (J.K. Simmons, at least seemingly amused to be in a red and white-fur-trimmed two-piece) from the North Pole.
We know that Dwayne “The Rock” Johnson, who plays St. Nick’s personal security detail, can open any movie. “Red One” should expect to earn a decent bag of cash in theaters, all a bait-and-switch to lure Prime Video subscribers looking to pass the listless Christmas hours from unboxing presents to dinnertime with passive streaming viewing. Will all that a franchise make? To all a good night who find enough enjoyment to help propel this film to a sequel or more.
I'm listening to this mix and it's really motivating because it's really energetic!
I would love to here it too... But unfortunately the YouTube video are not showing from my end...
https://inleo.io/threads/view/calebmarvel01/re-leothreads-2h3nya3ft?referral=calebmarvel01
Being without the possibility of bringing videos here is very sad.